tag:blogger.com,1999:blog-304875352024-03-17T20:02:41.166-07:00bridge-tarp...Alessandro Zir/ Miscellany (multi-language impressions, annotations, compilations, & other unfinished, whimsical, satirical marginalia). Philosophy. Literature. Music. Visual Culture. Interdisciplinarity. A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.comBlogger177125tag:blogger.com,1999:blog-30487535.post-56303931025680163562022-03-12T05:44:00.035-08:002023-06-14T08:02:47.616-07:00Georges Bataille et la part maudite: "Je ne veux pas justifier, mais comprendre..." (the father of mischief)<a href="https://fineartamerica.com/featured/bataille-as-tibetan-buddhist-alessandro-zir.html"><img alt="Buy Art Online" class="imageShare" height="400" src="https://render.fineartamerica.com/images/rendered/share/42861758&domainId=1" style="border: medium;" title="Buy Art Online" width="254" /></a><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/k9xhV6kCnVw" width="320" youtube-src-id="k9xhV6kCnVw"></iframe></div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vTbtak94OLE" width="320" youtube-src-id="vTbtak94OLE"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/IY5Ejus6kgc" width="320" youtube-src-id="IY5Ejus6kgc"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YVOhDEkR2Yg" width="320" youtube-src-id="YVOhDEkR2Yg"></iframe></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/tpFSXAdlEYY" width="320" youtube-src-id="tpFSXAdlEYY"></iframe></div><br /><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">Georges Bataille as Tibetan Buddhist, mixed media drawing by A/Z available with other drawings and photographs at Fine Art America; </div><div style="text-align: justify;">André Lara Resende: explicação bastante clara da noção de moeda como valor fiduciário (em contraposição ao lastro metalista) na economia moderna, pontuada por um panorama histórico abrangente e pressupostos filosóficos implícitos [very clear explanation of the notion of money as fiduciary value (as opposed to metalism) in modern economics, punctuated by a comprehensive historical overview and implicit philosophical assumption] (Instituto de Economia da Unicamp/Youtube); </div></div><div style="text-align: justify;">Berlin's Longest Running Dj on the Birth of Techno in 1989 (Vice/Westbam, Youtube); </div><div style="text-align: justify;">Members of Mayday - Sonic Empire 1997 (Youtube); </div><div style="text-align: justify;">Westbam/ML, Inga Humpe - Wasteland (Youtube); </div><div style="text-align: justify;">Georges Bataille : La littérature et le mal (INA, 1958/Youtube);</div><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">Commentary scholium, illustration and key:</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Georges Bataille avait un sens aigu de la précarité de l'existence joint à une disposition d'esprit très ouverte."</div><div style="text-align: justify;">"L'érotisme pour Georges Bataille n'était pas une 'spécialité'. On voulut, cependant, l'y enfermer."</div><div style="text-align: justify;">"Mais Georges Bataille, s'il parlait gravement de ces jeux terribles et infinis de l'attraction et de la répulsion — bascule démoniaque, effrayant coup de dés — se permettait parfois d'en parler avec légèreté et cynisme."</div><div style="text-align: justify;">"Les dieux qui meurent: le Minotaure, Osiris, Orphée, Mithra, le Crucifié. Je demandai à Georges Bataille à la fois un titre et une préface."</div><div style="text-align: justify;">"'Dada? — pas assez idiot', c'est en ces termes que Georges Bataille conclut notre premier entretien... Ainsi jaillit cette réponse mémorable, digne d'une moine zen... J'insiste: ce non-mental que Georges Bataille préconisait. (Acéphale c'était sans doute la recherche la plus aiguisée.) Ce non-mental, qui est au centre de la doctrine zen."</div><div style="text-align: justify;">André Masson (Le soc de la charrue)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"J'ai vu Bataille peu de temps avant de quitter Marseille et une lettre reçue ici ne fait que confirmer ce que l'on pouvait craindre: que son goût de toutes les délectations moroses se trouve satisfait un peu par ces sinistrareis. Une lettre de Leiris (je dirais une lettre 'saine' si ce mot n'était trop souvent dans al bouche des autels) avoue simplement son accablement."</div><div style="text-align: justify;">André Masson (lettre à Caillois, Juin 1942)</div><div style="text-align: justify;">"Oui. Bataille a publié (expurgé — a-t-il dit à ma belle-mère) des choses anciennes de lui accompagnées de nouvelles dans la collection en question. A chacun sa perversité."</div><div style="text-align: justify;">"... en somme tout cela faisait un peu 'Possédés' plutôt que... fondateurs de religions."</div><div style="text-align: justify;">André Masson (lettre à Caillois, Août 1942)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Je crois que se réclamer si peu que ce soit du marxisme est une erreur (ce qui ne veut pas dire que 'le Capital' de Monsieur Marx ne contienne pas quelques vérités!)... ses bases sont uniquement rationalistes et utilitaires... Ce système n'est que le résultat des erreurs et de l'abaissement des valeurs qui courent le monde depuis cent ans... Faire partager le bien-être aux ouvriers qui l'ont produit? — bien sûr, mais le vrai bien-être ce serait peut-être autre chose qu'une salle de bains, une auto ou un briquet à ressort... On rit du fanatisme religieux (mais on se met à genoux devant Sainte-Dynamo)..."</div><div style="text-align: justify;">"... les seuls esclaves ce sont les adorateurs du progrès matériel. Qu'ils soient riches ou pauvres, communistes ou fascistes; qu'ils s'appellent Monsieur de Wendel ou Madame ta concierge, Monsieur Marx ou Madame Mussolini, mais mon vieux! ils aiment tous la même merde."</div><div style="text-align: justify;">André Masson (lettre à Bataille, Octobre/Novembre 1935)</div><div style="text-align: justify;">"Mon cher Georges, c'est simple: je ne comprends rien. Rose ne t'ayant, hier, dit rien d'offensant — bien au contraire — je n'avais déjà pas compris ton mouvement de colère."</div><div style="text-align: justify;">André Masson (lettre à Bataille, Avril 1938)</div><div style="text-align: justify;"><br /></div><div><div>"... tout le monde sait que beaucoup de représentants de l'école de Francfort sont venus à Paris en 1935 pour y trouver refuge et qu'ils sont partis très rapidement, écoutés vraisemblablement — certains même l'ont dit —, en tout cas tirâtes, chagrins de n'avoir pas trouvé plus d'écho. Et puis, 1940 est arrivé, mais ils étaient déjà partis pour la Grande-Bretagne et pour l'Amérique, où ils ont été effectivement beaucoup mieux reçus..."</div><div>Michel Foucautl (Structuralisme et poststructuralisme, entretien avec G. Raulet)</div><div style="text-align: justify;">"Bataille et Caillois ont fondé ensemble un Collège de sociologie sacrée, où ils essaient de recruter publiquement des jeunes gens pour leur société secrète — société dont le véritable secret est surtout ce qui peut lier entre eux les deux fondateurs."</div><div style="text-align: justify;">Walter Benjamin</div><div><br /></div><div style="text-align: justify;">"Es giebt Etwas, das ich die rancune des Grossen nenne: alles Grosse, ein Werk, eine That, wendet sich, einmal vollbracht, unverzüglich gegen den, der sie that. Ebendamit, dass er sie that, ist er nunmehr schwach, — er hält seine That nicht mehr aus, er sieht ihr nicht mehr in’s Gesicht. Etwas hinter sich zu haben, das man nie wollen durfte, Etwas, worin der Knoten im Schicksal der Menschheit eingeknüpft ist — und es nunmehr auf sich haben!… Es zerdrückt beinahe… Die rancune des Grossen! — Ein Andres ist die schauerliche Stille, die man um sich hört. Die Einsamkeit hat sieben Häute; es geht Nichts mehr hindurch. Man kommt zu Menschen, man begrüsst Freunde: neue Öde, kein Blick grüsst mehr. Im besten Falle eine Art Revolte. Eine solche Revolte erfuhr ich, in sehr verschiednem Grade, aber fast von Jedermann, der mir nahe stand; es scheint, dass Nichts tiefer beleidigt als plötzlich eine Distanz merken zu lassen, — die vornehmen Naturen, die nicht zu leben wissen, ohne zu verehren, sind selten."</div><div style="text-align: justify;">Nietzsche (Ecce Homo)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div style="text-align: left;"><div style="text-align: justify;">"For Adorno, the false consciousness of Stravinsky's music is its truth, in that it tells us how the world is, while at the same time urbanely convincing us that this is the only way it can be. It is, of course, only when he lies that the devil tells the truth — something that could be seen to apply as well to Adorno as to Stravinsky. For as Adorno said of psychoanalysis, 'nothing is true except the exaggerations.'"</div></div><div>Max Paddison (Stravinsky as devil: Adorno's three critiques)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... one curious story about Hitler reported in the (in)famous record of his 'table conversations' is that, one morning in the early 1940s, he awoke terrified and then, with tears running down his cheeks, explained to his doctor the nightmare that had haunted him: 'In my dream, I saw the future overmen—they are so totally ruthless, without any consideration for our pains, that I found it unbearable!' The very idea of Hitler, our main candidate for the most evil person of all time, being horrified at a lack of compassion is, of course, weird-but, philosophically, the idea makes sense. What Hitler was implicitly referring to was the Nietzschean passage from Lion to Child: it is not yet possible for us, caught as we are in the reflective attitude of nihilism, to enter the 'innocence of becoming,' the full life beyond justification; all we can do is engage in a 'self-overcoming of morality through truthfulness. So it is all too easy to dismiss the Nazis as inhuman and bestial what if the problem was precisely that they remained 'human, all too human'?"</div><div style="text-align: justify;">Slavoj Zizek (Less than Nothing)</div></div><div><div style="text-align: justify;"><br /></div><div>**************************************************************</div><h4>Accounts to reconcile:</h4><div><br /></div></div><div style="text-align: justify;">"Rien n'était plus palpable que le silence de Georges Bataille. Pendant que je le regardais se taire, ou plutôt que je l'écoutais se taire, tout la série de ses livres défilait dans la pièce."</div><div style="text-align: justify;">"C'est vous dire la solitude extrême dans laquelle Bataille se trouvait à cette époque..."</div><div style="text-align: justify;">"Nous allons chez Gallimard. Il y a beaucoup de monde, et là je m'aperçois que Georges Bataille est évité par tout le monde. Comme le raconte Freud après la publication de ses Trois essais sur la théorie sexuelle: 'Quant je sortais j'avais l'impression d'être recouvert de peinture fraîche.' Voilà la solitude de Bataille."</div><div style="text-align: justify;">"Ce sont donc des possibilités de penser que la philosophie ne peut envisager... Et contre Sartre."</div><div style="text-align: justify;">"Or je peux témoigner que Breton a tendu, au sens propre, la main à Bataille qui, soit dit en passant, se fichait complètement des bousculades de son passé. Il était loins de toussa. Nous sommes donc au café avec Bataille, Breton entre: 'N'est-ce pas Georges Bataille qui est là?', me demande-t-il. Breton vient serrer la main de Bataille et lui dit qu'ils devraient se revoir. Moment incroyable! Il ne faut pas oublier les insultes considérables, surtout de la parte de Breton, notamment dans le Second manifeste du surréalisme. Breton avait depuis évolué et attendait beaucoup de Bataille."</div><div style="text-align: justify;">Philippe Sollers (Le Grand Bataille, entretien réalisé par Alexandre Mare)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Bataille avait à la fois le sens du travail et celui de la dépense, de l'excès, voire de la débauche. Mais pour gaspiller, il faut déjà avoir accumulé, travaillé. Ce sont les deux versants de l'homme qu'il était."</div><div style="text-align: justify;">"À Vézelay, il a beaucoup écrit. En 1943, il y termine le Coupable. Après 1945, il y rédige la Part maudite, l'un de ses livres majeurs, où pour la première fois il essaye de systématiser sa conception du monde... C'est un projet qu'il poursuit depuis la rédaction de la Notion de dépense en 1933... Ce sera pour lui un crève-coeur car le livre n'aura aucun succès de vente et peu de retentissement intellectuel."</div><div style="text-align: justify;">Christian Limousin (entretien à Revue des Deux Mondes 2012)</div><div style="text-align: justify;"><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span face="-webkit-standard, serif"><br /></span></p><p class="MsoNormal" style="margin: 0cm;"><span face="-webkit-standard, serif">"Il ne faut donc pas s'étonner que la 'grande colère' de Picasso </span>— ne fût-ce qu'à l'égard des formes traditionnelles de la représentation —, mais aussi ses 'grands rires' de joueur et ses 'grandes obscénités' de baiseur se soient fort bien accordés avec certains aspects de l'expérience bataillenne, notamment sur le pan du rire, de l'érotisme et du désordre, ou bien sûr celui de la culture espagnole, sa dramaturgie de la lumière ou sa passion tauromachique, par exemple. Il ne faut pas s'étonner que les motifs littéraires mobilisés par Bataille pour parler de Picasso dans Documents se soient prolongés en motifs théoriques pour constituer, un peu plus tard, la notion même — la notion économique — de dépense."</p><p class="MsoNormal" style="margin: 0cm;">"Façon, aussi, de retenir mieux que quiconque la grande leçon de Goya, dont Bataille parle souvent à la même époque..."</p><p class="MsoNormal" style="margin: 0cm;">Georges Didi-Huberman (Coupable, Capable, Dépensier, Dialectique)</p></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Par ailleurs, en consultant les dossiers, on se rend compte que Bataille dépouillait les revues ethnologiques, psychologiques et scientifiques. Tout cela relève du travail bibliographique — il ne faut pas oublier que Bataille est chartiste — et c'est chez lui une méthode de travail. Souvent, le jeu des références et des renvois prend la forme de citations reprises in extenso dans les manuscrits et que Bataille prend un soin minutieux à recopier, comme s'il cherchait à s'approprier de manière très intime le texte et la pensée d'un auteur. Il arrive aussi qu'on trouve des coupures de presse qui ont trait à l'actualité, sans doute à usage documentaire, mais c'est assez rare."</div><div style="text-align: justify;">Guillaume Faut (Les Archives Comme Une Nébuleuse) </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Mais l'originalité de Bataille, souligne Serge Zenkine (Le Sacré sans les dieux: Théorie et pratique littéraire), est d'avoir tenté de mimer, par une écriture contradictoire et discontinue, le processus même du sacrifice: elle consiste dans l'intériorisation de l'expérience sacrificielle — c'est le sens de l'expérience intérieure —, avec pour conséquence de rendre indifférent le processus du sacrifice réel, qu'il soit sanglant ou virtuel."</div><div style="text-align: justify;">Elena Galtsova (Georges Bataille en Russie)</div><div style="text-align: justify;">"Avant lui, deux grands penseurs au moins ont eu une formation philosophiquement lacunaire: cependant, ils instaurent une nouvelle modalité de pensée. Je veux parler de Leopardi et de Nietzsche."</div><div style="text-align: justify;">"Il est clair que les lacunes dans la formation philosophique de Bataille doivent être portées à son crédit. Sortir de l'atmosphère, en général méphitique, des départements de philosophie et du professionnalisme philosophique, avec leurs hiérarchies de valeurs périmées, ne peut que clarifier le procès de la connaissance, en le remettant au contact d'un monde généralement humain (à moins de verser dans la plus désastreuse généralité...)."</div><div style="text-align: justify;">"... selon Bataille, le Logos vient après, quand on peut déjà dire..."</div><div style="text-align: justify;">"Bataille affirme que nous n'avons pas pensé le dernier sens de la chose et de l'être, et que cet échec même rend nécessaire de recommencer; en revanche, ce qu'on définit aujourd'hui comme philosophie semble se détourner de ce mouvement..."</div><div style="text-align: justify;">Franco Rella & Susanna Mati (En Italie: Bataille métaphysicien?) </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">**************************************************************</div><h4 style="text-align: left;">Orations & disputations (also to fall under consideration):</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Georges Bataille m'souvent répété qu'il considérait La part maudite comme son oeuvre la plus importante, et en faisait remonter l'idée première à l'époque où, élève de Marcel Maus, je découvrais les règles du potlatch et le caractère sacré du don."</div><div style="text-align: justify;">Alfred Métraux (Rencontre Avec Les Ethnologues)</div><div style="text-align: justify;">"Je n'en suis pas certain, mais c'est peut-être dès cette première période de notre amitié que Bataille me fit lire un ouvrage qu'il estimait capital: Le sous-sol de Dostoiévski, livre dont (comme on sait) le héros et rédacteur supposé fascine par son obstination à être ce que dans le langage familier on appelle un homme 'impossible', ridicule et odieux, au delà de toute limite. Quoi qu'il en soit, Bataille — alors habitué des tripots et de la compagnie des prostituées comme tant de héros de littérature russe — faisait assez de cas de Dostoiévski..."</div><div style="text-align: justify;">Michel Leiris (L'Impossible 'Documents')</div><div style="text-align: justify;">"L'originalité du mal, l'agitation répugnante't le 'pessimisme écoeurant des gnostiques', leur sinistre amour des ténèbres, 'leur gout' monstrueux pour les archontes 'obscènes, cette bassesse non-réductible: tout ce que Bataille souligne ainsi, c'est ce qui en lui correspond à une sorte de Kierkegaard noir. Inutile de dire qu'à cette époque Kierkegaard était aussi peu connu que Hegel."</div><div style="text-align: justify;">"Bataille reconnaît sa dette envers Kojève et la souligne en signalant combien la critique de Hegel par Kierkegaard est superficielle et combien Nietzsche, qu'il admirait avec passion, n'en avait qu'une connaissance conventionnelle (la vulgarisation de la règle)."</div><div style="text-align: justify;">Raymond Queneau (Premieres Confrontations Avec Hegel)</div><div style="text-align: justify;">"Comme types de dramatisation, Bataille cite surtout les exercices ignaciens, qu'il avait partiellement pratiqués dans sa jeunesse, ou le zen qui déclenche le satori par un saisissement. Il connaissait aussi, grâce au Yoga tibétain, le rituel médité du Chöd, où le novice imagine son corps déchiqueté par les esprits."</div><div style="text-align: justify;">Jean Bruno (Techniques d'Illumination) </div><div style="text-align: justify;">"Un autre don, lié à cette gravité: parler est la légèreté même... c'est entre nous, cela se tient entre, et l'entretien est l'abord à partir de cet entre-deux, distance irréductible qu'il faut préserver si l'on veut maintenir le rapport avec l'inconnu qui est le don unique de la parole."</div><div style="text-align: justify;">Maurice Blanchot (Le Jeu de la Pensée)</div><div style="text-align: justify;">"... cette méthode devrait amener la disparition même du sujet pour qu'aucun suppôt ne limitât plus par la conscience de soi la souveraineté de ces contenus d'expérience... l'athéisme rationnel n'est rien d'autre qu'un monothéisme renversé. Mais Bataille ne croit guère à la souveraineté du moi que l'athéisme propose. De là que seule la vacance du moi répondant à la vacance de Dieu constituerait le moment souverain."</div><div style="text-align: justify;">Pierre Klossowski (Le Simulacre)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Nul n'était, finalement, plus anticommuniste que Bataille. Quant au mysticisme si particulier qui était le sien, il est arrivé que l'on fasse une interprétation assez courte de sa doctrine ésotérique — tandis qu'il fondait précisément sur elle le rejet de la phalange surréaliste qu'il fréquenta tout d'abord, puis combattit en tant qu'agitation stérile, visant à intégrer l'état de fait de misère onirique dans la perspective d'un art désintéressé. Chez Bataille, la culture vécue se confondait avec une démarche rigoureuse, du moins qu'il voulait telle, marquée du sceau documentaire hérité de sa formation chartiste. En quoi son attitude n'était pas d'un 'illuminé', mais aussi sérieuse intellectuellement qu'elle était pathétique."</div><div style="text-align: justify;">"Bataille était foncièrement athée, bien que son athéisme se ressentît de l'énoncé nietzschéen de la mort de Dieu comme d'une intégration du sacré. D'un côté, il y avait un aspect adorant: suivant l'une ou l'autre sainte — comme Angèle de Folinio — c'était la forme cultuelle de l'adoration qui l'emportait alors, et ceci comme en écho au déchirement, à la dispersion dyonisiaque, dont parle Otto; — d'autre part, on discernait un intérêt pour le retentissement de semblable pratique, pour l'ascèse que cette frayeur sacrée devait à une expérience qui n'était plus du tout païenne, mais chrétienne."</div><div style="text-align: justify;">"... je ne me suis jamais placé d'ailleurs dans le camp de l'athéisme. Ce qui nous réunissait était notre amour du monde romain, et sous toutes ses formes, de la catholicité romaine; c'était aussi cette même certitude évoquée par le Kierkegaard de L'Alternative: que le christianisme prône l'assomption de la sensualité, le royaume de la chair par l'Incarnation et la Résurrection... Surtout, j'ai retenu sa compréhension de ma propre vision du monde céleste en tant que contrepartie de ce qui faisait pour lui la 'boue' de notre existence. Ainsi, quand Bataille me voyait partagé entre l'orthodoxie et la gnose, il m'invitait à approfondir cette dernière... lui-même après coup s'était habitué à ma manière de voir. Sa violence anticléricale avait beaucoup perdu."</div><div style="text-align: justify;">"Blanchot a sauvé Bataille, il faut le dire avec beaucoup de force. Devant l'indifférence totale que je manifestais à l'égarde de ses disputes, il me disait 'Pierre! Dans quel monde vivez-vous?' — heureusement, grâce à Blanchot, après des années de solitude et de difficultés matérielles, il a pu commencer à sortir des pièges tendus sur sa route."</div><div style="text-align: justify;">Pierre Klossowski (entretiens avec Jean-Maurice Monnoyer)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">**************************************************************</div><h4 style="text-align: justify;">Finally, as appears from a most antient account of the family, wrote upon strong vellum, and now in perfect preservation, to the fully illustration of the world or at least of a score and a half of good honest, unthinking Shandean people: </h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div><div>"Mais l'expérience est là qui désigne en Dieu le moyen d'échapper à ce délire qu'atteint rarement l'amour de Dieu, qui désigne en Dieu le 'Bon Dieu', le garant de l'ordre social et de la vie discontinue. Ce qu'atteint au sommet l'amour de Dieu est en vérité la mort de Dieu. Mais nous ne pouvons de ce côté rien connaître, sinon la limite de la connaissance. Cela ne signifie pas que l'expérience de l'amour de Dieu ne nous donne pas les indications les plus vraies. Nous ne devons pas nous étonner que les données théoriques ne faussent pas l'expérience possible. La recherche est toujours celle de la continuité, qu'atteint l'état theopathique. Jamais les voies de cette recherche ne sont droites."</div><div>Georges Bataille ("La Béauté", <i>L'Érotisme</i>)</div></div><div>"Quoi qu'il en soit (et je reconnais volontiers que sur un point assez obscur, il est possible d'hésiter), il apparaît qu'au moins en partie Hegel tira de ses connaissances théologiques, de même que de la connaissance de maître Eckart et de Jacob Noehme, le mouvement de dialectique qui lui est propre. Mais si j'ai parlé maintenant de Hegel, ce n'est pas avec l'intention d'insister sur la valeur de sa philosophie."</div><div>"Il me semble même que la réaction contre cet aspect glacé de la philosophie caractérise la philosophie moderne dans son ensemble, mettons, sans parler de Kierkegaard, de Nietzsche à Heidegger. Naturellement la philosophie, me semble-t-il, est profondément malade. Elle est inconciliable avec une possibilité bohême, une possibilité débraillée de la pensée, que je représente peut-être aux yeux de certains d'entre vous."</div><div><div>"Si nous suivons la voie indiquée par le christianisme, il est vrai, nous pouvons non seulement sortir de la solitude, mais accéder à une sorte d'équilibre, qui échappe au déséquilibre premier, dont je pars, qui nous empêche de concilier la discipline et le travail avec l'expérience de l'extrême."</div><div>"J'ai voulu vous inviter à vous méfier du langage. Je dois donc, en même temps, vous demander de vous méfier de ce que je vous ai dit."</div><div>"... je me manquerais à moi-même si je ne vous mettais en garde contre un usage malencontreux de ce que j'ai dit."</div></div><div>Georges Bataille ("La Sainteté", <i>L'Érotisme</i>)</div><div>"... c'est le désir de mourir sans doute, mais c'est en même temps le désir de vivre, aux limites du possible et de l'impossible, avec une intensité toujours plus grande. C'est le désir de vivre en cessant de vivre ou de mourir sans cesser de vivre, le désir d'un état extrême que saint Thérèse peut-être seule a dépeint assez fortement par ces mots: 'Je meurs de ne pas mourir!' Mais la mort de ne précisément n'est pas la mort, c'est l'état extrême de la vie; si je meurs de ne pas mourir, c'est à la condition de vivre: c'est de la mort qu'en vivant j'éprouve, en continuant de vivre. Saint Thérèse chavira mais ne mourut pas réellement du désir qu'elle eut de chavirer réellement."</div><div>Georges Bataille (Mystique, <i>L'Érotisme</i>)</div><div><br /></div><div>"L'Islam réserva l'excédent entier à la guerre, le monde moderne à l'outilla industriel. De même le lamaïsme à la vie contemplative, au libre jeu de l'homme sensible dans le monde. Si des différents côtés la mise est faite en entier sur un seul tableau, le lamaïsme est l'opposé des autres systèmes: il se dérobe seul à l'activité, qui toujours a pour fin d'acquérir et d'accroître. Il cesse, il est vrai forcé, d'assujettir la vie à d'autres fins que cette vie même: directement et sans attendre, la vie est pour elle même la fin. Dans les rites du Tibet, les formes militaires, évocation du temps des rois, sont encore incarnées en de brillantes figures de danses, mais comme des formes dépassées, dont la déchéance est l'objet d'une représentation rituelle."</div><div>"Tawney, à la suite de Weber, met en relief ce que signifia pour le monde bourgeois, dont elle fut l'expression, la diffusion de [la] pensée de Calvin: selon Tawney, il fut à la bourgeoisie de son temps ce que Marx fut de nos jours au prolétariat: il apportait l'organisation et la doctrine... À ses yeux, la fin n'est pas 'le salut personnel, mais la glorification de Dieu, qui ne doit pas seulement être cherchée par la prière, mais par l'action — la sanctification du monde par la lutte et par le travail. Car avec toute sa condamnation du mérite personnel, Calvin est expressément pratique. Les bonnes oeuvres ne sont pas un moyen d'atteindre le salut, mais elles sont indispensables, étant la preuve du salut réellement atteint... La négation des pratiques de vaine dépense de la richesse n'est pas moins achevée que dans la doctrine Luther, en ce que la valeur, retirée à l'oisiveté contemplative, au luxe ostentatoire et à des formes de charité qui entretenaient la misère improductive, était donnée aux vertus que l'utilité fonde: le chrétien réformé devait être modeste, épargnant, travailleur (il devait apporter le plus grand zèle à sa profession commerciale, industrielle...); il devait même réprimer la mendicité, contraire à des principes dont l'activité productive est la norme."</div><div>"Le capitalisme n'aurait pu coexister avec les vieilles législations économiques, dont le principe moral était la subordination de l'entreprise à la société, qui imposait le contrôle des prix, luttait contre les manoeuvres et soumettait à de graves restrictions la pratique du prêt à intérêt. Tawney observe que, dans les pays où le calvinisme domina (ce fut le cas à Genève, avec Calvin et Théodore de Bèze ou, en Écosse, avec John Knox), il tendit à une dictature collectiviste... En fait, c'est seulement en Angleterre, dans la seconde moitié du XVII siècle, que des puritains lièrent à la tradition calviniste le principe de la libre poursuite du profit. C'est seulement à cette date tardive que l'on posa l'indépendance des lois économiques, et que l'on en vint à abdication de la souveraineté morale du monde religieux dans le domaine de la production."</div><div>"Si l'on revient sur le sentiment des grands réformateurs, on peut même dire qu'en donnant ses conséquences extrêmes à une exigence de pureté religieuse, il détruisit le monde sacré, le monde de la consumation improductive, et livra la terre aux hommes de la production, aux bourgeois."</div><div>"Où nous croyons saisir le graal, nous n'avons saisi que la chose, ce qui nous reste dans les mains n'est qu'un chaudron... La rechreche actuelle des hommes ne s'éloigne de celles de Galaad ou de Calvin ni par son objet ni par la déception qui suit la trouvaille. Mais le monde moderne s'y prend d'une autre façon: il ne cherche rien d'illusoire et prétend assurer un conquête essentielle en résolvant directement les problèmes posés par les choses."</div><div>"... la domination de la chose n'est jamais entière, et n'est au sens profond qu'une comédie..."</div><div>"Le plan Marshall est certes une réaction isolée, c'est la seule entreprise qui oppose une vue systématique à la volonté de domination mondiale du Kremlin. Le plan Marshall achève de donner un visage au conflit actuel: ce n'est pas dans son principe la lutte pour l'hégémonie de deux puissances militaires, c'est celle de deux méthodes économiques."</div><div>"Ainsi du jour où l'entreprise du général Marshall 'serait couronnée d'un commencement de succès, elle éclipserait par ses bienfaits les plus profondes et les moins mal réussies des révolutions sociales' [François Perroux]."</div><div>"Les États-Unis se trouvèrent devant ce problème. Il fallait ou maintenir aveuglément le principe du profit, mais dès lors supporter les conséquences d'une situation invivable (il est facile d'imaginer le sort de l'Amérique abandonnant le reste du monde à la haine). On devait sinon renoncer à la règle sur laquelle le monde capitaliste est fondé. Il fallait livrer des marchandises sans paiements: il fallait donner le produit du travail. Le plan Marshall est la solution du problème. C'est le seul moyen de faire passer en Europe les produits sans lesquels monterait la fièvre du monde."</div><div>"Cést le paradoxe de l'économie capitaliste d'ignorer les fins générales, qui en donnent le sens et la valeur, et de ne pouvoir jamais dépasser la limite de la fin isolée. Je montrerai plus loin qu'il en résulte une erreur de perspective élémentaire..."</div><div>"Le plan Marshall tend à résoudre un problème général en ce qu'étant investissement, il l'est à fonds perdus. Il envisage en même temps, malgré cela, une utilisation final à la croissance..."</div><div>"En fait la croissance doit se situer par rapport à l'instant où elle se résoudra en pure dépense. Mais c'est précisément le passage difficile."</div><div>Georges Bataille (<i>La Part Maudite</i>)</div><div><br /></div><div><div>***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien)<span face="Calibri, sans-serif">:</span></div><div><span face="Calibri, sans-serif">"</span>Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from <a href="https://www.britannica.com/art/mode-music" target="_blank">"Mode," entry in Brittanica, by Mieczyslaw Kolinski</a>);</div></div><div><br /></div></div><div style="text-align: justify;">See also: </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/05/what-is-meaning-of-sacer-in-homo-sacer.html">What's the meaning of Homo Sacer?</a></div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/09/defi-du-non-circuncis-le-petit-fils.html">défi du non-circoncis</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/10/amat-escalante.html">Amat Escalante (& Werner Herzog): Basilisk's Cinema</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html">Dogen with Hagakure</a>; </div><div style="text-align: justify;"><div>- <a href="https://aletche.blogspot.com/2020/10/shingon-myoe-kukan.html">Japanese Esoteric Buddhism</a>; </div><div>- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness</a>;</div></div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2014/10/sarebbe-la-definizzione-piu-giusta-del.html">Umberto Eco about Nietzsche</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/07/parler-est-une-chose-grave-parler-est.html">parler: une chose grave & la légèreté</a>;</div><div style="text-align: justify;">- <a href="http://aletche.blogspot.com.br/2015/06/communaute-elective.html">... Communauté Élective</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/07/ecritureviolence-it-is-important-to.html">Écriture/Violence</a>; </div><div style="text-align: justify;">- <a href="http://aletche.blogspot.com.br/2015/07/larticulation-blanchotienne-des-notions.html">L'articulation (I) (non-origine, excès & dehors)</a>;</div><div style="text-align: justify;">- <a href="http://aletche.blogspot.com.br/2015/07/larticulation-blanchotienne-des-notions.html">L'articulation (II) (responsabilité & au de la de l'être)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2021/01/cartografia-de-agua-viva-lista-de.html">Cartografia de Água-Viva</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2020/07/the-willy-mina-adventures-erlebnisse-is.html">The Willy-Mina Adventures (Erlebnisse)</a>; </div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Modern Literature and Esotericism: Baudelaire, Rimbaud, Mallarmé & others</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>; </div><div style="text-align: justify;">- <a href="http://aletche.blogspot.com.br/2016/03/instead-of-revolution-demontage-super.html">Instead of revolution: démontage</a>;</div><div style="text-align: justify;">And also: </div><div style="text-align: justify;">- <a href="https://www.academia.edu/49515563/Da_Ursa_à_Ursa_Maior_Perspectivismo_e_Analogismo_na_Literatura_Brasileira">Da Ursa à Ursa Maior: Perspectivismo e Analogismo na Literatura Brasileira</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/45544937/Clarice_Lispector_e_a_Tradi%C3%A7%C3%A3o_do_Romance_de_Vanguarda_Contrapontos">Clarice Lispector e a Tradição do Romance de Vanguarda: Contrapontos</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/37668483/Entre_vida_ativa_e_experi%C3%AAncia_liter%C3%A1ria_aporias_da_rela%C3%A7%C3%A3o_entre_o_eu_e_os_outros">Entre vida ativa e experiência literária: aporias da relação entre o eu e os outros</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/7854739/Cannibalism_and_Women_Gift_in_Early_Modern_Period_Brazil_Ambiguity_and_Reversibility_in_the_Logic_of_Colonization">Cannibalism and Women Gift in Early-Modern Period, Brazil</a>; </div><div style="text-align: justify;">- <a href="https://governarelapaura.unibo.it/article/view/2471">"L'Anthropologie de la Peur de Georges Bataille" (Jean-Christophe Goddard)</a>; </div><div style="text-align: justify;">- <a href="https://philarchive.org/archive/VEREAT-4">"Ecomodernism and the Libidinal Economy: Towards a Critical Conception of Technology in the Bio‐Based Economy" (Roel Veraart, Vincent Block, Pieter Lemmens, Philosophy & Technology/2023)</a>;</div><div style="text-align: justify;">- <a href="https://dro.dur.ac.uk/5218/" style="text-align: left;" target="_blank">"Stravinsky as devil: Adorno's three critiques" (Max Paddison)</a><span style="text-align: left;">;</span></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p></o:p></p>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-29011991609182723892021-11-24T10:30:00.072-08:002023-05-16T12:27:55.860-07:00Poetry, the "Avant-Garde" tradition & Pounds thoughts on Symbolism (among other things) PLUS Kandinsky<div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/6qzkcOpCpsk" width="320" youtube-src-id="6qzkcOpCpsk"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/h4jKtzbc3G0" width="320" youtube-src-id="h4jKtzbc3G0"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/d28z2CGH4aE" width="320" youtube-src-id="d28z2CGH4aE"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Z8lTh58jhA8" width="320" youtube-src-id="Z8lTh58jhA8"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZZ3F3zWiEmc" width="320" youtube-src-id="ZZ3F3zWiEmc"></iframe></div><br /><div><br /></div><div><br /></div><div><div style="text-align: justify;">Arnold Schoenberg, Herzgewächse op. 20 (Arnold Schönberg Center/Youtube);</div><div style="text-align: justify;">Schoenberg's Pierrot Lunaire (directed by Oliver Herrmann, singed by Christine Schäfer & conducted by Pierre Boulez); </div><div style="text-align: justify;">Tre Pezzi for Clarinet and Cimbalon op. 38a (GyörgyKúrtag, Youtube); </div><div style="text-align: justify;">Bach transcriptions by Kúrtag (Márta and Györg Kúrtag, Youtube);</div><div style="text-align: justify;">The Art Market is a Scam (And Rich People Run It) (Wendover Productions/Youtube);</div><div><br /><h4 style="text-align: left;">Anecdotes to pick up, inscriptions to make out & stories to wave in:</h4><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p><div style="text-align: justify;">"On the other hand, recall Descartes' phrase: 'an indubitable conception formed by an unclouded and attentive mind; one that originates solely from the light of reason'. That's a pretty good description of what some mathematicians strive for. And they may well talk about it in terms of intuitions."</div></div><div style="text-align: justify;">Hacking (Why is There Philosophy of Mathematics At All?)</div><div style="text-align: justify;">"An even simpler example of an elementary constituent of consciousness which physics is silent on, is the quality of the sensation of blueness. Physics can speak of a certain class of spectral densities of the radiation field, it can speak of the stimulation of certain receptors within the eye, it can speak of nerve impulses from the eye to the visual cortex, but it is absolutely silent about what is completely obvious to me (and I assume to you)—the characteristic and absolutely unmistakable blue quality of the experience of blueness itself."</div><div style="text-align: justify;"><a href="#">David Mermin (What is quantum mechanics trying to tell us?)</a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div style="text-align: justify;"><span>"... un nombre imaginaire est symbolique parce qu’il se réduit à un couple de nombre associés suivant certaines conventions. De même, une équation imaginaire est symbolique, parce qu’elle représente en réalité deux équations entre quantités réelles associées suivant des conventions définies. Or il semblerait a priori que des symboles, ainsi définis, ne pussent être rendus intuitifs par des images appropriées, et que l'intuition dût se limiter à illustrer des réalités intellectuelles correspondant aux quantités réelles. Mais l'idée du plan d'Argand-Caucy et, d'une façon plus systématique, les recouvrements des surfaces de Riemann démontrent qu'en fait on a su pour ces concepts symboliques créer une intuition satisfaisante."</span></div><span style="text-align: left;"><div style="text-align: justify;">"L’essence de l’image [de l’analyse de Riemann] tient dans la correspondance fonctionelle établie entre deux figures sensibles. Aussi ne suffit-il pas de dire avec Kant qu’elle est le produit d’unschématisme réglant sa production, mais if faut ajouter que cetteproduction est fonctionnelle et qu’elle joue toujours sur le rapport de deux ensembles continus."</div></span><div style="text-align: justify;"><span>Jules Vuillemin (La philosophie de l'algèbre)</span></div></div><div><br /></div><div><div style="text-align: justify;">"On peut dire sans doute de la critique protestante des oeuvres saintes qu'elle abandonna le monde aux oeuvres profanes, que l'exigence de la pureté divine ne sut qu'exiler le divin, et achever d'en séparer l'homme. On peut dire enfin qu'à partir de là, la chose a dominé l'homme, dans la mesure où il vécut pour l'entreprise et de moins en moins dans le temps présent. Mais la domination de la chose n'est jamais entière, et n'est au sens profond qu'une comédie: elle n'abuse jamais qu'à moitié tandis que, dans l'obscurité propice, une vérité nouvelle tourne à l'orage."</div><div style="text-align: justify;">"... la science limite la conscience aux objets, elle ne mène pas à la conscience de soi (elle ne peut connaître le sujet qu'en le prenant pour un objet, pour une chose); mais elle contribue à l'éveil en habituant à la précision et en décevant: car elle admet elle-même ses limites, elle avoue l'impuissance où elle est de parvenir à la conscience de soi."</div><div style="text-align: justify;">Georges Bataille (La Part maudite)</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"C'est là ce dont témoignent les forces supra-historiques par excellence, l'art et la religion qui, détournant le regard du devenir, le portent sur tout ce qui confère à l'existence le caractère de éternel et d'une signification identique. La science, qui ne voit nulle part de l'éternel ni de l'existant, mais rien que du devenu, de l'historique, ne peut que détester ces forces éternisantes..."</div><div style="text-align: justify;">"La Gaya Scienza, fruit de la plus grande solitude imaginable, parle essentiellement à des esprits qui, eux, sauront retrouver cette solitude, donc à ces natures qu'un fond de noblesse dispose à refuser autant la distraction à tout prix que le travail à tout prix, donc à supporter l'ennui: nous touchons là aux ressources de la solitude, lesquelles, en dépit de son extrême isolement, lui donnaient le sentiment d'être toujours 'entre nous'... Quant aux états d'élévation, il lui semble, dit-il, que la plupart des gens ne croient guère à la réalité de pareils états d'âme, excepté ceux qui connaissent par expérience un état d'elévation de longue durée."</div><div style="text-align: justify;">"Tout ce qui monte dans le plein jour de la conscience n'y monte jamais que la tête en bas; les images de la nuit s'inversent sur le miroir de la pensée consciente; qu'il y ait ici une nécessité profondément inscrite dans la loi de l'être qui s'explicite en tant que la roue universelle, à l'image de l'éternité — qu'enfin l'inversion de la nuit en jour et du sommeil à l'état de veille de la conscience résulte de cette loi, nous le verrons plus tard."</div><div style="text-align: justify;">"Comment convaincre le vouloir de vouloir à rebours de tout but de la pensée consciente, pour que ce vouloir s'appliquât à récupérer ce qu'il avait de plus essentiel, de moins communicable, se prenant lui-même pour objet, dans l'appréhension de l'existence revenue à elle-même comme ce vouloir revenu à lui-même?"</div><div style="text-align: justify;">Pierre Klossowski (Un si funeste désir) </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Chaque langue a ses spécificités onomatopéiques, et celles-ci concourent à structurer l'écoute même des sons non verbaux... la pauvreté de la langue française en diphtongues lui permet moins bien que l'anglais d'exprimer les variations continues et subtiles; l'onomatopée 'miaou' imitative du chat est plus carrée, plus stylisée, moins progressive que le 'meow' et le 'miaow' anglo-américains... le cratylisme... Théorie tenace, disons-nous, parce qu'elle résiste vaillamment aux leçons de la linguistique, et à l'évidence de tous les démentis que lui apportent de nombreuses exceptions. Presque tous les poètes et beaucoup d'écrivains sont de sensibilité 'cratyliste'."</div><div style="text-align: justify;"><div>"... le 'se voir' (je me suis vu) équivaut à se percevoir par les yeux de l'autre — voire de l'objet regardé — comme corps fini dans l'espace, évidemment par référence au stade du miroir... De fait, le 's'entendre' est d'un tout autre ordre. On ne s'entend pas marcher à distance, alors qu'on se représente son corps, sa personne, comme un point visuel dans l'espace. Même si l'on entend, comme on dit, le 'retour' de sa propre voix en direct vent d'un haut-parleur distant... le fait qu'en même temps on s'entende de l'intérieur change les données: il se crée un continuum entre le 's'entendre-de-l'intérieur' (par co-vibration) et le 's'entendre-de-l'extérieur' (par les oreilles, les réflexions sur les parois, un haut-parleur si on est amplifié, etc.), et ce continuum relie l'un et l'autre... tout son relie constamment l'intérieur et l'extérieur... Le philosophe Jacques Derrida a eu le mérite de souligner, dans La Voix et le Phénomène, l'importance et la spécificité du 's'entendre-parler'. Il ne s'interroge cependant pas sur l'étrangeté de cette situation, don't il fait trop vite, à notre sens, une expérience de présence à soi 'sans coupure'... Nous parlons avec une voix qui n'a jamais été primitivement la 'nôtre'."</div><div>"... la décroissance d'intensité d'un note de piano s'accompagne d'un appauvrissement progressif du spectre harmonique, etc. Or, la déliaison acoustique créée par les machines permet d'isoler ces variables, donnant naissance à des sons à la lettre 'inouïs' avant l'ère technologique... Certes, la musique instrumentale, bien avant les machines modernes, ne s'est pas privée de travailler sur la déliaison des caractères acoustiques (variations de hauteur seule, variations d'intensité seule, etc.), en sachant que les sons dont un caractère à la fois varie peuvent paraître certaines fois plus pauvres et plus ternes — mais pourquoi pas, puisque dans certains cas cela crée un effet expressif et esthétique? Tchaïkovski, par exemple, comme orchestrateur, travaille sur la 'déliaison' des effets habituels; chez lui, une montée dans l'aigu peut ne pas s'accompagner d'un crescendo, un tutti d'orchestre peut être d'une sonorité terne, etc."</div><div>"S'agissant de l'écoute d'une musique classique, la question de la discrimination d'unités de perception est plus complexe qu'il n'y parait, puisque l'unité de notations — la note — n'est aucunement une unité de perception ipso facto. Les 'traits' (arpèges ou gammes rapides) dans les concertos de Mozart, par exemple, sont des unités perceptives, beaucoup plus que les notes à l'aide desquels ils sont constitués."</div><div>"... le timbre n'est pas une notion homogène. Il se ramène à n'importe quoi, susceptible de permettre l'identification d'une famille de sources sonores, et peut puiser des traits pertinents pour l'identification de la cause dans n'importe quel aspect du son."</div><div>"... tout un système musical a dû être créé de pied en cap par le grand compositeur Arnold Schoenberg — le système dodécaphonique sériel — autour de cette seule idée d'empêcher un son isolé — en l'occurrence la hauteur du son définissant la tonalité — de devenir 'le roi', de fonctionner comme note pivot, note d'attraction, note-repère." </div><div>"... les renforcements d'attaque, etc., sont très précieux, et peuvent être généralisés au-delà du cas particulier des sons 'musicaux'. Il y a des films où les sons s'enchainent legato (lié, coulant) ou staccato (détaché, sépare)."</div><div>"... le mot, par essence, ne cesse de désigner, dans la confrontation avec l'entendu, ce qu'il ne suffit pas à circonscrire. Il implique et n'en occulte jamais le caractère incomplet. C'est pourquoi, chez un écrivain aussi minutieux dans le compte-rendu verbal de ses sensations qu'est Marcel Proust, le caractère constamment inachavé de la phrase, par touches ajoutées, de l'evocation, la structure ouverte (ouverture de parenthèses, de notes, de 'paperolles') situe la description dans ses propres limites."</div><div>"La discipline consistant, avant de décrie un son, à chercher si le mot lui correspondant, mêne approximativement, existe et lequel est le bon, le moins ambigu, est une discipline qui fait travailler la perception parce qu'elle oblige à choisir. Cette exigence que nous posons va, bien sur, à contre-courant de beaucoup de tendances que l'on constate et même enseigne dans la société actuelle, qui est de se servir du mot dans son halo de connotations, et — sous l'influence de la publicité — de rechercher celui qui convoi l'ambiguïté maximale."</div></div><div style="text-align: justify;">Michel Chion (Le Son)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"A compound color is produced by the admixture of two or more simple ones, and an assemblage of tones, such as we obtain when the fundamental tone and the harmonics of a string sound together, is called by the Germans Klang. May we not employ the English word clang to denote the same thing, and thus give the term a precise scientific meaning akin to its popular one? And may we not, like Helmholtz, add the word color or tint, to denote the character of the clang, using the term clang-tint as the equivalent of Klangfarbe? [John Tyndall, 1875]"</div><div style="text-align: justify;">"The middle layers of musical structure (gestures and phrases) arise as the composer interacts with sonic material. To sculpt sonic material into gestures or phrases involves mediation between raw waveforms and the will of the composer. This mediation is not always immediately successful, which is part of the struggle of composition. If the initial result is unsatisfactory, the composer has two choices. The first is to develop new materials that will more easily fit a preconceived phrase mold. The second choice is to abandon the mold, which means following the 'inner tensions'—to use Kandinsky’s phrase [Point et ligne sur plan]—of the sonic material... These interrelationships between sound and structure confirm what the best composers have known all along: material, organization, and transformation must work together to construct a coherent musical code—a context. Sound accrues meaning through the structure in which it is heard, and structure accrues meaning through the sounds that articulate it."</div><div style="text-align: justify;">"Rhythm rarely appears in a pure form. In order to create a pure rhythm, isolated from all other musical elements, one would need to vary the onset times and durations of a sound while keeping all other sonic dimensions (i.e., loudness, pitch, timbre, and spatial position) constant. Of course, in real music, all these dimensions are changing simultaneously. Thus rhythm simultaneously organizes and is itself organized by these elements."</div><div><div style="text-align: justify;">"... we need to acknowledge the true complexity of music. Electronic music, in particular, is not merely a beat machine. It undulates (under envelope control), modulates (under low-frequency oscillator or LFO control), and triggers, as well as beats. These phenomena are the result of many simultaneous clocks and functions of time applied to pitch, timbre, space, etc... Moreover, broken and jagged beats, loops and diced loops are common currency of electronic music discourse. Electronic music can deploy overlapping polyrhythms generated by algorithms and advanced clocking schemes that ambulate around zones of rhythmic morphosis. Moreover, the local temporal context is always functioning within a hierarchy of larger timescales. In all these ways, the art of rhythm is far ahead of science’s ability to track it, much less explain it."</div><div style="text-align: justify;">"All music is a play of forces, attracting and repulsing, uniting and opposing. Attracting and unifying forces play with similarities, while repulsing and opposing forces play with dissimilarities and contrasts."</div><div style="text-align: justify;">"In music theory, the term pitch class describes a 12-note ET note’s position within an octave. For example, all Cs are of equivalent pitch class. In the scientific literature, pitch class is sometimes referred to as pitch chroma... Studies indicate that chroma and height are processed in different parts of the brain."</div><div style="text-align: justify;">"Somewhere around 0.1 Hz (one pulse every 10 seconds), a human being will be able to mark the beat with some accuracy. Between about 0.2 Hz (one pulse every five seconds or 12 beats per minute) and 20 Hz (1200 BPM), the body is exquisitely attuned to periodic rhythms. In this infrasonic frequency range, we easily sense a regular pulsation and meter and can track it to within a few milliseconds... it is in this same range that dance beats and many expressive effects transpire, such as vibrato, tremolo, fluttering, filter modulations... As the generator sweeps up beyond 20 Hz, another major change in perception takes place. The individual pulses become too fast to count; they appear to fuse into a continuous tone. A clear sense of identifiable pitch is not immediately evident between 20 and 40 Hz, however. Above 40 Hz, the illusion of identifiable pitch steps gingerly into the foreground... In the zone of acute pitch perception between 80 and 2000 Hz, melodies retain their identity even under drastic operations like transposition... At about 5000 Hz, the illusion of pitch evaporates into a looser sensation of high-frequency timbre."</div><div style="text-align: justify;">"Despite a century-long debate, there is little consensus on how pitch is coded in the auditory system. It is known that the human brain treats pitched tones in a special manner."</div><div style="text-align: justify;">"Certain tone combinations appear to be 'sweet,' 'smooth,' or 'restful,' while others appear to be 'sour,' 'rough,' or 'tense.' It is not a question of an absolute binary opposition. As J. S. Bach knew, the perception of the relative dissonance of two pitches depends on their context, which includes both subjective and objective factors. For example, what is the cultural and musical background of the listener? What is the musical idiom? On what instrument are the pitches being played? Is there a strong tonal center? How close is the interval in absolute frequency or pitch height (i.e., in what registers are the two tones)? How fast are the notes played? Are the tones equal in loudness? Are their spectra harmonic? Are they bathed in reverberation? These types of contextual questions qualify any narrow theory of consonance versus dissonance."</div><div style="text-align: justify;">"Timbre has a strong effect on perceived roughness or sensory dissonance. Research in the last several decades has clearly demonstrated the role of spec- trum in consonance judgments. Two chords may look the same on paper, but when they are played by different instruments, their sonic effect can be quite different."</div><div style="text-align: justify;">"Polytonality refers to the practice of mixing keys in tonal music, a practice that has been explored by composers such as Bartok, Debussy, Ives, Koechlin, and Milhaud, among others... we do not necessarily hear two simultaneous keys. In the music of Milhaud, for example, a second key tends to add a color of dissonance to another key. Most of Milhaud’s chamber work Machines agricoles (1919) is in three keys simultaneously, lending an absurd air to this satirical composition."</div><div style="text-align: justify;">Curtis Roads, Composing Electronic Music</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Chez Boulez, une analyse n’est pas jugée par sa qualité autonome d’effort intellectuel abstrait, mais elle est validée selon son potentiel de créativité compositionnelle. Si nous maintenons par analogie que la qualité d’une analyse se mesure à ses implications pour l’interprétation, la thèse boulézienne prend un aspect remarquable : joue-moi la musique et je jugerai de la qualité de ton analyse! Cette attitude relativise complètement l’analyse et la met au service de la composition et de l’interprétation. Par conséquent, outre la qualité intrinsèque de formalisation intellectuelle que possède traditionnellement l’analyse, celle-ci gagne une signification externe qui serait en réalité un critère expérimental: à partir de l’expérience compositionnelle ou interprétative, nous jugerons la qualité musicale de l’œuvre. C’est là une direction de pensée de la musique qui cherche à recouvrir le contenu de la réflexion intellectuelle à l’intérieur de la musique même. Une vraie preuve d’une réflexion musicale doit terminer par et dans la musique même."</div><div style="text-align: justify;">Guerino Mazzola (La vérité du beau dans la musique) </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"Debussy ;cedo detectou essa crise [que se instaurou no código da composição ocidental, o chamado 'sistema tonal']... não hesitou em lançar ouvidos a outros repertórios musicais não ocidentais que iriam arejar ainda mais sua intuição criadora. A participar daquele estado de coisas, Debussy preferiu, às vezes, como Mallarmé, o isolamento, a reflexão e a própria inatividade."<br />"Não fosse o entusiasmo de alguns pintores, poetas e escultores que faziam parte de um júri de 28 pessoas, o prêmio [Prix de Rome] lhe teria sido negado mais uma vez... Roma, porém, torna-se para Claude Debussymais um pesadelo do que uma boa oportunidade para trabalho e reflexão."</div><div>"Dando aula e acompanhando solistas, Debussy obtém recursos para manter um padrão de vida modesto, porém, independente — pessoal e artisticamente."</div><div>"No início da década de 1890, numa de suas andanças noturnas pelos becos de Montemartre, Debussy vai ao cabaré 'Chat Noir'e surpreende-se com a figura do pianista local: nada mais nada menos do que o precursor do impressionismo Erik Satie.... Aí nasce uma amizade que se tornaria a mais fiel e duradoura cultivada por esse homem de poucos amigos em sua existência — quase três décadas. Os detratores falavam num relacionamento homossexual entre ambos. Satie passava dias inteiros em casa de Debussy, compondo e usando o seu piano, pois, na espelunca onde morava em Arcueil, bairro pobre, distante 16km de Paris, de onde vinha a pé diariamente à cidade, nem sequer um instrumento existia."</div><div>"Satie chama a atenção de Debussy para a importância dos pintores impressionistas, apresentando-lhe vários deles, entre os quais Monet, Cézanne e Toulouse-Lautrec. O mesmo aconteceu em relação à poesia da época, o simbolismo, cujo auge se deu no início dos anos 90."</div><div>"[o uso do silêncio como climax dramático em Pelléas e Mélisande] é, sem dúvida, mais um dado que Debussy legou às futuras gerações, ou seja, o silêncio como elemento estrutural da composição (lebre-se do 'branco da página' no 'poema-estrutra' de Mallarmé 'Um lance de dados')."</div><div>"Magoado com a incompreensão e indiferença com que foram recebidas suas últimas obras, traumatizado com a queda de bombas alemãs sobre Paris e seminarcotizado pelos efeitos da morfina que era obrigado a tomar, a fim de poder suportar as dores causadas por sua enfermidade, Debussy viveu angustiadamente os últimos momentos de sua existência: 'Se a morta-viva, irmã de Roderick Usher, penetrasse em meu quarto eu não me surpreenderia e iniciaria com ela um sereno diálogo..."</div><div>Júlio Medaglia (Música Impopular)</div><div><br /></div><div>"Pode-se dizer que a poesia-música dos trovadores é uma descoberta moderna. As primeiras antologias de textos — a de Raynouard (1816-1821) e a de Bartsch (1868) — foram sendo lentamente seguidas de outras coletâneas e monografias, que prosseguem ao longo do nosso século. A dedicada por Lavaud a Peire Cardenal, por exemplo, é de 1957! Trabalho eruditos, e que talvez ficasse a eles confinado, se Ezra Pound não tivesse injetado vida e criatividade na 'questão provençal'com seus estudos descontraídos e suas traduções não ortodoxas — obra também pioneira, que começou a aparecer em 1909."</div><div>"Na introdução que escreveu para a partitura, Schoenberg frisa que a melodia correspondente à voz não deve ser cantada. A intérprete deve manter estritamente o ritmo, como se cantasse, mas não deve cantar as notas da melodia (assinaladas com uma cruz sobre a haste da nota): a voz deve dar a altura, mas abandoná-la imediatamente, subindo ou descendo... Em nenhum momento o compostior parece ter correlacionado o seu Sprechgesang — inovador, nos quadros da música ocidental — com práticas orientais semelhantes, como as que ocorrem, por exemplo, nas peças Nô japonesas, onde, no dizer de Pound, 'as palavras do texto são faladas ou semicantadas ou entoadas, com um acompanhamento adequado e tradicional de movimento e cor, parecendo, elas próprias, apenas meias-sombras."</div></div><div style="text-align: justify;">Augusto de Campos (Música de Invenção)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... what is being represented is not the outside world of nature, which Schopenhauer sees as Schein, mere illusion or appearance. Instead it is inner nature, the force of the Will itself, as a kind of life force, which, through the transfiguring power of music and the detached self-reflectivity which results, gives immediate access to the world of ideas behind the world of appeannce. This is a kind of pure knowledge, chancterised by aesthetic disinterestedness and detached from the blind force of the Will, a form of 'cognition without concepts'. But, Dahlhaus suggests,'this esthetic rescue of ideas is precarious and threatened: the realm of esthetics is a realm of appearance and even ideas sink to this realm if they are entrusted entirely to esthetic contemplation.' This extreme version of the theory of expression as immediate manifestation of the inner world of feelings lead, in fact, to the contemplation of pure form. That is to say, it leads paradoxically back to formalism and the theory of form. Thus we arrive at a point where the idea of pure expression, as put forward by Schopenhauer, becomes what is sometimes mistakenly regarded as its opposite: formalism."</div><div style="text-align: justify;">Max Paddison (Music as ideal) </div><div style="text-align: justify;">**************************************************************</div></div><div style="text-align: justify;"><div><br /></div></div><h4 style="text-align: left;">Tradition (but out of the common track): </h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"The <i>imagistes </i>admitted that they were contemporaries of the Post Impressionists and the Futurists; but they had nothing in common with these schools. They had not published a manifesto. They were not a revolutionary school; their only endeavor was to write in accordance with the best tradition, as they found it in the best writers of all time,—in Sappho, Catulus, Villon."</div><div style="text-align: justify;">Ezra Pound (Imagisme)</div><div style="text-align: justify;">"I came to London with £3 knowing no one... I wanted to meet certain men whose work I admired. I have done this... Besides knowing living artists I have come in touch with the tradition of the dead."</div><div style="text-align: justify;">"I was resolved that... I would know what part of poetry was 'indestructible,' what part could not be lost by translation, and,—scarcely less important what effects were obtainable in one language only and were utterly incapable of being translated. In this search I learned more or less of nine foreign languages, I read Oriental stuff in translations, I fought every University regulation and every professor who tried to make me learn anything except this, or who bothered me with 'requirements for degrees.'"</div><div style="text-align: justify;">Ezra Pound (How I Began)</div><div style="text-align: justify;">"... the classic culture of the Renaissance was grafted on to medieval culture, a process which is excellently illustrated by Andreas Divus Justinopolitanus's translation of the Odyssey into Latin... if we are to understand that part of our civilization which is the art of verse, we must begin at the root, and that root is medieval. The poetic art of Provence paved the way for the poetic art of Tuscany; and to this Dante bears sufficient witness in the <i>De Vulgari Eloquio</i>."</div><div style="text-align: justify;">Ezra Pound (Troubadours, their sorts and conditions)</div><div style="text-align: justify;">"I think that the artist should master all known forms and systems of metric, and I have with some persistence set about doing this, searching particularly into those periods wherein the systems came to birth or attained their maturity. It has been complained, with some justice, that I dump my note-books on the public. I think that only after a long struggle will poetry attain such a degree of development, or, if you will, modernity..."</div><div style="text-align: justify;">Ezra Pound (A Retrospect)</div><div style="text-align: justify;"><div>"The two great lyric traditions which most concern us are that of the Melic poets and that of Provence. From the first arose practically all the poetry of the 'ancient world', from the second practically all that of the modern. Doubtless there existed before either of these traditions a Babylonian and a Hittite tradition whereof knowledge is for the most part lost..."</div><div>"It is not intelligent to ignore the fact that both in Greece and in Provence the poetry attained its highest rhythmic and metrical brilliance at times when the arts of verse and music were most closely knit together." </div><div>Ezra Pound (The Tradition)</div><div>"... futurism, when it gets into art, is, for he most part, a descendant of impressionism. It is a sort of accelerated impressionism. There is another artistic descent via Picasso and Kandisnsky; via cubism and expressionism."</div><div>"China has produced just as many bad poets as England, just as many dull and plodding moralizers, just as many flaccid and over-ornate versifiers. By fairly general consent, their greatest poet is Rihaku or 'Li Po,' who flourished in the eighth century A.D. He was the head of the court office of poetry, and a great 'compiler.' But this last title must not mislead you. In China a 'compiler' is a very different person from a commentator. A compiler does not merely gather together, his chief honour consists in weeding out, and even in revising."</div><div>Ezra Pound (Chinese Poetry)</div><div><br /></div><div><h4 style="text-align: left;">Symbolism (among other related things: energy, form):</h4><div>"As Dante writes of the sunlight coming through the clouds from a hidden source and illuminating part of a field, long before the painters had depicted such effects of light and shade, so are later watchers on the alert for colour perceptions of a subtler sort, neither affirming them to be 'astral' or 'spiritual' nor denying the formulae of theosophy."</div><div>Ezra Pound (The Wisdom of Poetry)</div><div><div>"I do not mind the term inspiration, although it is in great disfavour with those who never experience the light of it..."</div><div>Ezra Pound (How I Began)</div><div><div>"... good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. You can be wholly precise in representing a vagueness. You can be wholly a liar i pretending that the particular vagueness was precise in its outline."</div><div><div>"This very faculty for amalgamation is a part of their [major poets] genius, and it is, in a way, a sort of modesty, a sort of unselfishness. They have not wished for property..."</div><div>"We might come to believe that the thing that matters in art is a sort of energy, something more or less like electricity or radioactivity, a force transfusing, welding, and unifying. A force rather like water when it spurts up through very bright sand and sets in swift motion."</div><div>Ezra Pound (The Serious Artist)</div><div>"I believe in... a rhythm, that is, in poetry which corresponds exactly to the emotion or shade of emotion to be expressed..."</div><div>"I believe that the proper and perfect symbol is the natural object..."</div><div>"I believe in trampling down of every convention that impedes or obscures..."</div><div><div>"I think there is a 'fluid' as well as a 'solid' content, that some poems may have form as a tree has form, some as water poured into a vase. That most symmetrical forms have certain uses. That a vast number of subjects cannot be precisely, and therefore not properly rendered in symmetrical forms."</div></div><div>"Eliot has said the thing very well when he said, 'No vers is libre for the man who wants to do a good job.'"</div><div>Ezra Pound (A Retrospect)</div><div>"A painter must know much more about a sunset than a writer, if he is to put it on canvas. But when the poet speaks of 'Dawn in russet mantle clad,'he presents something which the painter cannot present."</div><div>"... one does not want to be called a symbolist, because symbolism has usually been associated with mushy technique."</div><div>"All poetic language is the language of exploration. Since the beginning of bad writing, writers have used images as ornaments. The point of Imagisme is that it does not use images as ornaments."</div><div>"Once I saw a small child go to an electric light switch and say 'Mamma, can I open the light?' She was using the age-old language of exploration, the language of art. It was a sort of metaphor, but she was not using it as ornamentation."</div><div>Ezra Pound (Vorticism)</div><div><div>"Whistler said somewhere in the <i>Gentle Art</i>: "The picture is interesting not because it is Trotty Veg, but because it is an arrangement in colour.' The minute you have admitted that, you let in the jungle, you let in nature and truth and abundance and cubism and Kandinsky, and the lot of us. Whistler and Kandinsky and some cubists were set to getting extraneous matter out of their art; they were ousting literary values."</div><div>"An image, in our sense, is real because we know it directly. If it have an age-old traditional meaning this may serve as proof to the professional student of symbology that we have stood in the deathless light, or that we have walked in some particular arbour of his traditional paradiso, but that is not our affair."</div><div><div>"The image is the poet's pigment; with that in mind you can go ahead and apply Kandinsky, you can transpose his chapter on the language of form and colour and apply it to the writing of verse."</div><div>"Vorticism is an intensive art. I mean by this, that one is concerned with the relative intensity, or relative significance of different sorts of expression."</div><div>Ezra Pound (Vorticism)</div></div><div>"The vorticist maintains that the 'organising' or creative-inventive faculty is the thing that matters." </div><div>Ezra Pound (Affirmations)</div></div><div>"A true noun, an isolated thing, does not exist in nature. Things are only the terminal points, or rather the meeting points, of actions, cross-sections cut through actions, snap-shots. Neither can a pure verb, an abstract motion, be possible in nature."</div><div>"And though we may string ever so many clauses into a single compound sentence, motion leaks everywhere, like electricity from an exposed wire."</div><div>"All truth has to be expressed in sentences because all truth is the transference of power. The type of sentence in nature is a flash of lightning. It passes between two terms, a cloud and the earth. No unit of natural process can be less than this. All natural processes are, in their units, as much as this. Light, heat, gravity, chemical affinity, human will, have this in common, that they redistribute force."</div><div>"... all apparently negative or disruptive movements bring into play other positive forces. It requires great effort to annihilate... in Chinese the sign meaning 'to be lost in the forst' relates to a state of non-existence... There is in reality no such verb as a pure copula, no such original conception: our very word exist means 'to stand forth, to show oneself by a definite act.'"</div><div>"Metaphor, the chief device of poetry, is at once the substance of nature and of language."</div><div>"Only scholars and poets feel painfully back along the thread of our etymologies and piece together our diction, as best they may, from forgotten fragments. This anaemia of modern speech is only too well encouraged by the feeble cohesive force of our phonetic symbols. There is little or nothing in a phonetic word to exhibit the embryonic stages of its growth. It does not bear its metaphor on its face. We forget that personality once meant, not the soul, but the soul's mask."</div><div>Ezra Pound (Chinese Character as a Medium for Poetry)</div><div><br /></div><h4>Technique: </h4><div><div>["few rules": "direct treatment of the thing, whether subjective or objective"; "to use absolutely no word that did not contribute to the presentation"; "as regarding rhythm, to compose in sequence of the musical phrase, not in sequence of a metronome";]</div><div>Ezra Pound (Imagisme)</div></div><div>"Indeed <i>vers libre </i>has become as prolix and as verbose as any of the flaccid varieties that preceded it. It has brought faults of its own. The actual language and phrasing is often as bad as that of our elders without even the excuse that the words are shovelled in to fill a metric pattern or to complete the noise of a rhyme-sound."</div><div>"Let the candidate fill his mind with the finest cadences he can discover, preferably in aforeign language, so that the meaning of the words may be less likely to divert his attention from the movement... Let the neophyte know assonance and alliteration, rhyme immediate and delayed, simple and polyphonic, as a musician would expect to know harmony and counterpoint..."</div><div>"The term harmony is misapplied in poetry; it refers to simultaneous sounds of different pitch. There is, however, in the best verse a sort of residue of sound which remains in the ear of the hearer and acts more or less as an organ-base."</div><div>"Translation is likewise good training, if you find that your original matter 'wobbles' when you try to rewrite it. The meaning of the poem to be translated can not 'wobble'. If you are using a symmetrical form, don't put in what you want to say and then fill up the remaining vacuums with slush."</div><div><br /></div></div></div></div></div></div><h4 style="text-align: left;">Prose: </h4><div style="text-align: justify;">"It is the almost constant labour of the prose artist to translate this latter kind of clarity into the former; to say 'Send me the kind of Rembrandt I like' in the terms of 'Send me four pounds of ten-penny nails.'"</div><div style="text-align: justify;">Ezra Pound (The Serious Artist)</div><div style="text-align: justify;">"Flaubert and De Maupassant lifted prose to the rank of a finer art, and one has no patience with contemporary poets who escape from all the difficulties of the infinitely difficult art of good prose by pouring themselves into loose verses."</div><div style="text-align: justify;">Ezra Pound (Vorticism) </div><div style="text-align: justify;">"To begin with matters lying outside dispute I should say that Joyce has taken up the art of writing where Flaubert left it. In Dubliners and The Portrait he had not exceeded the Trois Contes or L'Education; in Ulysses he has carried on a process begun in Bouvard et Pécuchet; he has brought it to a degree of greater efficiency, of greater compactness; he has swallowed the Tentation of St. Antoine whole, it serves as comparions for single episode in Ulysses."</div><div style="text-align: justify;">"Joyce's characters not only speak their own language, but they think their own language."</div><div style="text-align: justify;">"Rabelais himself rests, he remains, he is too solid to be diminished by any pursuer; he was a rock against the follies of his age; against ecclesiastic theology, and more remarkably against the blind idolatry of the classics just coming into fashion. He refused the lot, lock, stock, and barrel, with a greater heave than Joyce has yet exhibited; but I can think of no other prose author whose proportional status in pan-literature is not modified by the advent of Ulysses."</div><div style="text-align: justify;">Ezra Pound (Paris Letter)</div><div style="text-align: justify;">- everything from Ezra Pound, <i>Early Writings </i>(Penguin, 2005);<i> </i></div><div>**************************************************************</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Le cauchemar des doctrines matérialistes, qui a fait de la vie de l'univers un jeu stupide et vain, n'est pas encore dissipé. Revenant à soi, l'âme reste oppressée. Seule une faible lumière vacille... Notre âme a une fêlure et sonne... l'âme émerge, affinée par la lutte et la douleur. Des sentiments plus grossiers tels qe la peur, la joie, la tristesse, qui auraient pu durant la période de la tentation servir de contenu à l'art, n'attireront guère l'artiste. Il s'efforcera d'éveiller des sentiments plus fins, qui n'ont pas de nom. Lui-même vit une existence complexe, relativement raffinée et l'oeuvre qui aura jailli de lui provoquera, chez le spectateur qui en est capable, des émotions plus délicates qui ne peuvent s'exprimer par nos mots..." </div><div style="text-align: justify;">"... l'ambience [Stimmung] de l'oeuvre peut encore renforcer l'ambience intérieur du spectateur et la sublimer. En tout cas de telles oeuvres contribuent à défendre l' âme contre tout alourdissement..."</div><div style="text-align: justify;">"Les connaisseurs admirent la patte (comme on admire un danseur de corde) et apprécient la 'peinture' (comme on apprécie un pâté)... dispersion inutile des forces de l'artiste... L'artiste recherche le salaire de son habilité, de sa puissance inventive et de sa sensibilité sous forme matérielle. Son but devient de satisfaire son ambition et sa cupidité. Ao lieu d'une collaboration approfondie, c'est une concurrence pour la conquête de ces biens que l'on voit naître entre les artistes."</div><div style="text-align: justify;">"Cet art, qui ne renferme en soi-même aucun potentiel d'avenir et n'est ainsi que l'enfant de son époque, n'engendrera jamais le futur: c'est un art castré... L'autre art, susceptible d'autres développements, prend également racine dans son époque spirituelle, mais n'en est pas seulement le miroir et l'écho; bien au contraire, il possède une force d'éveil prophétique qui peut avoir une profonde influence."</div><div style="text-align: justify;">"Il n'y a parfois à l'extrême pointe du Triangle qu'une homme seul... Et ceux qui sont les plus proches de lui ne le comprennent pas. Dans leur désarroi, ils le traitent d'imposteur et de dément. Ainsi en son temps Beethoven solitaire fut-il en butte à leurs outrages. Weber, l'auteur du Freischütz, disait de la VIIe Symphonie: 'Les extravagances de ce génie ont maintenant atteint le nec plus ultra; Beethoven est maintenant mûr pour l'asile de fous.'" </div><div style="text-align: justify;">"Dans toutes les sections Triangle on peut trouver de artistes. Celui d'entre eux qui est capable de voir par-delà les limites de sa section est un prophète pour son entourage et aide au mouvement du chariot récalcitrant. Mais qu'il n'ait pas cette vision perçante, ou qu'il en mésuse pour des motifs bas, ou qu'il n'en use pas, et il sera parfaitement compris de ses semblables et sera fêté. Plus la section est grande (et donc plus elle est située bas), plus la foule sera grande de ceux qui comprendront ses paroles."</div><div style="text-align: justify;">"... il arrive trop souvent que ce pain [qui convient à des sections plus grandes et situées plus bas dans l'hiérarchie du Triangle] devienne la nourriture d'hommes qui appartiennent déjà à une section plus élevée. Pour eux, ce pain devient alors un poison: à petites doses il fait progressivement glisser l'âme d'une section élevée dans une autre plus basse; à haute dose, il provoque une chute brutale, vers des sections de plus en plus basses."</div><div style="text-align: justify;">"Dans ces époques muettes et aveugles, les hommes attachent une valeur spéciale et exclusive aux succès extérieurs, ne se préoccupent que de biens matériels et saluent tout progrès technique qui ne sert et ne peut servir qu'au corps comme une grande réussite. Les forces purement spirituelles sont sous-estimées, sinon totalement ignorées. Isolés, les affamés et ceux qui voient sont moqués ou considérés comme anormaux."</div><div style="text-align: justify;">"Par ces livres, ils suppriment les barrières que l'art a déjà franchies depuis longtemps et en dressent de nouvelles qui seront, elles, immuablement fixées pour tous les temps... L'esprit qui conduit vers le royaume de Demain ne peut être reconnu que par la sensibilité (le talent de l'artiste étant ici la voie). La théorie est la lanterne éclairant les formes cristallisées de l'hier et de ce qui précédait l'hier."</div><div style="text-align: justify;">"Maeterlinck nous entraîne dans un monde que l'on appelle fantastique, mais que l'on dirait plus justement surnaturel. Sa princesse Maleine, les Sept Princesses, Les Aveugles, etc., ne sont pas des hommes de temps révolus, comme le sont à nos yeux les héros stylisés de Shakespeare. Ce sont vraiment des âmes qui cherchent dans le brouillard, que le brouillard menace d'étouffer et sur lesquelles plane une sombre et invisible puissance... Parmi ces visionnaires de la déchéance se range en première ligne Alfred Kubin. Une force irrésistible nous attire dans l'horrible atmosphère du vide dur. Cette violence se dégage des dessins de Kubin comme elle s' étale dans son roman <i>L'autre côté</i>."</div><div style="text-align: justify;">"La grande ressource de Maeterlinck est le mot. Le mot est une résonance intérieure... il se forme dans la tête de l'auditeur une représentation abstraite, un objet dématérialisé qui éveille immédiatement dans le 'coeur' une vibration. Ainsi l'arbre vert, jaune, rouge dans la prairie n'est qu'un cas matériel, une forme matérialisée fortuite de l'arbre que nous ressentons au son du mot, arbre. L'emploi habile (selon l'intuition du poète) d'un mot, la répétition intérieurement nécessaire d'un mot, deux fois, trois fois, plusieurs fois rapprochées, peuvent aboutir non seulement à une amplification de la résonance intérieur, mais aussi à faire apparaître certaines capacités spirituelles insoupçonnées de ce mot."</div><div style="text-align: justify;">"De même se perd parfois le sens devenu abstrait de l'objet désigné et seul subsiste, dénudé, le son du mot. Inconsciemment nous entendons peut-être ce son 'pur' en consonance avec l'objet, réel ou ultérieurement devenu abstrait. Dans ce dernier cas cependant, ce son pur passe au premier plan et exerce une pression directe sur l'âme. L'âme en vient à une vibration sans objet encore plus complexe, je dirais presque plus 'surnaturelle' que l'émotion ressentie par l'âme à l'audition d'une cloche, d'une corde pincée, de la chute d'une planche, etc."</div><div style="text-align: justify;">"R. Wagner a fait quelque chose de semblable en musique. Son célèbre leitmotiv tend également à caractériser le héros, non pas seulement au moyen d'accessoires de théâtre, de fards ou d'effets de lumière, mais par un certain motif précis, c'est-à-dire par un procédé purement musical... Les musiciens les plus modernes, comme Debussy, reproduisent des impressions spirituelles qu'ils empruntent souvent à la nature et transforment en images spirituelles sous une forme purement musicale" [plus loin: "La musique russe (Mussorgsky) a exercé une grande influence sur Debussy. Il n'y a donc rien de surprenant à ce qu'il ait une certaine parenté avec les jeunes compositeurs russes, en particulier avec Scriabine"; "La musique de Schönberg nous introduit à un Royaume où les émotions musicales ne sont pas acoustiques mais purement spirituelles. Ici commence 'la musique de l'avenir'"];</div><div style="text-align: justify;">"... le désir de limiter l'ensemble de ses moyens d' expression en lui ôtant les procédés 'réalistes' serait illogique et répugnerait à une âme libre. Toute limitation n'est dictée que par le temps, par l'intermédiaire d'une nécessité intérieure et par conséquent, toute limitation ne peut être que provisoire... Mais quand le nouveau 'réalisme' transformé, et par de nouveaux procédés et par un point de vue qui nous échappe encore, connaîtra son épanouissement et donnera ses fruits, alors peut-être résonnera un accord (abstrait-réel) qui sera une nouvelle révélation céleste."</div><div style="text-align: justify;"><div>"Segantini prit des formes parfaites de la nature, les travaillant parfois jusqu'au plus infime détail (par exemples des chaînes de montagnes, ainsi que des pierres et des animaux), et parvint toujours, malgré la forme visiblement matérielle, à créer des images abstraites, ce qui fait peut-être de lui le plus immatériel de tous."</div><div>"D'une manière different, plus proche des moyens purement picturaux, Cézanne cherchait également la nouvelle loi de la forme. Il savait faire d'une tasse à thé une créature douée d'une âme, ou plus exactement reconnaître dans cette tasse un être. Il élève la 'nature morte' à un niveau tel que les objets extérieurement 'morts' deviennent intérieurement vivants. Il traite ces objets de la même façon que l'homme, car il avait le don d e voir partout la vie intérieure."</div><div>"Matisse peint des 'images' et dans ces 'images, il cherche à rendre le 'divin'."</div><div>"Dans ces dernières oeuvres (1911), Picasso aboutit par la voie de la logique à la destruction de ce qui est matériel, non par dissolution, mais par une sorte de morcellement des divers éléments constitutifs et la dispersion constructive de ces pièces sur la toile. Ce faisant, il semble, chose étonnante, vouloir garder l'apparence du matériel."</div></div><div style="text-align: justify;">- everything from Kandinsky, Du Spirituel dans l'art (traduction Nicole Debrand et Bernadette du Crest; Denöel, 2004);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien)<span face="Calibri, sans-serif">:</span></div><div><span face="Calibri, sans-serif">"</span>Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from <a href="https://www.britannica.com/art/mode-music" target="_blank">"Mode," entry in Brittanica, by Mieczyslaw Kolinski</a>);</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">See also: </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/12/concretos-brazilian-inteligentsia.html">Concretos &/ou Brazilian Inteligentsia</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2021/01/cartografia-de-agua-viva-lista-de.html">Cartografia de Água-Viva</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/12/modern-literature-and-esotericism.html">Modern Literature & esotericism</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/07/ecritureviolence-it-is-important-to.html">Écriture/Violence (Blanchot, Artaud)</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2021/09/ibere-self-taught-painter-aprendi-num.html">Iberê Camargo: self-taught painter</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/03/blog-post_2.html">list of painters and other visual artists</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">liste des déclencheurs musicaux</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/02/eletronic-high-or-middle-culture.html">High or Middle Culture? </a></div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/12/piano-playing-kochevitsky.html">Piano Playing (Kochevitsky)</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/12/elements-of-musical-language-by-bruno.html">Elements of Musical Language (by Bruno Kiefer)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/09/defi-du-non-circuncis-le-petit-fils.html">défi du non-circoncis</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">list the figures du chaos</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2014/10/sarebbe-la-definizzione-piu-giusta-del.html">Umberto Eco about Nietzsche</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html">actual infinite falling (chaosmos Collapse)</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html">two sentences and the dogma of semantic uniformity</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html">the odd transformation of Der Herr Warum</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html">the only three types of ingenuity</a>; </div><div style="text-align: justify;">And also: </div><div style="text-align: justify;">- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900">Interactive while indifferent—Kinds &amp; Phantasmagoria circa 1900</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/49515563/Da_Ursa_à_Ursa_Maior_Perspectivismo_e_Analogismo_na_Literatura_Brasileira">Da Ursa à Ursa Maior: Perspectivismo e Analogismo na Literatura Brasileira</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/45544937/Clarice_Lispector_e_a_Tradi%C3%A7%C3%A3o_do_Romance_de_Vanguarda_Contrapontos">Clarice Lispector e a Tradição do Romance de Vanguarda: Contrapontos</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/34378952/A_STRATEGY_FOR_WRITING_CONTRACTING_CONTEMPLATION_IN_BUDAPESTE_AND_LEITE_DERRAMADO">A Stragegy for Writting: Contracting Contemplation in Budapeste and Leite Derramado</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/48911059/A_Ipupiara_e_Além_Pela_Volta_de_um_Humanismo_Monstruoso_na_Academia">A Ipupiara e além: pela volta de um humanismo monstruoso na academia</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/5845027/A_Tese_da_Primazia_da_Metáfora_Defesa_e_Problematização_Um_Estudo_a_partir_de_Vico">A Tese da Primazia da Metáfora, Defesa e Problematização: Um Estudo a partir de Vico</a>;</div><div style="text-align: justify;">- <a href="https://www.redalyc.org/articulo.oa?id=27904006">La creatividad en las matemáticas y en las artes plásticas: conceptografia (Fernando Zalamea)</a>: </div><div style="text-align: justify;">- <a href="https://www.academia.edu/4818961/Helmholtz_Riemann_and_the_Sirens">"Helmholtz, Riemann, and the Sirens" (Peter Pesic)</a>; </div><div style="text-align: justify;">- <a href="https://homepage.ntu.edu.tw/~karchung/phonetics%20II%20page%20eight.htm">"Fundamental Frequency and Harmonics" (Karen Steffen Chung/National Taiwan University)</a>;</div><div style="text-align: justify;">- <a href="http://earslap.com/article/combination-tones-and-the-nonlinearities-of-the-human-ear.html">"Combination Tones and the Non-Linearities of the Human Ear" (Batuhan Bozkurt/Earslap)</a>; </div><div style="text-align: justify;">- <a href="https://www.cairn.info/revue-etudes-germaniques-2012-2-page-285.htm">"Subjectivité lyrique et chanson populaire: Archiloque et le genre iambique de Friedrich Schlegel à Friedrich Nietzsche" (Christophe Corbier)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/44966020/Nietzsche_and_la_rythmique_grecque_Une_approche_philologique_and_anthropologique">"Nietzsche & la rythmique grecque. Une approche philologique & anthropologique" (Carlotta Santini)</a>; </div><div style="text-align: justify;">- <a href="https://www.researchgate.net/publication/330813084_Musica_e_experiencia_estetica_em_Nietzsche">"Musica e Experiência Estética em Nietzsche" (Anna Hartmann Cavalcanti)</a>; </div><div style="text-align: justify;">- <a href="https://edisciplinas.usp.br/pluginfile.php/244662/mod_resource/content/1/Hibridismo%20em%20Villa%20%28Coelho%20de%20Souza%2C%202010%29.pdf">"Hibridismo, Consistência e Processos de Significação na Música Modernista de Villa-Lobos" (Rodolfo Coelho de Souza)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/42019386/A_Evolução_das_Concepções_de_Tonalidade_e_Atonalidade_na_Obra_de_Villa_Lobos">"A Evolução das Concepções de Tonalidade e Atonalidade na Obra de Villa-Lobos" (Rodolfo Coelho de Souza)</a>; </div><div style="text-align: justify;">- <a href="https://www.anppom.com.br/revista/index.php/opus/article/view/opus2018b2402">"Som-silêncio em Concretion 1960, de Hans-Joachim Koellreutter" (Luigi Antonio Irlandini, Revista Eletrônica da ANPPOM)</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/40640114/Aspetti_del_linguaggio_armonico_di_Aleksandr_Skrjabin._Sguardo_alla_produzione_pianistica">"Aspetti del linguaggio armonico di Aleksandr Skrjabin: Sguardo alla produzione pianistica" (Luigi Verdi, </a><a href="https://www.academia.edu/40640114/Aspetti_del_linguaggio_armonico_di_Aleksandr_Skrjabin._Sguardo_alla_produzione_pianistica">Diastema Diastema: Rivista di cultura e informazione musicale)</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/40685124/Kandinskij_e_la_musica">"Kandinskij e la musica" (Luigi Verdi, Civiltà musicale)</a>;</div><div style="text-align: justify;">- <a href="http://dx.doi.org/10.17613/gpne-bk73">"</a><a href="http://dx.doi.org/10.17613/gpne-bk73">Schoenberg and the Occult: Some Reflections on the Musical Idea" (John Covach, Theory and Practice)</a>; </div><div style="text-align: justify;">- <a href="https://warwick.ac.uk/fac/soc/philosophy/news/calendar/lydia_goer_postgraduate/jstor_terms_and_conditions.pdf">"On Some Relations between Music and Painting" (Theodor Adorno, Susan Gillespie's translation)</a>;</div><div style="text-align: justify;">- <a href="https://dro.dur.ac.uk/5218/" style="text-align: left;" target="_blank">"Stravinsky as devil: Adorno's three critiques" (Max Paddison)</a><span style="text-align: left;">;</span></div><div style="text-align: justify;"><span style="text-align: left;">- <a href="https://dro.dur.ac.uk/390/" target="_blank">"Music as ideal: the aesthetics of authonomy" (Max Paddison)</a>; </span></div><div style="text-align: justify;">- <a href="http://www.claussteffenmahnkopf.de/wp-content/uploads/2021/08/Mahnkopf-Vers-une-musique-figurelle.pdf">"Vers une musique figurelle?" (Claus-Steffen Mahnkopf, traduit par Carlo Russi, Contrechamps 8)</a>; </div><div style="text-align: justify;">- <a href="http://www.claussteffenmahnkopf.de/wp-content/uploads/2021/08/Mahnkopf-Das-Generationsproblem-der-Neuen-Musik.pdf">"Das Generationsproblem der Neuen Musik" (Claus-Steffen Mahnkopf, Die Humanität der Musik)</a>; </div><div style="text-align: justify;">- <a href="https://dmitri.mycpanel.princeton.edu/files/publications/mazzola.pdf" target="_blank">"Mazzola's Counterpoint Theory" (Dmitri Tymoczko, Princeton University)</a>; </div><div style="text-align: justify;">- <a href="https://doi.org/10.18061/emr.v16i2.7357"></a><a href="https://doi.org/10.18061/emr.v16i2.7357">"The Sticky Riff: Quantifying the Melodic Identities of Medieval Modes" (Kate Helsen, Mark Daley, Jake Schindler, Empirical Musicology Review 2021)</a>;</div></div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-6713049104505008122021-10-28T21:15:00.064-07:002023-09-24T17:47:24.721-07:00Kitsch, Neo-Kitsch, Antikitsch &/or (to say in that soft and irresistible piano of a voice) "showbiz is not a friendly place"<div class="separator" style="clear: both; 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text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Ah4EjGYEKO8" width="320" youtube-src-id="Ah4EjGYEKO8"></iframe></div><br /><div><br /></div><div><div style="text-align: justify;">Friendly Mussolini, Friendly Hitler, Friendly Stalin, Friendly Zuckerberg, R.I.P. Charlie Watts & The End of Brazilian Joker &/or Brazilian Political Circus, all in (Brazilian) Agro-Rural-Pop Constructivism;</div><div style="text-align: justify;">AZ in between Elke Maravilha & Young Aleister Crowley, Felix the Cat (singing Atomic & at Chelsea Hotel), I wanna be ur dog: retrato de D. João IV, Infante (Pedro Américo), Damné with Devil's Shadow, AZ & Lupcínio: Long-Hair Sofacouch Digitalstrayers with a mandragora, Marlene Dietrich, Gary Cooper & Lupcínio, several Brazilian musicians in Telma-Eu-Não-Suguei's Version;</div><div style="text-align: justify;">The Thirteenth Dose, Friendly Bolsonaro in Furs (agro-rural-pop constructivism), Apple of Sodom, We Will be Heroes (Telma-eu-não-suguei's version) &/or Moment of Truth plus Pepi's Revenge;</div><div style="text-align: justify;">Lygia Pape, Youth Nietzsche & A Fact is a Fact (not an opinion), by Brazilian Media Strenuous Superstar, Gallous Agro-Rural-Pop Brazilian-Chinese Humour Constructivism with Brazilian Jeanne d'Arc, another appropriated A.C.'s poem & Cristina Pereira in Abstract Hell, Abaporu in Telma-Eu-Não-Suguei's version, Kurdt Coebane's Kurdt Alone Ornamented (original picture from Brett Morgen's Montage of Heck, 2015) plus transcriated quotations from Nelson Leirner, Agusto de Campus Blonde, Keith Haring's three eyed smiling face (upon a button Homage to Fontana), Arnold Schönberg's Blue Self Portrait in Brazilian Telma-Eu-Não-Suguei's Version PLUS Updates on People of Mystic Extraction: Jacob Böhme & Paracelsus with a mohawk, cool Swedenborg with AZ & Lupcínio, Júpiter Maçã;</div><div style="text-align: justify;">AZ & Lupcínio with mysterious smiles in the World of Nina, winged Thomas Haustein, goddess Grace Jones & long horn Johnny Five;</div></div><div style="text-align: justify;">For more info on these collages, see <a href="https://www.instagram.com/alessandro_zir/" target="_blank">my Instagram</a>; </div><div style="text-align: justify;">Other successes & miscarriages (not mine): </div><div style="text-align: justify;">Gilbert Simondon Interview (1965/Youtube); </div><div style="text-align: justify;">Documentary about Louis-Ferdinand Céline (Carlo Ventimiglia/Youtube); </div><div style="text-align: justify;">Louis-Ferdinand Céline, au fond de la nuit (France Culture/Youtube, 2019); </div><div><div style="text-align: justify;">Raymond Roussel, Une vie une oeuvre (with Annie Lebrun, Jean-Jacques Pauvert, by Françoise Estèbe, Jean-Claude Loiseau/France Culture, 2013); </div><div style="text-align: justify;">Ursula Reuter Christiansen on Joseph Beuys as a teacher (Tine Colstrup/Youtube 2020); </div></div><div style="text-align: justify;">Joseph Beuys meet Andy Warhol (Dusseldorf 1979/KunstSpektrum Youtube); </div><div style="text-align: justify;">Pink Floyd's Corporal Clegg (Youtube); </div><div style="text-align: justify;">Radiohead's Paranoid Android (Youtube); </div><div style="text-align: justify;">Tommy Cash's Euroz Dollaz Yeniz (Youtube); </div><div style="text-align: justify;">George Antheil's Violin Sonata n. 2 (Vahid Khadem-Missagh and Gottlieb Wallisch, 2015,Youtube); </div><div>Exorcismo Negro (José Mojica Marins, 1974); </div><div>Sex Pistols in Brazil (The Great Rock 'n' Roll Swindle/Julien Temple, 1980); </div><div>Smithereens (Susan Seidelman, 1982); </div><div>Anyone can Become Dada (Alphabet of German Dadaism/Helmut Herbst, 1969); </div><div>Andy Warhol (from Blank Generation/Ulli Lommel, 1980);</div><div>The following three are also mine, for more info <a href="https://www.juststructontologin.com/video.html" target="_blank">see here</a>; </div><div>The Golden Age of Grotesque (Marilyn Manson's song, 2003); </div><div>Maysa fala de Dolores Duran (Youtube); </div><div>My Dream with Johnny;</div><div>O (Des)contrutor/a/z; </div><div><br /></div><div style="text-align: justify;">**************************************************************</div><h4 style="text-align: left;">Foundation: </h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... the function of art is to strengthen the perceptive faculties and free them from encumbrance, such encumbrances, for instance, as set moods, set ideas, conventions; from the results of experience which is common but unnecessary, experience induced by the stupidity of the experiencer..."</div><div style="text-align: justify;">"... language, the medium of thought's preservation, is constantly wearing out. It has been the function of poets to new-mint the speech, to supply the vigorous terms for prose."</div><div style="text-align: justify;">Ezra Pound ("The Wisdom of Poetry")</div><div style="text-align: justify;">"When I find people ridiculing the new arts, or making fun of the clumsy odd terms we use in trying to talk of them amongst ourselves; when they laugh at our talking about the 'ice-block quality' in Picasso, I think it is only because they do not know what thought is like, and that they are familiar only with argument and gibe and opinion. That is to say, they can only enjoy what they have been brought up to consider enjoyable, or what some essayist has talked about in mellifluous phrases. They think only 'the shells of thought,' as De Gourmont calls them; the thoughts that have been already thought out by others."</div><div style="text-align: justify;">Ezra Pound ("Vorticism")</div><div style="text-align: justify;">"... good art can NOT be immoral..."</div><div style="text-align: justify;">Ezra Pound ("The Serious Artist")</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Começarei protestando contra a confusão que se faz entre a seriedade do espírito humano e, por exemplo, a sisudez de uma sessão acadêmica, com suas ratazanas fardadas e a coleção de suas carecas de louça. Ao contrário disso, nada mais sério que a blague de Voltaire ou de Ilyia Ehrenburg, a fantasia de Joyce o suspeito moralismo de Proust... O sarcasmo, a cólera e até o distúrbio são necessidades de ação e dignas operações de limpeza, principalmente nas eras de caos, quando a vasa sobe, a subliteratura trona e os poderes infernais se apossam do mundo em clamor."</div><div style="text-align: justify;">"Que houve, para que tudo isso acontecesse e se despejasse sobre a cabeça desavisada dos que, como eu, nasceram cinquenta anos atrás, numa capital de cônegos e de sinos da América paulista?"</div><div style="text-align: justify;">Oswald de Andrade (Meu Testamento)</div><div><div style="text-align: left;"><div style="text-align: justify;">"For Adorno, the false consciousness of Stravinsky's music is its truth, in that it tells us how the world is, while at the same time urbanely convincing us that this is the only way it can be. It is, of course, only when he lies that the devil tells the truth — something that could be seen to apply as well to Adorno as to Stravinsky. For as Adorno said of psychoanalysis, 'nothing is true except the exaggerations.'"</div></div><div>Max Paddison (Stravinsky as devil: Adorno's three critiques)</div><div><br /></div><div style="text-align: justify;">"Les normes mêmes de la démonologie non seulement décrivent l'existence d'un point de vue différent de celui de la croyance en général; elles forment de surcroît une méthode, telle qu'elle est conçue à l'origine par les néo-platoniciens, en dernier lieu par l'herméneutique scolastique — prônant une traduction spectaculaire des puissances avec lesquelles on compose — en fin de compte analysant jusqu'aux procédures de la pensée même —, et qui concourt, contre toute 'pathogénie' critique, à figurer plutôt une 'pathophanie': soit à considérer en nous l'insidieuse présence des esprits, mais aussi toute façon de penser et de sentir comme une expression indissociable de leur dissimulation. De là vient, dirai-je à la suite de Varron, le caractère théâtrique de la théologie, dont le théâtre occidental, strindbergien et shakespearien, à son tour dérive indirectement."</div>Pierre Klossowski (entretiens avec Jean-Maurice Monnoyer)</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"... il arrive trop souvent que ce pain [qui convient à des sections plus grandes et situées plus bas dans l'hiérarchie du Triangle] devienne la nourriture d'hommes qui appartiennent déjà à une section plus élevée. Pour eux, ce pain devient alors un poison: à petites doses il fait progressivement glisser l'âme d'une section élevée dans une autre plus basse; à haute dose, il provoque une chute brutale, vers des sections de plus en plus basses." </div><div style="text-align: justify;">"Dans ces époques muettes et aveugles, les hommes attachent une valeur spéciale et exclusive aux succès extérieurs, ne se préoccupent que de biens matériels et saluent tout progrès technique qui ne sert et ne peut servir qu'au corps comme une grande réussite. Les forces purement spirituelles sont sous-estimées, sinon totalement ignorées. Isolés, les affamés et ceux qui voient sont moqués ou considérés comme anormaux. Cependant quelques rares âmes, qui ne peuvent être endormies et qui éprouvent un besoin obscur de vie spirituelle, de savoir et de progrès, gémissent, inconsolées et plaintives, dans le coeur des appétits grossiers. La nuit spirituelle s'épaissit de plus en plus, Autour de telles âmes effrayées, tout devient de plus en plus gris et ceux à qui elles appartiennent, de peur ou de désespoir, torturés et épuisés, préfèrent souvent la chute brutale et soudaine dans le noir à ce lent obscurcissement."</div><div style="text-align: justify;">"L'art qui, en de telles périodes, a une vie diminuée n'est utilisé qu'à des fins matérielles. Il va chercher sa substance dans la matière grossière, ne connaissant pas la plus fine. Les objets, dont la reproduction semble son seul but, restent immuablement les mêmes. Eo ipso la question 'quoi' disparaît dans l'art. Seule subsiste la question 'comment' l'objet corporel pourra être rendu par l'artiste. Elle devient le credo. Cet art n'a pas d'âme."</div><div style="text-align: justify;">"... l'artiste, dans ces périodes, n'a pas besoin de dire grand-chose et un simple 'autrement' le fait remarquer et apprécier de certains petits cercles de mécènes et de connaisseurs, qui le prônent (ce qui n'exclut pas des avantages matériels parfois fort importants)... Chaque 'centre d'art' voit vivre des milliers et de milliers d'artistes de ce genre dont la plupart ne cherchent qu'une nouvelle manière et fabriquent sans enthousiasme, le coeur froid et l'âme endormie, des millions d'oeuvres d'art. La 'concurrence' se fait plus vive. La chasse au succès rend la recherche toujours plus superficielle. De petits groupes, qui ont, par hasard, réussi à s'écarter de ce chaos d'artistes et d'images, se retranchant sur les positions conquises."</div><div style="text-align: justify;">Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)</div><div><br /></div><div><div style="text-align: justify;">"Cash makes the world go round<br />Cash makes yo girl get down...</div><div style="text-align: justify;">You be my slave and I'll be your master<br />This is my time, I'm your favourite rapper...</div><div style="text-align: justify;">I wish my girls were all icy</div><span style="text-align: justify;">Clothes I wear so damn pricey"</span><br style="text-align: justify;" /><div style="text-align: justify;">Tommy Cash</div></div><div style="text-align: justify;">"Le capitaliste ne veut pas paraître sous le jour ou Sade le décrit. Pour ce dernier, du reste, les institutions ne peuvent qu'être aux mains des scélérats ou des coquins, puisqu'ils profitent des normes pour favoriser leurs anomalies. Quoique se plaçant d'abord dans un cadre encore féodal, j'ai montré que Sade assigne au numéraire un rôle corrupteur: d'évaluation du sujet vivant. La vénalité perverse s'oppose à la somptuosité généreuse, à la dépense fondée encore sur le don. On ne pourrait dire, cela admis, qu'il donne une prophétie de l'exploitation rationnelle, comme le pensaient schématiquement Adorno ou Roger Vailland. Les sociétés clandestines qu'imagine Sade au moment du Directoire — une floraison de plantes vénéneuses —, créées pour la satisfaction des anomalies, créent aussi leur propre 'norme', telle une règle conventuelle."</div><div style="text-align: justify;">"J'ai voulu, dans La Monnaie vivante, souligner le lien existant entre les objets que j'appelle des ustensiles et les instruments de suggestion (y compris ceux, 'vivants', qui servent de référence aux autres). Encore une fois, notez clairement que je ne dénonce pas les méfaits de la suggestion mécanisée. L'important était d'indiquer que l'industrie s'est servie des anomalies, libérant des possibilités qui devraient aboutir à renverser l'institution. Ce sont les mécanismes industriels qui sont révolutionnaires et que canalisent à leur profit les détenteurs du capital..."</div><div style="text-align: justify;">Pierre Klossowski (entretiens avec Jean-Maurice Monnoyer)</div><div style="text-align: justify;"><div>"Tal ligação aliás faz parte da experiência cotidiana de todos os ouvintes contemporâneos, não raro às voltas com um teminha absolutamente detestável do rádio, que no entanto se agarra aos nossos ouvidos com a força de um mau-olhado... Os portugueses foram os primeiros, na época moderna, a estabelecer relações comerciais e de conquista com as culturas negras da África. E chamaram de feitiço, isto é, coisa feita, aos objetos, bonecos, oferendas, etc. aos objetos que os africanos empregavam com finalidades mágicas e religiosas. Essa palavra portuguesa deu origem ao francês 'fétiche', ao inglês 'fetich', ao alemão 'fetichismus' utilizado por Marx na famosa quarta seção do primeiro capítulo de o capital... Vemos, portanto, que as palavras feitiço e fetichismo têm sua própria origem no contato inicial entre portugueses e africanos."</div><div>Carlos Sandroni (Feitiço Decente)</div></div><br /><div style="text-align: justify;">"Un wagon de marchandises ou un tender de locomotive vieillit moins vite qu’une voiture de voyageurs, avec ses ornements et inscriptions: la plus surchargée d’ornements inessentiels est celle qui se démode le plus vite... l’automobile vieillit plus vite que l’avion, alors que l’avion, techniquement, a reçu des transformations plus importantes que l’automobile. C’est que l’avion est fait pour la piste d’envol, pour l’air et pour la piste d’atterrissage. Il est par nécessité réalité de réseau bien avant d’être objet séparé..." </div><div><div style="text-align: justify;">"On pourrait encore comparer cette condition aliénante de l’objet produit en situation de vénalité à celle de l’esclave antique sur le marché ou de la femme dans une situation d’infériorité sociale: l’introduction à l’existence active se fait par des moyens inadéquats aux fonctions vraies; elle est à l’opposé de l’entéléchie et crée une dualité, une prévalence de l’inessentiel, une distorsion de la vraie nature: le choix se fait sous les espèces fallacieuses du charme, du prestige, de la flatterie, de tous les mythes sociaux ou des croyances personnelles."</div><div style="text-align: justify;">"Parce qu’il est jugé en une seule fois et globalement, tout entier accepté ou rejeté dans la décision ou le refus d’achat, l’objet de la production industrielle est un objet fermé, un faux organisme saisi par une pensée holistique à composante psychosociale; il ne permet ni l’exercice ni le développement de la mentalité technique au niveau des décisions volontaires et des normes d’action."</div><div style="text-align: justify;">"... pour qu’un objet permette le développement de la mentalité technique et puisse être choisi par elle, il faut qu’il soit lui-même de structure réticulaire: si l’on suppose un objet qui, au lieu d’être fermé, présente des parties conçues comme aussi près que possible de l’indestructibilité, et d’autres, au contraire, en lesquelles se concentre la finesse d’adaptation à chaque usage, ou l’usure, ou la rupture possible en cas de choc, de mauvais fonctionnement, on obtient un objet ouvert, pouvant être complété, amélioré, maintenu à l’état de perpétuelle actualité."</div></div><div style="text-align: justify;">"Là est le point clé: l’objet technique postindustriel est l’unité de deux couches de réalité: une couche aussi stable et permanente que possible, qui adhère à l’utilisateur et est construite pour durer; une couche pouvant être perpétuellement remplacée, changée, rajeunie, parce qu’elle est faite d’éléments tous semblables, impersonnels, produits en foule par l’industrie et diffusés par tous les réseaux d’échange. La participation au réseau est ce par quoi l’objet technique reste toujours contemporain de son utilisation, toujours neuf. Or cette conservation en l’état de pleine actualité est précisément rendue possible par les structures que dégagent les schèmes cognitifs: il faut que l’objet ait des seuils de fonctionnement reconnus, mesurés, normalisés, pour qu’il puisse être divisé en parties permanentes et en parties volontairement fragiles, soumises au remplacement. L’objet n’est pas seulement structure mais régime."</div></div><div style="text-align: justify;">"Une mentalité technique ne peut se développer que si l’antinomie affective de l’opposition entre artisanat et industrie est remplacée par l’orientation décidée de la pousée volontaire vers le développement des réseaux techniques, qui sont postindustriels et retrouvent un nouveau continu... la réalité technique est éminemment susceptible d’être continuée, complétée, perfectionnée, prolongée. En ce sens, une extension de la mentalité technique est possible et commence à se manifester, en particulier, dans le domaine des Beaux-Arts. Construire un bâtiment selon les normes de la mentalité technique, c’est le concevoir comme pouvant être augmenté, continué, amplifié sans défiguration ni rature. Le 'Couvent Le Corbusier' est un bel exemple de l’apport de la mentalité technique en architecture... l’esprit de dépouillement qui se manifeste dans le choix des formes et l’emploi des matériaux: il sera possible, sans hiatus entre l’ancien et le nouveau, d’employer encore le béton, brut de décoffrage, le fer, les câbles, les tubulures des longs corridors. La non-dissimulation des moyens, cette politesse de l’architecte envers ses matériaux qui se traduit par une constante technophanie aboutit au refus de l’obsolescence et à la découverte féconde, sous les espèces sensibles, de la permanente disponibilité du matériau industriel comme fondement de la continuité du travail."</div><div style="text-align: justify;"><a href="https://www.cairn.info/revue-philosophique-2006-3-page-343.htm" target="_blank">Gilbert Simondon (Mentalité Technique)</a></div><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">**************************************************************</div></div><h4 style="text-align: justify;">As appears from a most antient account of the family (wrote upon strong vellum and now in perfect preservation): </h4><div style="text-align: justify;"><br /></div><div>"Le Kitsch est permanent comme le péché: il y a une théologie du Kitsch."</div><div style="text-align: justify;">"Le Kitsch est à la mesure de l'homme, quand l'art en est la démesure, le Kitsch dilue l'originalité à un degré suffisant pour la faire accepter par tous. Si les arcs hyperboliques des arêtes de la Tour Eiffel ont une grandeur asymptotique, celle-ci transformée en miniature inoffensive de presse-papeir, se réduit à la saveur aimable de courbes harmonieuses."</div><div style="text-align: justify;">"[Le Kitsch] montre d'autre part la prééminence de l'idée d'ersatz: un matériau n'est pas nécessairement lié à un objet donné, celui-ci est largement indépendant de celui-là; il n'y a pas de raison, se dit le système Kitsch (comme tout la culture technologique contemporaine d'ailleurs) de respecter le matériau d'origine de l'objet si l'on peut le changer."</div><div style="text-align: justify;">"... l'objet Kitsch... retient dans la fabrication une forme reconnaissable plutôt qu'une immédiateté existentielle."</div><div style="text-align: justify;">"Si d'autres objets s'introduisent dans l'appartement et doivent s'insérer auprès des précédents, ils contribuent à resserrer la zone propre de chaque objet initial, comprimant son 'espace vital', c'est le signe de la 'pression Kitsch.'"</div><div style="text-align: justify;">"Ce sont les surréalistes qui, les premiers, dans leurs travaux sur la transformation de l'objet (Duchamp, Tzara, Breton) ont mis en évidence, par l'absurde, la notion de fonctionnalité et celle d'antifonctionnalité, quand la dissociation de la fonction et de l'objet pousse à l'extrême cette inadéquation..."</div><div style="text-align: justify;">"Le Kitsch doux est sucré... A l'opposé, [en tant que Kitsch aigre] on trouvera les crânes mexicains en sucre, les squelettes en matière plastique de la civilisation américaine, le vampirisme du cinéma d'épouvante dont l'authenticité reste toujours mise en question par le spectateur lui-même qui, même consommateur raffiné de ce genre de spectacle, n'arrive jamais à participer tout à fait à ces films de classe B fabriqués selon les meilleures recettes de l'art combinatoire."</div><div style="text-align: justify;">"Le principe de perception synesthésique se relie à celui de l'accumulation, il s'agit d'assaillir le plus possible de canaux sensoriels simultanément ou de façon juxtaposée."</div><div style="text-align: justify;">"... le Kitsche... s'oppose à l'avant-garde, il reste, essentiellement, art de masse, c'est-à-dire acceptable par la masse et proposé à elle comme un système. C'e st par la médiocrité que les produits Kitsch parviennent à l'authenticiquement faux, éventuellement, au sourire condescendant du consommateur qui se croit supérieur à eux à partir du moment où il les juge."</div><div style="text-align: justify;">"Le Kitsch apporte au premier chef à l'individu une fonction de plaisir, ou plutôt de spontanéité dans le plaisir étrangère à l'idée de beauté ou de laideur transcendante, il lui apporte une participation limitée, et, par procuration, à l'extravagance."</div><div style="text-align: justify;">"Le Kitsch est la récupération du talent artisanal, il est d'une façon générale la récupération de l'art subversif dans la Gemütlichkeit, dans le confort de la vie quotidienne, il est la [selon Edgar Morin 'grande victoire du talent contre le génie.'" </div><div style="text-align: justify;">"... une éthique Kitsch de l'adaptatio au plus grand nombre déjà énoncée par Pareto sous le nom d'ophélimité..."</div><div style="text-align: justify;">"Les marchandises culturelles de l'industrie se règlent, comme l'ont dit Brecht et Surhkamp, sur le principe de leur commercialisation et non sur leur contenu autonome et sa structure propre (Adorno)."</div><div style="text-align: justify;">"C'est la consommation ostentatoire de Veblen dans laquelle ce statut social est ramené essentiellement à son apparence: la possession d'un meuble noble vaut titre de noblesse."</div><div style="text-align: justify;">"Allemagne du Sud, Bavière, et Europe Centrale, pays du heimlich et du gemütlich, la France 1900, les États-Unis des nouveaux riches de Chicago..."</div><div style="text-align: justify;">"Le Kitsch se distingue, mais s'alimente des autres écoles d'art... Toutefois, il ne digère pas tout, il rejette spontanément impressionnisme et expressionnisme, et voit naître son ennemi, le fonctionnalisme, en réaction violente avec lui."</div><div style="text-align: justify;">"La Bourgeoisie s'installe à l'époque Napoléon IIII — Guillaume I, au milieu du XIXe siècle, et devient vers cette époque une société de masse..."</div><div style="text-align: justify;">"Louis II [Wittelsbach] dans son désir de grandeur irréaliste, se fixe sur l'image du Roi Soleil Louis XIV, et cherchera toute sa vie à réaliser cette image: il sera un néo-Louis XIV, un ersatz de celui-ci."</div><div style="text-align: justify;">"... l'ambiance des montagnes et des lacs bavarois, déterminant l'image d'un romantisme conjugué avec un amour frénétique de l'art..."</div><div style="text-align: justify;">"Magasins à entrée libres de plain-pied avec le trottoir, où l'entrée n'implique pas obligation morale d'achat, libération si évidente dans un space ouvert, anonyme au visiteur non personnalisé, doux aux timides, aux peureux, aux économes, séduisant aux coquettes avec ses vitrines immenses, étalées sur la rue..."</div><div style="text-align: justify;">"... des immeubles comme l'Hôtel Gellert ou le Café Hungaria à Budapest, ville édifiée presque entièrement à cette époque..."</div><div style="text-align: justify;">"Pendant trente ans de 1880 à 1914, va triompher le système de vie incorporant puis intégrant des tendances diverses, mais opposant à l'impressionnisme ou à l'expressionnisme la plus étanche des barrières, car ceux-ci sont constitués en révolte contre l'ordre bourgeois, par des artistes qui sont des fils dégénérés, perdus dans la 'vie d'artiste', l'immoralité et les dettes, instables et sans lieu..."</div><div style="text-align: justify;">"... grand orchestre pour une mélodie banale, orgue pour une chanson de pot-pourri..."</div><div style="text-align: justify;">"Gropius s'exprimait ainsi: 'L'adaptation au but est belle aussi', insistant par là sur l'adjonction, de caractère additif, de la beauté, comme sécrétion de l'emploi just des moyens en vue des fins. Cette attitude est à l'opposé même du Kitsch, elle en est la contradiction la plus exacte..."</div><div style="text-align: justify;">"Fonction... c'est surtout, au sens de Goethe, une relation nécessaire entre les éléments d'un système..."</div><div style="text-align: justify;">"C'est l'époque où diffusent la théorie de l'Umwelt établie par Von Uexkull dans ses travaux sur le milieu animal..."</div><div style="text-align: justify;">"... l'attitude, plus récemment appelée Cybernétique, ou Théorie des systèmes généraux, qui refuse provisoirement toute distinction entre être et organes..."</div><div style="text-align: justify;">"... le fonctionnalisme est émergé comme un processus de violente réaction contre les caractéristiques fondamentales de l'ambiance de l'Umwelt d'objets et de formes proposées aux citoyens de la société bourgeoise."</div><div style="text-align: justify;">"... la société crée le système néo-Kitsch en prétendant, dans chacun des objets inutiles qu'elle crée, leur incorporer une fonctionnalité..."</div><div style="text-align: justify;">"... l'homo ludens de Huizinga, le diable e personne qui met en échec les valeurs du monde [cf. R. Caillois aussi]..."</div><div style="text-align: justify;">***everythig from Abraham Moles, <i>Psychologie du Kitsch. L'Art du Bonheur</i> (Paris: Maison Mame, 1971);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien)<span face="Calibri, sans-serif">:</span></div><div><span face="Calibri, sans-serif">"</span>Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from <a href="https://www.britannica.com/art/mode-music" target="_blank">"Mode," entry in Brittanica, by Mieczyslaw Kolinski</a>);</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">See also: </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2021/09/ibere-self-taught-painter-aprendi-num.html">Iberê Camargo: self-taught painter</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>; </div><div style="text-align: justify;">- <a href="about://">list of painters and other visual artists</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">liste des déclencheurs musicaux</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/02/eletronic-high-or-middle-culture.html">High or Middle Culture? </a></div><div style="text-align: justify;">- <a href="about://">Piano Playing (Kochevitsky)</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/12/concretos-brazilian-inteligentsia.html">Concretos &/ou Brazilian Inteligentsia</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/07/ecritureviolence-it-is-important-to.html">Écriture/Violence (Blanchot, Artaud)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/11/favorite-quotes-from-detlev-claussens.html">Favorite quotes from Detlev Claussen's Theodor W. Adorno</a>;</div><div style="text-align: justify;">And also (with the whole of it): </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2021/02/stop-leveling-down-lifes-multiple.html">Megalomaniac Billionaires</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/02/audrey-hepburn-haunted-by-az-or-how-to.html">Audrey Hempburnt</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/03/kur-d-t-my-ghost.html">Kur-d-t my Ghost</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/10/god-save-queen.html">God Save the Queen</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/07/darkwaves-beyond-80s-toujours-under.html">Darkwaves beyond the 80s</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/11/allan-ginsberg-burroughs-ney-matogrosso.html">Ney Matogrosso</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/11/call-me-helium-helio-oiticica-jimi.html">Call me Helium</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/11/clementina-de-jesus-aracy-cortes.html">Clementina de Jesus</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2012/09/blog-post.html">Tropicalismo</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/01/a-vida-por-1-traco-ii-para-adriana-luiz.html">A Vida por 1 Traço</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/05/blog-post.html">List of Soap Operas</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/48911059/A_Ipupiara_e_Além_Pela_Volta_de_um_Humanismo_Monstruoso_na_Academia">A Ipupiara e além: pela volta de um humanismo monstruoso na academia</a>;</div><div style="text-align: justify;"><a href="https://www.academia.edu/31233486/Sloterdijk_Rules_for_the_Human_Park">***Peter Sloterdijk's Rules for the Human Park</a>; </div><div style="text-align: justify;"><a href="https://www.ocf.berkeley.edu/~repercus/wp-content/uploads/2011/08/repercussions-Vol.-7-8-Middleton-Richard-Who-May-Speak.pdf" target="_blank">***"Who May Speak? From a Politics of Popular Music to a Popular Politics of Music" (by Richard Middleton)</a>; </div><div><div style="text-align: justify;"><a href="https://www.academia.edu/30566411/The_Politics_of_Passion_The_Impact_of_Bolero_on_Brazilian_Musical_Expressions_Author_s_Samuel_Araújo_Source_Yearbook_for">***"The Politics of Passion: The Impact of Bolero on Brazilian Musical Expressions" (Samuel Araújo)</a>; </div><div style="text-align: justify;"><a href="https://doi.org/10.1590/S0103-40142010000200022" target="_blank">***"The Threads Unraveled: The Great Themes of Traditional Popular Music in Brasil" (Mariana Monteiro & Paulo Dias, Estudos Avançados, 2010)</a>; </div><div style="text-align: justify;"><a href="https://mtosmt.org/issues/mto.10.16.1/mto.10.16.1.malawey.html" target="_blank"></a><a href="https://mtosmt.org/issues/mto.10.16.1/mto.10.16.1.malawey.html" target="_blank">***"Harmonic Stasis and Oscillation in Björk’s Medúlla" (Victoria Malawey, MTO)</a>;</div></div><div style="text-align: justify;"><a href="https://www.academia.edu/35601674/Waltz" target="_blank">***"Waltz" (Paolo Prato, Bloomsbury Encyclopedia of Popular Music of the World, 2017)</a>; </div><div style="text-align: justify;"><a href="https://www.academia.edu/341312/The_Polka_Before_and_After_the_Polka" target="_blank">***"The Polka Before and After the Polka" (Egil Bakka, Yearbook for Traditional Music, 2001)</a>; </div><div><div style="text-align: justify;"><a href="https://doi.org/10.1007/s13347-023-00617-8" target="_blank">***"Ecomodernism and the Libidinal Economy: Towards a Critical Conception of Technology in the Bio‐Based Economy" (Roel Veraart, Vincent Block, Pieter Lemmens, Philosophy & Technology/2023);</a></div><div style="text-align: justify;"><a href="http://www.claussteffenmahnkopf.de/wp-content/uploads/2021/08/Mahnkopf-Das-Generationsproblem-der-Neuen-Musik.pdf" target="_blank">***"Das Generationsproblem der Neuen Musik" (Claus-Steffen Mahnkopf, Die Humanität der Musik)</a>; </div><div style="text-align: justify;"><a href="https://dro.dur.ac.uk/5218/" style="text-align: left;" target="_blank">***"Stravinsky as devil: Adorno's three critiques" (Max Paddison)</a><span style="text-align: left;">;</span></div><div style="text-align: justify;"><span style="text-align: left;"><a href="https://www.academia.edu/79080094/Authenticity_and_Failure_in_Adorno_s_Aesthetics_of_Music" target="_blank">***"Authenticity and Failure in Adorno's Aesthetics of Music" (Max Paddison)</a>; </span></div>***My & other <a href="https://fineartamerica.com/art/drawings/portrait">portrait drawings</a> at Fine Art America.</div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-64010484979301918552021-09-13T14:25:00.042-07:002023-05-14T04:54:47.048-07:00Iberê, self-taught painter: "Aprendi num só dia com Guignard mais do que em 4 anos na Escola de Belas-Artes" & PLUS (le philosophe, le sage, le scientiste, l'artiste)<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzS-Z1HroSWylG_GYq9e2-bmEDvab-JP1zidgCXhWKIQZU1cIKfhpOxYRWe_Qzt1jkN-bxoJb8ER8IbYco424BNzEbz64hCnGsFUxNeYyZx9Q7qqY8qIkmR1trRDvOAXaSbq7Ag/s400/ibere_logo.jpg" /><div><br /></div><div><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi36j1SsWJYubrJtj4RkU0HoB4GHKgUcML7zxEvKUQMq21uJfwdXHZSv4AW_bekjB-1nEAriSwipeOgzI_fsBuPV7tdpPm0vbQZsOA-3IU53iDGZVgoO28QDexjrWZQuFK-_vSlMg/s400/menino_brodowski_logo.jpeg" />
<div><div class="separator" style="clear: both;"><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/h4jKtzbc3G0" width="320" youtube-src-id="h4jKtzbc3G0"></iframe></div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/h64yZs8ThtQ" width="320" youtube-src-id="h64yZs8ThtQ"></iframe></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">montage by AZ (for more <a href="https://www.instagram.com/p/CTxvZfpLcdK/" target="_blank">see here</a>) with original images from Vera Beatriz Siqueira, Iberê Camargo: Origem e Destino (Cosac Naify 2009); </div><div style="text-align: justify;">5 drawing studies by AZ (graphite, pencil and pen on paper; for more <a href="https://www.instagram.com/p/CT-h2Rfr3xu/" target="_blank">see here</a>) on Cândido Portinari's Menino de Brodowski (1956);</div><div style="text-align: justify;">Schoenberg's Pierrot Lunaire (directed by Oliver Herrmann, singed by Christine Schäfer & conducted by Pierre Boulez); </div><div style="text-align: justify;">Category Theory for Beginners: Yoneda Lemma (Richard Southwell, Youtube); </div><div style="text-align: justify;"><span style="text-align: left;">**************************************************************</span></div><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">Commentary scholium, illustration and key (for the edification of the world):</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"I do not mean that I found words, but there came an equation... not in speech, but in little splotches of colour. It was just that—a pattern, or hardly a pattern, if by pattern you mean something with a repeat in it..."</div><div style="text-align: justify;">"Vorticism is an intensive art. I mean by this, that one is concerned with the relative intensity, or relative significance of different sorts of expression."</div><div style="text-align: justify;">"The image is not an idea. It is a radiant node or cluster; it is what I can, and must perforce, call a vortex, from which and through which, and into which, ideas are constantly rushing."</div><div style="text-align: justify;">Ezra Pound (Vorticism)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... le désir de limiter l'ensemble de ses moyens d' expression en lui ôtant les procédés 'réalistes' serait illogique et répugnerait à une âme libre. Toute limitation n'est dictée que par le temps, par l'intermédiaire d'une nécessité intérieure et par conséquent, toute limitation ne peut être que provisoire... Mais quand le nouveau 'réalisme' transformé, et par de nouveaux procédés et par un point de vue qui nous échappe encore, connaîtra son épanouissement et donnera ses fruits, alors peut-être résonnera un accord (abstrait-réel) qui sera une nouvelle révélation céleste."</div><div style="text-align: justify;">"Segantini prit des formes parfaites de la nature, les travaillant parfois jusqu'au plus infime détail (par exemples des chaînes de montagnes, ainsi que des pierres et des animaux), et parvint toujours, malgré la forme visiblement matérielle, à créer des images abstraites, ce qui fait peut-être de lui le plus immatériel de tous."</div><div style="text-align: justify;">"D'une manière different, plus proche des moyens purement picturaux, Cézanne cherchait également la nouvelle loi de la forme. Il savait faire d'une tasse à thé une créature douée d'une âme, ou plus exactement reconnaître dans cette tasse un être. Il élève la 'nature morte' à un niveau tel que les objets extérieurement 'morts' deviennent intérieurement vivants. Il traite ces objets de la même façon que l'homme, car il avait le don d e voir partout la vie intérieure."</div><div style="text-align: justify;">"Matisse peint des 'images' et dans ces 'images, il cherche à rendre le 'divin'."</div><div style="text-align: justify;">"Dans ces dernières oeuvres (1911), Picasso aboutit par la voie de la logique à la destruction de ce qui est matériel, non par dissolution, mais par une sorte de morcellement des divers éléments constitutifs et la dispersion constructive de ces pièces sur la toile. Ce faisant, il semble, chose étonnante, vouloir garder l'apparence du matériel."</div><div style="text-align: justify;">Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"... ma fabrication d'images rend compte immédiatement des puissances qui se sont produites sous la forme de mes spéculations ou de mes personnages... c'est que le tableau et non plus l'écriture me permet d'embrasser d'emblée et donc de reproduire dans leurs attitudes respectives chacune de ces puissances, au lieu de les expliquer, en leur prêtant une parole en fait intraduisible... Que j'observe ici les règles du réalisme le plus conventionnel et non pas une symétrie emblématique ou de simples contrastes de tonalité du genre informel — c'est ce qu'exige l'action de ces puissances en elles-mêmes impalpables. Il s'agit là d'une mise en scène iconographique, non seulement des incidents qui surviennent à mon personnage de Roberte, mais encore des mouvements que ces incidents produisent dans son âme... une pure affabulation: l'invocation d'une présence démonique qui vienne animer un simulacre — telle qu'elle se décrit dans la théurgie d'Hermès — et dont je retiens seulement que l'artiste ne saurait agir sur le spectateur par sa propre subjectivité: et je trouve son corollaire dans la définition que Tertullien donne de l'ubiquité du démon quand il provoque une vision surnaturelle: le démon est à la fois dans la scène qu'il fait voir, comme dans le spectateur à qui il fait voir la scene. L'agent démonique est donc dans un triple rapport avec le phantasme, avec l'artisan qui le reproduit par un simulacre, et dans le contemplateur pour que ce dernier puisse en subir quelque influence... magie est à prendre ici au sens d'une technique d'influence morale. Cette appréciation toutefois, qui s'était totalement perdue au cours de l'évolution de l'art occidental, s'est réveillée chez nous il y a un demi-siècle par un retour d'attention pour l'iconographie religieuse médiévale.... annoncé par une réinterprétation moderne de l'archaïsme persistant dans la sensibilité... Indépendamment des cas isolés que représentent ceux tragiques de Van Gogh, Strindberg, Artaud, jamais auparavant de pareils critères ne furent invoqués par les maîtres des diverses écoles... Toutefois cette assistance démonique... est non moins agissante chez les maîtres... la propre 'subjectivité' de l'artiste, au sens moderne, ne suffit pas à l'animation de son simulacre, sans le concours ou le consentement des puissances qu'il invoque, je fais allusion à la dépendance où le met, sciemment ou non, sa propre passivité réceptive à leur égard... il ne peut autrement que pactiser avec elles: est-ce lui qui leur propose un équivalent de l'obsession qu'elles lui font subir, ou serait-ce elles mêmes qui l'exigent? Je touche ici à la vertu exorcisante du simulacre."</div><div><div style="text-align: left;"><span style="text-align: justify;">Pierre Klossowski (entretiens avec Jean-Maurice Monnoyer)</span></div></div></div><div style="text-align: justify;"><span style="text-align: left;">*************************************************************</span></div><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">Small anecdotes known under heaven only in our own family: </h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Chegou mesmo a falar, ainda no início de sua carreira, que se pudesse alugaria um ateliê novo só para deixar para trás os quadros já realizados, que virava para a parede como se estivessem de castigo. 'Eles me penetram com tanta itnensidade que quase sinto ter que repartir com eles o ar que meio respiro nesse quadrado povoado de imagens."</div><span style="text-align: justify;">"Diante da crise do suporte, afirma-se como 'um dinossauro, o último dos pintores.'"</span></div><div style="text-align: justify;">"'Uma luminescência fosfórica — lembrança de luz — banha o espaço, sem deixar sombra alguma. Amanhecer ou anoitecer, início ou fim, vida ou morte?'" [Paulo Venâncio Filho, sobre Solidão].</div><div style="text-align: justify;">"... Percebeu na paisagem austera do Sul uma série de sugestões metafísicas, além da melancolia e da solidão essenciais à sua poética."</div><div style="text-align: justify;">"... O agitado mar de Torres é símbolo do drama humano, da resistência à ordenação... Nas palavras de Ronaldo Brito... 'A planta acaba assim dividida entre uma área de ordenação simétrica e um convulso espaço barroco.'"</div><div style="text-align: justify;">"A impetuosidade e a rapidez das pinceladas... falam da energia criativa do artista tanto quanto da fúria da natureza... Para Wilson Coutinho, 'a cor é pensada como matéria pura' e o pintor 'já está a caminho d e questionar a superfície da tela.'"</div><div style="text-align: justify;">"... Solidão que se tornava ainda maior na cidade de Porto Alegre, que o próprio Iberê percebeu como provinciana e conservadora."</div><div style="text-align: justify;">"'Aprendi num só dia com Guignard mais do que em 4 anos na Escola de Belas-Artes.'"</div><div style="text-align: justify;">"Para encontrar o seu próprio mundo, precisava de outras referências. A mais consistente delas, ainda nesse período, é certamente a obra do gravador expresssionista Oswaldo Goeldi."</div><div style="text-align: justify;">"Desde os anos 1920, a obra de Girogio de Chirico dialogava diretamente com a tradição clássica italiana. Essa combinação de aprumo técnico e contato com a tradição parece interessar especificamente Iberê, ainda que possamos também perceber afinidades com as qualidades emocionais e misteriosas de sua Pintura Metafísica."</div><div style="text-align: justify;">"A matéria grossa que impregna o pequeno quadro deseja soltar da tela, solicita que a natureza desapareça aos golpes escultóricos de tinta" [Wilson Coutinho, sobre Dentro do Mato].</div><div style="text-align: justify;">"A pintura de naturezas-mortas e, mais especificamente, de carretéis é identificada, para a grande maioria dos estudiosos da obra de Iberê Camargo, como o momento em que ele passa a contribuir de forma pessoal e original como artista moderno. Há nessa afirmação uma verdade incontestável. A adoção dos carretéis, inicialmente como objeto de suas naturezas-mortas e, posteriormente, como elemento autônomo, foi decisiva na definição dos contornos daquilo que hoje entendemos como sua obra."</div><div style="text-align: justify;">"... A luz é fria, azulada. Essa concisão cromática e temática dá um aspecto original a suas obras. Paulo Venâncio Filho chama a nova estrutura de 'medieval', enquanto Ronaldo Brito lembra o aspecto 'um tanto gótico' de seus carretéis."</div><div style="text-align: justify;">"Iberê encontra no carretel um motivo que, por suas próprias caraterísticas físicas e pelo vínculo imediato com a memória da infância, oferece oportunidade de experimentar uma nova conjugação de forma e signo. E a maneira essa forma-signo se identifica com a própria materialidade da pintura, surgindo das camadas de tinta que o artista aplica e retira, aponta para a questão da espiritualização da matéria — outro tema caro da arte medieval — como fato central de sua poética."</div><div style="text-align: justify;">"Muito já se falou sobre o fato de o carretel ter sido seu brinquedo de infância. O próprio Iberê se encarrega de repetir isso em inúmeras entrevistas, mostrando o quanto a associação a memória e o passado era relevante."</div><div style="text-align: justify;">"Com o tempo, some a mesa que apoiava os carretéis e a relação que eles estabelecem entre si se converte em pura 'estrutura dinâmica', como atesta o título de algumas obras de então: Estrutura dinâmica (1961) ou Estrutura em movimento I (1962)."</div><div style="text-align: justify;">"'... não esperava tornar-me abstrato, não tinha essa intenção. Eu estava pintando aquele carretel que estava sobre a mesa, que era para mim carretel muito importante porque tinha sido o brinquedo da minha infância. Ele era muito carregado de reminiscências e vivências minhas... E assim, depois, esses carretéis se transformaram em núcleos, até esses núcleos explodirem.'"</div><div style="text-align: justify;">"Termos como figurativo e abstrato tornam-se francamente inapropriados. Tampouco podemso decidir por um dos lados da tradicional oposição entre expressão e geometria... Podemos [em certo sentido] pensar em aproximações singulares com o neoconcretismo... Hélio Oiticica, Lygia Pape e Lygia Clark procuravam inserir acontecimentos poéticos no interior de estruturas geométricas."</div><div style="text-align: justify;">"Iberê concilia a resposta às demandas de seu tempo com a defesa arraigada da tradição e com um caminho solitário e dissonante dentro da arte brasileira e internacional."</div><div style="text-align: justify;">"Essa compreensão da história da arte como matéria da obra, com a qual precisa dialogar de maneira direta e singular, aproxima0se do sentido mais geral do seu empenho com relação aos materiais e técnicas artísticas: trata-se, a rigor, da identificação com a materialidade da arte, enquanto tradição e experiência do absoluto."</div><div style="text-align: justify;">"... muito do espanto causado pela obra abstrata de Iberê, realizada entre os anos de 1950 e 1980, diz respeito a essa fatura peculiar e à textura alcançada pelas massas de tinta que ora se acumulam, ora são retiradas a ponto de deixar à vista o tecido da tela."</div><div style="text-align: justify;">"Iberê voltava-se de costas para a tela e, com o auxílio de um espelho, começava de outro ângulo a interrogá-la novamente."</div><div style="text-align: justify;">"Talvez fosse mais eficaz uma comparação com a arte europeia, especialmente com a abstração expressiva do grupo CoBrA ou de Jean Dubuffet, com suas poéticas da matéria, ainda que a estrutura e a densidade dos trabalhos de Iberê sejam radicalmente diferentes do aspecto desconstruído das obras dos artistas europeus."</div><div style="text-align: justify;">"O fato de o pintor ter ficado várias de suas obras — formando a coleção que hoje pertence à Fundação Iberê Camargo — mostra, igualmente, como não cedeu às tentações do mercado. Parece sentir que, mais relevante em termos culturais, seria atuar como colecionador de si mesmo..."</div><div style="text-align: justify;">"'Hoje me interessa a fantasmagoria dos homens e suas imagens interiores...'"</div><div style="text-align: justify;">"'Toda pintura e abstrata, porque resulta da depuração da forma e da linha...'"</div><div style="text-align: justify;">"Nenhum drama, tampouco, vem do ambiente que cerca suas figuras, cuja desolação tanto pode remeter à austeridade da paisagem sulista de sua infância quanto ao fim dos tempos, 'o primeiro dia depois do fim do mundo.' Como Van Gogh — um dos mestres que escolhe para si —, sabe que precisa tirar mais 'da pintura do que da própria realidade.' O drama existe na luz fria, pesada e azulada..." </div><div style="text-align: justify;">***everything from: Vera Beatriz Siqueira, <i>Iberê Camargo: Origem e Destino</i> (Cosac Naify, 2009); </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"A matéria também sonha. Procuro a alma das coisas" [Gaveta dos Guardados, Porto Alegre 1993-94].</div><div style="text-align: justify;">"O escuro aumenta a solidão e torna o espaço infinito" [Hiroshima, 1993].</div><div style="text-align: justify;">"Deve ser um homem primitivo, que ainda conserva intacta a sabedoria da natureza, esse conhecimento ainda não corrompido pela presunçosa ciência" [Hiroshima, 1993].</div><div style="text-align: justify;">"... rumores familiares que não se identificam, que ora lembram passos, ora pancadas, ora correntes que as almas do outro mundo arrastam para assustar..." [Hiroshima, 1993].</div><div style="text-align: justify;">"... filho de um velho amigo... Assim eu o encontrei, já quase esquecido do dia em que me aterrorizou a infância, com sua arma de caça apontada persistentemente para mim, acompanhando meus passos como se eu fosse um alvo móvel. Nunca trocamos palavras" [Há gente caminhando dentro de mim, 1994].</div><div style="text-align: justify;">"Crianças não se dizem adeus. Tua imagem vai comigo junto com essas lembranças" [Ígea, 1992].</div><div style="text-align: justify;">"Tenho então o coração tranquilo" [Ígea, 1992]. </div><div style="text-align: justify;">"Mário Quintana disse: 'A imaginação é a memória que enlouqueceu.' O poeta sempre intui a verdade" [Os carretéis, Rio de Janeiro 1974].</div><div style="text-align: justify;">"Descobri, então, um defeito: duas pinceladas rompiam a tecedura da matéria. Eram como fios soltos de uma trama. Com golpes de espátula, procurei incorporá-las. Sucederam-se várias tentativas e os insucessos... Raspei a tela: a tinta, então, caía no chão e e u a espalhava com meus passos de sonâmbulo. Pisava carne que fora vida" [Ângela Maria].</div><div style="text-align: justify;">"A força expressiva de Goeldi está em permanecer autêntico, fiel a si mesmo, indiferente à crítica que largo tempo o relegou. Considero sua obra da máxima importância" [Oswaldo Goeldi, Porto Alegre 1961].</div><div style="text-align: justify;">"O progresso é uma ação de despejo em execução" [O Riacho, 1993].</div><div style="text-align: justify;">"Este cenário, que me repercute dentro, multiplica-se ao infinito nas facetas de um prisma que imagino. Serão imagens coloridas, serão quadros: a mesma face repetida" [Correio].</div><div style="text-align: justify;">"Solitário, devo conviver comigo mesmo. Não há mais esquecimento, nem sono" [O tormento de Deus, 1992].</div><div style="text-align: justify;">"Talvez a eternidade também seja o tormento de Deus" [O tormento de Deus, 1992].</div><div style="text-align: justify;">"... o doutor Valentim, negro retinto e pachola, permanentemente bêbado, a enticar na hora do trem com a negra Egalantina, empregada de minha mãe, com este estribilho: 'No céu não luzem estrelas pretas'. Ainda, o buraco fundo com seus ninhos de caturritas..." [Um esboço autobiográfico].</div><div style="text-align: justify;">"... Porto Alegre era uma cidade provinciana, conservadora... O Instituto de Belas Artes, fechado ao modernismo, intolerante, congregava a maioria dos pintores que exerciam o magistério..." [Um esboço autobiográfico].</div><div style="text-align: justify;">"Minha contestação é feita de renúncia, de não participação, de não conivência, de não alinhamento com o que não considero ético e justo" [Um esboço autobiográfico].</div><div style="text-align: justify;">"A fatura de meus quadros é densa, pastosa, por uma necessidade de expressão, por uma necessidade quase tátil e sensual no emprego da matéria" [Um esboço autobiográfico].</div><div style="text-align: justify;">"Jamais pedi atestado de ideologia aos meus amigos" [Um esboço autobiográfico].</div><div style="text-align: justify;">***everything from Iberê Camargo, <i>Gaveta dos Guardados</i> (org. Augusto Massi, Cosac Naify, 2009);</div></div><div style="text-align: justify;"><span style="text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="text-align: left;">**************************************************************</span></div><div><h4 style="text-align: justify;">Le philosophe, le sage, le scientiste, l'artiste — qu'est-ce que c'est? (&/or accounts to reconcile, by Gilles Deleuze & Félix Guattari, persuasion hang upon their lips):</h4><span><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Mais il n'y aurait pas seulement différence de degré, comme sur une échelle, entre le philosophe et le sage: le vieux sage venu d'Orient pense peut-être par Figure, tandis que le philosophe invente et pense le concept."</div><div style="text-align: justify;">"La rivalité culmine avec celle du philosophe et du sophiste, qui s' arrachent les dépouilles du vieux sage, mais comment distinguer le faux ami du vrai, et le concept du simulacre?... c'est tout un théâtre platonicien qui fait proliférer les personnages..."</div><div style="text-align: justify;">"... autrui n'est personne, ni sujet ni objet. Il y a plusieurs sujets parce qu'il y a autrui, non pas l'inverse... Les concepts vont donc à l'infini et, étant créés, ne sont jamais créé de rien... Le concept se définit par l'inséparabilité d'un nombre fini de composantes hétérogènes parcourues par un point en survol absolu, à vitesse infinie... la philosophie n'est pas une formation discursive, parce qu'elle n'enchaîne pas des propositions."</div><div style="text-align: justify;">"... des phrases ou d'un équivalent, la philosophie tire des concepts (qui ne se confondent pas ave des idées générales ou abstraites), tandis que la science tire des prospects (propositions qui ne se confondent pas avec des jugements), et l'art tire des percepts et affects (qui ne se confondent pas davantage avec des perceptions ou sentiments)..."</div><div style="text-align: justify;">"On se reportera aussi <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html" target="_blank">au texte zen du moine japonais Dôgen, qui invoque l'horizon ou la 'réserve' des événements: <i>Shôbogenzo</i></a>."</div><div style="text-align: justify;">"L'image de la pensée implique une sévère répartition du fait et du <i>droit</i>: ce qui revint à la pensée comme telle doit être séparé des accients qui renvoient au cerveau, ou aux opinions historiques."</div><div style="text-align: justify;">"Ce qui est en mouvement, c'est l'horizon même: l'horizon relatif s'éloigne quand le sujet avance, mais l'horizon absolu, nous y sommes toujours et déjà, sur le plan d'immanence."</div><div style="text-align: justify;">"Si la philosophie commence avec la création des concepts, le plan d'immanence doit être considéré comme pré-philosophique. Il est présupposé, non pas à la manière dont un concept peut renvoyer à d'autres mais dont les concepts renvoient eux-mêmes à une compréhension non-conceptuelle."</div><div style="text-align: justify;">"Ce qui caractérise le chaos, en effet, c'est moins l'absence de déterminations que la vitesse infinie à laquelle elles s'ébauchent et s'évanouissent: ce n'est pas un mouvement de l'une à l'autre, mais au contraire l'impossibilité d'un rapport entre deux déterminations, puisque l'une n'apparaît pas sans que l'autre ait déjà disparu, et que l'une apparaît comme évanouissante quand l' autre disparaît comme ébauche."</div><div style="text-align: justify;">"C'est quand l' immanence n'est plus immanente à autre chose que soi qu'on peut parler d'un plan d'immanence... Celui qui savait pleinement que l'immanence n'était qu'à soi-même, et ainsi qu'elle était un plan parcouru par les mouvements de l'infini, rempli par les ordonnées intensives, c' est Spinoza."</div><div style="text-align: justify;">"Dans le cas des figures, au contraire, le pré-philosophique montre que le plan d'immanence lui-même n'avait pas pour destination inévitable une création de concept ou une formation philosophique, mais pouvait se déployer dans des sagesses et des religions suivant une bifurcation qui conjurait d'avance la philosophie du point de vue de sa possibilité même."</div><div style="text-align: justify;">"Gardant l'infini, la philosophie donne une consistance au virtuel par concepts; renonçant à l'infini, la science donne au virtuel une référence qui l'actualise, par fonctions."</div><div style="text-align: justify;">"De telles limites ne valent pas par la valeur empirique qu'elles prennent seulement dans des systèmes de coordonnées, elles agissent d'abord comme la condition de ralentissement primordial qui s'étend par rapport à l'infini sur toute l'échelle des vitesses correspondantes, sur leurs accélérations ou ralentissements conditionnés. Et ce n'est pas seulement la diversité de ces limites qui autorise à douter de la vocation unitaire de la science; c'est chacune en effet qui engendre pour son compte des systèmes de coordonnées hétérogènes irréductibles, et impose des seuils de discontinuité..."</div><div style="text-align: justify;">"Ce qui fait la théorie des ensembles, c'est inscrire la limite dans l'infini lui-même, sans quoi il n'y aurait jamais de limite: dans sa sévère hiérarchisation, elle instaure un ralentissement, ou plutôt, comme dit Cantor lui-même, un arrêt, un 'principe d'arrêt' d'après lequel on ne crée un nouveau nombre entier que 'si le rassemblement de tous les nombres précédents a la puissance d'une classe de nombres définie, déjà donné dans toute son extension.'" </div><div style="text-align: justify;">"Et les Stoïciens porteront au plus haut point la distinction fondamentale entre les états de choses ou mélanges de corps dans lesquels s'actualise l'événement, et les événements incorporels, qui s'élèvent comme une fumée des états de choses eux-mêmes."</div><div style="text-align: justify;">"Les interpretations subjectivistes de la thermodynamique, de la relativité, de la physique quantique témoignent des mêmes insuffisances. Le perspectivisme ou relativisme scientifique n' est jamais relatif à un sujet: il ne constitue pas une relativité du vrai, mais au contraire une vérité du relatif..."</div><div style="text-align: justify;">"Les observateurs partiels sont des forces, mais la force n'est pas ce qui agit, c'est, comme le savaient Leibniz et Nietzsche, ce qui perçoit et éprouve." </div><div style="text-align: justify;">"... c'est Husserl qui va jusqu'au bout en découvrant, dans les multiplicités non-numériques ou les ensembles fusionnels immanents perceptivo-affectifs, la triple racine des actes de transcendance (pensé) par lesquels le sujet constitue d' abord un monde sensible peuplé d'objets, puis un monde intersubjectif peuplé d'autrui, enfin un monde idéel commun que peupleront les formations scientifiques, mathématiques et logique."</div><div style="text-align: justify;">"Il n'a pas de nombre, entier ni fractionnaire, pour compter les choses qui en présentent les propriétés, mais un chiffre qui en condense, en accumule les composantes parcourues et survolées. Le concept est une forme ou une force, jamais une fonction en aucun sens possible."</div><div style="text-align: justify;">"Goethe construit un grandiose concept de couleur, avec les variations inséparables de lumière et d'ombre, les zones d'indiscernabilité, les processus d'intensification qui montrent à quel point en philosophie aussi il y a des expérimentations, tandis que Newton avait construit la fonction de variables indépendantes ou la fréquence."</div><div style="text-align: justify;">"Même si le matériau [de l'oeuvre d'art] ne durait que quelques secondes, il donnerait à la sensation le pouvoir d'exister et de se conserver en soi, dans l'éternité qui coexiste avec cette courte durée."</div><div style="text-align: justify;">"N'est-ce pas la définition du percept en personne: rendre sensibles les forces insensibles qui peuplent le monde, et qui nous affectent, nous font devenir?... Du fond des âges nous vient ce qui Worringer appelait la ligne septentrionale, abstraite et infinie, ligne d'univers qui forme des rubans et de lanières, des roues et des turbines, toute une 'géométrie vivante' 'élevant à l'intuition les forces mécaniques', constituant une puissante vie non-organique."</div><div style="text-align: justify;">"... la philosophie veut sauver l'infini en lui donnant de la consistance: elle trace un plan d'immanence, qui porte à l'infini des événements ou concepts consistants, sous l'action de personnages conceptuels. La science au contraire renonce à l'infinie pour gagner la référence: elle trace un plan de coordonnées seulement indéfinies, qui définit chaque fois des états de choses, des fonctions ou propositions référentielles, sous l'action d'observateurs partiels. L'art veut créer du fini qui redonne l'infini: il trace un plan de composition, qui porte à son tour des monuments ou sensations composées, sous l'action de figures esthétiques."</div><div style="text-align: justify;">**everthing from Deleuze & Guattari, <i>Qu'est-ce que la philosophie? </i>(Paris: Les Éditions de Minuit 1991/2005);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... ce qui occupe systématiquement le reste du tableau, ce sont de grands aplats de couleur vive, uniforme et immobile. Minces et durs, ils ont une fonction structurante, spatialisante. Mais ils ne sont pas sous la Figure, derrière elle ou au-delà. Ils sont strictement à coté, ou plutôt tout autour, et sont saisis par et dans une vue proche, tactile ou 'haptique', autant que la Figure elle-même."</div><div style="text-align: justify;">"On ne peut pas dire que le sentiment religieux soutenait la figuration dans la peinture ancienne: au contraire il rendait possible une libération des Figures, un surgissement des Figures hors de toute figuration [about El Greco and others]."</div><div style="text-align: justify;">"S'il y a effort, et effort intense, ce n'est pas du tout un effort extraordinaire, comme s'il s'agissait d'une entreprise au-dessus des forces du corps et portant sur une objet distinct. Le corps s'efforce précisément, ou attend précisément de s'échapper. Ce n' est pas moi qui tente d'échapper à mon corps, c'est le corps qui tente de s'échapper lui-même par... Bref un spasme: le corps comme plexus, et son effort ou son attente d'un spasme." </div><div style="text-align: justify;">"Ce qui fait de la déformation un destin, c'est que le corps a un rapport nécessaire avec la structure matérielle: non seulement celle-ci s'enroule autour de lui, mais il doit la rejoindre et s'y dissiper, et pour cela passer par ou dans ces instruments-prothèses, qui constituent des passages et des états réels, physiques, effectifs, des sensations et pas du tout des imaginations."</div><div style="text-align: justify;">"Ao lieu de correspondances formelles, ce que la peinture de Bacon constitue, c'est une zone d'indiscernabilité, d'indécidabilité, entre l'homme et l'animal."</div><div style="text-align: justify;">"Ce n'est pas un arrangement de l'homme et de la bête, ce n'est pas une ressemblance, c'est une identité de fond, c'est une zone d'indiscernabilité plus profonde que toute identification sentimentale: l'homme qui souffre est une bête, la bête qui souffre est une homme."</div><div style="text-align: justify;">"... le devenir animal n'est qu'une étape vers un devenir imperceptible plus profond où la Figure disparaît."</div><div style="text-align: justify;">"L'armature ou la structure matérielle, la Figure en position, le contour comme limite des deux, ne cesseront pas de constituer le système de la plus haute précision; et c'est dans ce système que se produisent les opérations de brouillage, les phénomènes de flou, les effets d'éloignement ou d'évanouissement, d'autant plus forts qu'ils constituent un mouvement lui-même précis dans cet ensemble."</div><div style="text-align: justify;">"E positivement, Bacon ne cesse pas de dire que la sensation, c'est ce qui passe d'un 'ordre' à un autre, d'un 'niveau' à un autre, d'un 'domaine' à un autre. C'est pourquoi la sensation est maîtresse de déformations, agent de déformations du corps. Et à cet égard, on peut faire le même reproche à la peinture figurative et à la peinture abstraite: elles passent par le cerveau, elles n'agissent pas directement sur le système nerveux, elles n'accèdent pas à la sensation, elles ne dégagent la Figure, et cela parce qu'elles en restant à un seul et même niveau."</div><div style="text-align: justify;">"Il appartient à la sensation d'envelopper une différence de niveau constitutive, une pluralité de domaines constituants... D'où le caractère irréductiblement synthétique de la sensation."</div><div style="text-align: justify;">"... la violence a deux sens très différents: 'quand on parle de violence de la peinture, cela n'a rien à voir avec la violence de la guerre'. À la violence du représenté (le sensationnel, le cliché) s'oppose la violence de la sensation."</div><div style="text-align: justify;">"... à la limite, c'est un mouvement sur place, un spasme, qui témoigne d'un tout autre problème propre à Bacon: l'action sur le corps de forces invisibles (d'où les déformations du corps qui sont dues à cette cause plus profonde)."</div><div style="text-align: justify;">"... cette opération n'est possible que si la sensation de tel ou tel domaine (ici la sensation visuelle) est directement en prise sur une puissance vitale qui déborde tous les domaines et les traverse. Cette puissance, c'est le Rythme, plus profond que la vision, l'audition, etc... Et ce rythme parcourt un tableau comme il parcourt une musique. C'est diastole-systole: le monde qui me prend moi-même en se fermant sur moi, le moi qui s'ouvre au monde, et l'ouvre lui-même. Cézanne, dit-on, est précisément celui qui a mis un rythme vital dans la sensation visuelle."</div><div style="text-align: justify;">"Ce fond, cette unité rythmique des sens, ne peut être découvert qu'en dépassant l'organisme... il y a ce qu'Artaud a découvert et nommé: corps sans organes. 'Le corps est le corps... Les organismes sont les ennemis du corps.' Le corps sans organes s'oppose moins aux organes qu'à cette organisation des organes qu'on appelle organisme. C'est un corps intense, intensif. Il est parcouru d'une onde qui trace dans le corps des niveaux ou des seuils d'après les variations de son amplitude. Le corps n'a donc pas d'organes, mais des seuils ou des niveaux."</div><div style="text-align: justify;">"... l'organisme n'est pas la vie, il l'emprisonne. Le corps est entièrement vivant, et pourtant non organique. Aussi la sensation, quand elle atteint le corps à travers l'organisme, prend-elle une allure excessive et spasmodique... Les parties nettoyées ou brossées, chez Bacon, sont des parties d'organisme neutralisées, rendues à leur état de zones ou de niveaux... Une puissante vie non organique: c'est ainsi que Worringer définissait l'art gothique, la ligne gothique septentrionale... si elle rencontre l'animal, si elle devient animalière, c'n'est pas en traçant une forme, mais au contraire en imposant par sa netteté, par sa précision non organique elle-même, une haute spiritualité..."</div><div style="text-align: justify;">"... le corps sans organes ne se définit pas par l'absence d'organes, il ne se définit pas seulement par l'existence d'un organe indéterminé, il se définit enfin par la présence temporaire et provisoire des organes déterminés. C'est une manière d'introduire le temps dans le tableau... chez Bacon... le temps est peint..."</div><div style="text-align: justify;">"Insistance d'un cri qui subsiste à la bouche, insistance d'un corps qui subsiste à l'organisme, insistance des organes transitoires qui subsistent aux organes qualifiés. Et l'identité d'un déjà-la et d'un toujours en retard, dans la présence excessive."</div><div style="text-align: justify;">"Schumann et la contracture du doigt..."</div><div style="text-align: justify;">"Pour conjurer cette hystérie fondamentale, la peinture a deux moyens: ou bien conserver les coordonnées figuratives de la représentation organique, quite à en jouer très subtilement, quitte à faire passer sous ces coordonnées ou entre elles les présences libérées et les corps désorganisés. C'est la voie de l'art dit classique. Ou bien se tourner vers la forme abstraite, et inventer une cérébralité proprement picturale ('réveiller' la peinture en ce sens). De tous les classiques, Velazquez a sans doute été le plus sage, d'une immense sagesse: ses audaces extraordinaire, il les faisait passer en tenant fermement les coordonnées de la représentation..."</div><div style="text-align: justify;">"... il y a une communauté des arts, un problème commun. En art, et en peinture comme en musique, il ne s'agit pas de reproduire ou d'inventer des formes, mais de capter de forces. C'est même par là qu'aucun art n'est figuratif. La célèbre formule de Klee 'non pas rendre le visible, mais rendre visible' ne signifie pas autre chose."</div><div style="text-align: justify;">"... n'est-ce pas le génie de Cézanne, avoir subordonné tous les moyens de la peinture à cette tâche: rendre visibles la force de plissement des montagnes, la force de germination de la pomme, la force thermique d'un paysage, etc.?"</div><div style="text-align: justify;">"... le problème de la capture de forces... s'est trouvé mélangé avec un autre, également important mais moins pure. Cet autre problème, c'était celui de la décomposition et de la recomposition de effets: par exemple la décomposition et la recomposition de la profondeur dans la peinture de la Renaissance, la décomposition et la recomposition des couleurs dans l'impressionnisme, la décomposition et la recomposition du mouvement dans le cubisme."</div><div style="text-align: justify;">"Quand une force s'exerce sur une partie nettoyée... elle fait de cette zone une zone d'indiscernabilité commune à plusieurs formes, irréductible aux unes comme aux autres, et les ligne de force qu'elle fait passer échappent à toute forme par leur netteté même, par leur précision déformante..."</div><div style="text-align: justify;">"C'est comme si la main prenait une indépendance, et passait au service d'autres forces, traçant des marques qui ne dépendent plus de notre volonté ni de notre vue. Ces marques manuelles presque aveugles témoignent dont de l'intrusion d'un autre monde dans le monde visuel de la figuration... 'Très souvent les marques involontaires sont beaucoup plus profondément suggestives que les autres, et c'est à ce moment-là que vous sentez que toute espèce de chose peut arriver... les sont faites et on considère la chose comme on ferait d'une sorte de diagramme'... Dans un autre passage, Bacon explique que, lorsqu'il fait un portrait, il regarde souvent des photos qui n'ont rien à voir avec le modèle: ainsi une photo de rhinocéros pour la texture de la peau."</div><div style="text-align: justify;">"... les dernières aquarelles de Turner ne conquièrent pas seulement déjà toutes les forces de l'impressionnisme, mais la puissance d'une ligne explosive et sans contour..."</div><div style="text-align: justify;">"... les expressionnistes abstraits ne font rien d'autre en fait que donner à voir un espace exclusivement manuel, défini par la 'planéité' de la toile, 'l'impénétrabilité' du tableau, la 'gestualité' de la couleur, et qui s'impose à l'oeil comme une puissance absolument étrangère où il ne trouve aucun repos."</div><div style="text-align: justify;">"Sauver le contour, il n'y a rien de plus important pour Bacon. Une ligne qui ne délimite rien n'en a pas moins elle-même un contour: Blake au moins le savait... 'ce qui rendait Blake fou... c'était qu'on le prenne pour fou; mais c'était aussi 'certains artistes qui peignaient comme si les choses n'avaient pas de contours. Il les appelait l'école des baveux.'"</div><div style="text-align: justify;">"Les synthétiseurs analogiques sont 'modulaire': ils mettent en connexion immédiate des éléments hétérogènes, ils introduisent entre ces éléments une possibilité de connexion proprement illimité, dans un champ de présence ou sur un plan fini dont tous les moments sont actuels et sensibles. Tandis que les synthétiseurs digitaux sont 'intégrés': leur opération passe par une codification, par une homogénéisation et binarisation des data, qui se font sur un plan distinct, infini en droit, et dont le sensible ne fera que résulter par conversion-traduction."</div><div style="text-align: justify;">"Le diagramme, agente du langage analogique, n'agit pas comme un code, mais comme un modulateur."</div><div style="text-align: justify;">"Chez Michel-Ange encore, on trouve une puissance qui dérive directement de cet espace manuel: précisément la manière dont le corps déborde ou fait craquer l'organisme."</div><div style="text-align: justify;">"... il suffit de regarder à l'envers et près un Rembrandt pour découvrir la ligne manuelle comme l'envers de la lumière optique."</div><div style="text-align: justify;">"Le 'colorisme', ce ne sont pas seulement des couleurs qui entrent en rapport (comme dans toute peinture digne de ce nom), c'est la couleur qui est découverte comme le rapport variable, le rapport différentiel dont tout le reste dépend... Van Gogh fait une sorte d'expérience initiatique de la couleur."</div><div style="text-align: justify;">"Van Gogh présente les principes du colorisme, qu'il fait remonter à Delacroix plutôt qu'aux impressionnistes (il voit en Delacroix l'opposé, mais aussi l'analogue de Rembrandt: ce que Rembrandt est à la lumière, Delacroix l'est à la couleur)."</div><div style="text-align: justify;">"L'huile a une vie propre, tandis qu'on sait d'avance comment la peinture acrylique se comportera."</div><div style="text-align: justify;">"Partons de l'espace tactile-optique, et de la figuration... c'est avec cet espace et avec ses conséquences que le 'diagramme' manuel rompt..."</div><div style="text-align: justify;">**everthing from Gilles Deleuze, <i>Francis Bacon: Logique de la sensation </i>(Paris: Seuil, 2002);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>See also (so as to led your imagination a thorny dance):</div><div>- <a href="https://aletche.blogspot.com/2016/07/pour-une-litterature-mineur-mario.html" target="_blank">Mário Quintana</a>; </div><div>- <a href="https://aletche.blogspot.com/2015/12/elements-of-musical-language-by-bruno.html" target="_blank">Elements of Musical Language (by Bruno Kiefer)</a>; </div><div>- <a href="https://aletche.blogspot.com/2016/01/a-vida-por-1-traco-ii-para-adriana-luiz.html">A Vida por 1 Traço</a>;</div><div><span style="text-align: left;">- </span><a href="https://aletche.blogspot.com/2016/11/rgs-rock.html" style="text-align: left;">RGS Rock</a><span style="text-align: left;">;</span></div><div><span style="text-align: left;">- </span><a href="https://aletche.blogspot.com/2011/12/porto-alegre-primaveralisboa-outono.html" style="text-align: left;" target="_blank">Porto Alegre Primavera/Lisboa Outono</a><span style="text-align: left;">;</span></div></div><div style="text-align: justify;">And also (but now with great candor and modesty): </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2021/01/cartografia-de-agua-viva-lista-de.html" target="_blank">Cartografia de Água-Viva</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/12/modern-literature-and-esotericism.html" target="_blank">Modern Literature & esotericism</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html" target="_blank">actual infinite falling (chaosmos Collapse)</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html">two sentences and the dogma of semantic uniformity</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html" target="_blank">the odd transformation of Der Herr Warum</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html" target="_blank">the only three types of ingenuity</a>; </div><div style="text-align: justify;"><span style="text-align: left;">- </span><a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html" style="text-align: left;" target="_blank">pick a soul (ass you wish)</a><span style="text-align: left;">; </span></div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html" target="_blank">what is real space? what is real number?</a> </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html" target="_blank">list the figures du chaos</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/03/blog-post_2.html" target="_blank">list of painters and other visual artists</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2014/10/sarebbe-la-definizzione-piu-giusta-del.html" target="_blank">Umberto Eco about Nietzsche</a>; </div></span><div><span>- </span><a href="https://aletche.blogspot.com/2015/12/piano-playing-kochevitsky.html" target="_blank">Piano Playing (Kochevitsky)</a>;</div></div></div><div><span style="text-align: justify;">- </span><a href="https://www.academia.edu/48911059/A_Ipupiara_e_Além_Pela_Volta_de_um_Humanismo_Monstruoso_na_Academia" rel="nofollow" style="text-align: justify;">A Ipupiara e além: pela volta de um humanismo monstruoso na academia</a><span style="text-align: justify;">;</span></div><div>- <a href="https://revistas.javeriana.edu.co/index.php/vniphilosophica/article/view/26109" target="_blank">"Diferencia y repetición: preludios en la matemática moderna" (Fernando Zalamea)</a>; </div><div><span style="text-align: justify;">- </span><a href="https://warwick.ac.uk/fac/soc/philosophy/news/calendar/lydia_goer_postgraduate/jstor_terms_and_conditions.pdf" style="text-align: justify;">"On Some Relations between Music and Painting" (Theodor Adorno, Susan Gillespie's translation)</a><span style="text-align: justify;">;</span></div>***My & other <a href="https://fineartamerica.com/art/drawings/mixed+media">mixed media drawings</a> at Fine Art America.A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-70093695244681750212021-02-14T16:51:00.071-08:002023-06-23T06:00:26.898-07:00Stop Leveling Down Life's Multiple Diversity: The Smallest Bit of Life is Worthier than the Whole Lunacy of United or Otherwise Megalomaniac Billionaires (not a halfpenny matter!)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAwQQSocIYWxpE1aAK1mndvLqvLVSk4EGxYM1NnGF3WicOnGEQZQPeZXiU-QbK1yOt46xYWGWYGvTvsjebweRuGWgShitOX9KEuqkwmF6BZVmAqgx-STLae2YUCChHDetUnRBSQQ/s1861/bill_gates.jpg" style="clear: left; 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text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nb5qstZZ_Jc" width="320" youtube-src-id="nb5qstZZ_Jc"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CwXudpMdbuo" width="320" youtube-src-id="CwXudpMdbuo"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/u82iSLtylfQ" width="320" youtube-src-id="u82iSLtylfQ"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gebcv74mAU8" width="320" youtube-src-id="gebcv74mAU8"></iframe></div><br /><div><br /></div><div>#ActForTheAmazon<br />#ExtinctionRebellion</div><div>#InstinctualRebellion</div><div>#FuckTheAlagorithm</div><div>#Plagued&Pestered</div><div>#AeraFixed</div><div>#DameNature</div><div><br /><div><div style="text-align: justify;">Léviathan stéthocephale** & Bill Gates (the culprit!) + Late Classic Maya Clown; </div><div style="text-align: justify;">Haroldo de Campos + Samuel Beckett + Arara-canindé <a href="https://www.instagram.com/alessandro_zir/" target="_blank">(montage A/Z)</a>;</div><div><div style="text-align: justify;">Dr. Strangelove/Stanley Kubrick, Peter Sellers: "An astonishingly good idea" (Youtube);</div><div style="text-align: justify;">Africa, GMOs and Western interests: DW Documentary/Youtube [people are affraid of El Mollusc?! and what about Hell Gates?!!! he's already done much more harm... And there is no excuse for people in Africa to accept this! such things are obviously done with the collusion of local elites, which are much worse than Gates himself!! In the end of the video, they refer to a similar project done in Rio de Janeiro, Brazil, which has deleterious consequences for the environment and the local population];</div><div style="text-align: justify;">Péril Climatique: l'Impunité pour les riches doit cesser (Blast, Sept 2022);</div></div><div style="text-align: justify;">Who owns water? (DW Documentary, 2022); </div><div style="text-align: left;"><div style="text-align: justify;">Time for a boost? [much more critical and honest news coverage on post-vaccine syndrome than usually available, this DW coverage considers also traditional medicine perspectives on long Covid infection] (DW, September 2022);</div><div style="text-align: justify;">The Gates Foundation is Repeating the Errors of Mao (Nassim Taleb/Youtube, 2021);</div><div style="text-align: justify;">Vandana Shiva on India's Farmer's Protests [this video became unavailable at Youtube in many countries] (Going Underground, 13/02/2021);</div></div><div style="text-align: justify;">La croissance est-elle infinie ou insoutenable? (Philippe Bihouix, AuCoffre/Youtube, 2021);</div><div style="text-align: justify;">Chaos économique, blanchiment bancaire? (Gaël Giraud/Thinkerview 2020); </div><div style="text-align: justify;">Choc économique: Perspectives alternatives? (Isabelle Delannoy/Thinkerview 2020); </div><div style="text-align: justify;">EarthDance 2020 - Vandana Shiva and Reclaiming the Commons (Sinergetic Press 2020); </div><div style="text-align: justify;">Vandana Shiva: Corona Crisis (Cusanus Hochschule für Gesellschaftsgestaltung 2020);</div><div style="text-align: justify;">Vandana Shiva and Pragya Tiwari on Slow Living (Roli Books 2020); </div><div style="text-align: justify;">International Womxn’s Day Lecture: Dr. Vandana Shiva (Harvard GSD 2020); </div><div style="text-align: justify;">Mary Robinson & Vandana Shiva: The Injustice of Climate Change (Oxford Climate Society); </div><div style="text-align: justify;">'Bill Gates is continuing the work of Monsanto': Vandana Shiva tells France 24 (2019); </div><div style="text-align: justify;">Conversation entre Vandana Shiva et Gaël Giraud (Centre Sèvres/Facultés Jésuites 2019);</div><div style="text-align: justify;">Apprenons à partager les ressources pour sauver le vivant: Gaël Giraud (Tedx 2018):</div><div style="text-align: justify;">Vincent Mignerot: Anticiper l'effondrement? (Thinkerview/Youtube 2017);</div><div style="text-align: justify;">Vandana Shiva Calls War On Bill Gates: Valhalla Movement Network (2015);</div><div>Pink Floyd's Corporal Clegg (Youtube); </div><div><br /></div><div>**************************************************************</div><div><h4 style="text-align: left;">and let me tell you Madam:</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"En un certain sens, l’agriculture, l’élevage, la navigation à voiles sont plus industrielles qu’artisanales, dans la mesure où elles font appel à des forces qui ne dépendent pas de l’homme et viennent d’un réel dont l’ordre de grandeur dépasse l’échelon du manipulable. Ces opérations introduisent dans la même mesure le discontinu, elles sont, éventuellement, aliénantes, et peuvent donner lieu à un exercice magico-religieux de la pensée... L’effort humain doit tomber en accord avec l’acte cosmique, être chairon."</div><div style="text-align: justify;"><a href="https://www.cairn.info/revue-philosophique-2006-3-page-343.htm" target="_blank">Gilbert Simondon (Mentalité Technique)</a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Les grands seigneurs sont presque les seules gens de qui on apprenne autant que des paysans: leur conversation s'orne de tout ce qui concerne la terre, les demeures telles qu'elles étaient habitées autrefois, les anciens usages, tout ce que le monde de l'argent ignore profondément."</div><div>Marcel Proust (le narrateur, Le Côté des Guermantes)</div><div style="text-align: justify;">"Er is durchaus keine Krone der Schöpfung: jedes Wesen ist, neben ihm, auf einer gleichen Stufe der Vollkommenheit..."</div><div>Nietzsche (Der Antichrist)</div><div style="text-align: justify;">"... they miss four out of the five kingdoms of life. Animals are only one of these kingdoms. They miss bacteria, protoctista, fungi, and plants. They take a small and interesting chapter in the book of evolution and extrapolate it into the entire encyclopedia of life. Skewed and limited in their perspective, they are not wrong so much as grossly uninformed."</div><div style="text-align: justify;"><a href="https://www.edge.org/documents/Margulis-1996.pdf" target="_blank">Lynn Margulis (Gaia is a Tough Bitch Conversation)</a></div><div style="text-align: justify;">"... le développement industriel de l'ensemble du monde demande aux Américains de saisir lucidement la nécessité, pour une économie comme la leur, d'avoir une marge d'opérations sans profit. Un immense réseau industriel ne peut être géré comme on change une roue... Il exprime un parcours d'énergie cosmique dont il dépend, qu'il ne peut limiter, et dont il ne pourrait davantage ignorer les lois sans conséquences. Malheur à qui jusqu'au bout voudrait ordonner le mouvement qui l'excède avec l'esprit borné du mécanicien qui change une roue."</div><div style="text-align: justify;">Georges Bataille (La Part maudite)</div><div style="text-align: justify;"><br /></div>**************************************************************<div><h4 style="text-align: justify;"><span style="text-align: left;">Climatologist Michael E. Mann interviewed by Jonathan Watts/The Guardian (transplanted from England): </span></h4></div></div></div></div><div><span style="text-align: left;"><br /></span></div><div style="text-align: justify;">"Another development in the “climate war” is the entry of new participants. Bill Gates is perhaps the most prominent. His new book, How to Prevent a Climate Disaster, offers a systems analyst approach to the problem, a kind of operating system upgrade for the planet. What do you make of his take?</div><div style="text-align: justify;">I want to thank him for using his platform to raise awareness of the climate crisis. That said, I disagree with him quite sharply on the prescription. His view is overly technocratic and premised on an underestimate of the role that renewable energy can play in decarbonising our civilisation. If you understate that potential, you are forced to make other risky choices, such as geoengineering and carbon capture and sequestration. Investment in those unproven options would crowd out investment in better solutions.</div><div style="text-align: justify;">Gates writes that he doesn’t know the political solution to climate change. But the politics are the problem buddy. If you don’t have a prescription of how to solve that, then you don’t have a solution and perhaps your solution might be taking us down the wrong path" (<a href="https://www.theguardian.com/environment/2021/feb/27/climatologist-michael-e-mann-doomism-climate-crisis-interview" target="_blank">see the whole here: "Climatologist Michael E. Mann"/The Guardian, 27/02/2021</a>); </div><div style="text-align: justify;"><br /></div><div><h4 style="text-align: left;">Other News (Scrapes & Difficulties):</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... billionaire class assertions that they are philosopher kings and climate-conscious investors who know better than the original caretakers are little more than ruses for what amounts to a 21st century land grab – with big payouts in a for-profit economy seeking “green” solutions. Our era is dominated by the ultra-rich, the climate crisis and a burgeoning green capitalism. And Bill Gates’ new book How to Avoid a Climate Disaster positions himself as a thought leader in how to stop putting greenhouse gases into the atmosphere and how to fund what he has called elsewhere a “global green revolution” to help poor farmers mitigate climate change. What expertise in climate science or agriculture Gates possesses beyond being filthy rich is anyone’s guess."</div><div style="text-align: justify;">"Like wealth, land ownership is becoming concentrated into fewer and fewer hands, resulting in a greater push for monocultures and more intensive industrial farming techniques to generate greater returns. One per cent of the world’s farms control 70% of the world’s farmlands, one report found. The biggest shift in recent years from small to big farms was in the US."</div><div style="text-align: justify;">"The land we all live on should not be the sole property of a few. The extensive tax avoidance by these titans of industry will always far exceed their supposed charitable donations to the public. The “billionaire knows best” mentality detracts from the deep-seated realities of colonialism and white supremacy, and it ignores those who actually know best how to use and live with the land. These billionaires have nothing to offer us in terms of saving the planet – unless it’s our land back."</div><div style="text-align: justify;">- <a href="https://www.theguardian.com/commentisfree/2021/apr/05/bill-gates-climate-crisis-farmland" target="_blank">Bill Gates is the Biggest Private Owner of Farmland in the United States, Why? (Nick Estes/The Guardian, 5/04/2021)</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Together, the three men [Elon Musk, Jeff Bezos & Bill Gates] have an estimated wealth of $466bn and some of the biggest personal carbon footprints on the planet. They are also emblematic of a Davos-centric worldview that sees free markets and technological advancements as the answer to an existential emergency already upending the lives of millions of people."</div><div style="text-align: justify;">"Once one of the world's most ruthless businessmen, Gates has spent the last 20 years using his fortune to tackle big issues including poverty, disease and climate change... Among those investments is a plan to convert seawater into microscopic particles to be sprayed into clouds, increasing their whiteness and therefore their ability to reflect more sunlight back into space, reducing global warming. The geo-engineering scheme could fundamentally change the planet, whitening skies and changing weather patterns and ocean currents. He also has investments in new nuclear power plants and more traditional “green” tech like solar and wind."</div><div style="text-align: justify;">"Gates has many, many ideas and is a tireless advocate for the net zero cause. But his big ideas may not pan out – or prove politically acceptable. Even someone of Gates’s wealth and influence may struggle to change the global political landscape. And, again, his advocacy of the free markets that did so much to create the crisis we now face undermines his legitimacy."</div><div style="text-align: justify;">- <a href="https://www.theguardian.com/us-news/2021/mar/25/elon-musk-climate-plan-reward-jeff-bezos-gates-investments" target="_blank">The latest must-have among US billionaires? A plan to end the climate crisis (Oliver Milman & Dominic Rush/The Guardian, 25/03/2021)</a>; </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Elon Musk, Jeff Bezos, Mark Zuckerberg and six other tech titans made more than $360 billion during the pandemic, which may finally shatter the myth of the benevolent billionaire."</div><div style="text-align: justify;">"... the staggering rise in their gains contrasts with the economic devastation of millions of Americans, amid soaring unemployment and evictions, drawing attention to issues of inequality and distribution of wealth. In fact, the $360 billion increase in top billionaire wealth approaches the $410 billion the U.S. government is spending on the latest round of $1,400 stimulus checks, passed with the $1.9 trillion pandemic relief package this week."</div><div style="text-align: justify;">"The scrutiny of tech billionaires’ wealth is also driven by the role their companies played during the pandemic. Social media including Facebook appeared to make the situation worse because it was used to spread disinformation about covid-19 and the vaccines, undermining efforts to control the virus. Musk railed against stay-at-home mandates and reopened Tesla’s factory in defiance of local orders, arguing that Tesla should be allowed to continue building cars during California’s shutdown."</div><div style="text-align: justify;">"In Bezos’s case, profits were possible in part because Amazon hired more than 500,000 workers to stow, sort, pick and pack goods in 2020, even as warehouse workers sounded alarms about safety and nearly 20,000 Amazon employees in the United States tested positive for the coronavirus by October."</div><div style="text-align: justify;">"Tech billionaires invested comparatively little of that increased wealth back into the public sphere for the pandemic. Bezos donated $150 million, or roughly 0.26 percent of the profits he accrued during the pandemic, to covid-related causes, “while also having his workers work in Dickensian conditions,” said Tompkins-Stange, the University of Michigan professor. Musk reportedly gave $5 million, or 0.004 percent of his newfound gains, to covid-19 research, in addition to donating ventilators built to help patients with sleep apnea."</div><div style="text-align: justify;">"Bill Gates, a co-founder of Microsoft, was the most influential philanthropist on the global response to the pandemic. He shifted much of the focus of the foundation he runs with his wife, Melinda, to address the pandemic, donating $1.75 billion in pandemic-related philanthropy, or 7.3 percent of the $24 billion he added to his net worth... Gates had warned about the potential for a pathogen-spread pandemic since 2015, in a TED Talk, lectures and medical journal articles. Since the coronavirus emerged, Gates has appeared on news programs, late-night talk shows and a global charity event to push for science-based solutions."</div><div style="text-align: justify;">- <a href="https://www.washingtonpost.com/technology/2021/03/12/musk-bezos-zuckerberg-gates-pandemic-profits/" target="_blank">A Pandemic Year: The billionaire boom (<span style="text-align: left;">Chris Alcantara & Faiz Siddiqui/</span>The Washington Post, 12/03/2021)</a>;</div></div><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Artificially cooling the planet carries potential threats — and so does allowing tech billionaires to monopolize the research efforts."</div><div style="text-align: justify;">"There’s conflicting research on whether the most common proposal to geoengineer the planet ― spraying reflective sulfur aerosols into the stratosphere ― might inflict worse droughts and storms in different hemispheres, potentially exacerbating inequities between rich northern countries and poorer nations south of the equator. Then there are fears of how climate controls could be weaponized for war."</div><div style="text-align: justify;">"... skeptics who question the wisdom of even studying geoengineering say the proposal takes broad leaps beyond what the National Academies first outlined in its initial report in 2015, and that it endangers hope of crafting international agreements to guard against rogue deployments by sketching out a national program. Some argued that simply carrying out the research has jeopardized long-overdue efforts to eliminate climate-changing emissions in the first place ― efforts that are finally taking shape in the United States, Europe and China."</div><div style="text-align: justify;">"A 2013 study in the journal Nature Climate Change found that spraying aerosols in the Northern Hemisphere, such as over the United States or Japan, would likely reduce rainfall in areas closer to the equator, including the drought-parched Sahel, the semi-arid African region that includes Algeria, Mali and Sudan. A 2017 study in the journal Nature Communications determined that solar geoengineering in the north would shift the position of the tropical jet stream south, and vice versa, potentially unleashing powerful cyclones and hurricanes on whichever region misses out."</div><div style="text-align: justify;">"A 2019 study in JGR Atmospheres showed that solar geoengineering risks disrupting rainfall in South Asia and much of Africa, which would threaten the only irrigation system on which billions of poor farmers rely. A 2020 paper in Geophysical Research Letters backed up the idea that geoengineering in any form would throw jet streams out of whack, possibly adding novel changes to the climate in tropic regions where half the world’s population lives."</div><div style="text-align: justify;">"Absent an international agreement, policies overseeing geoengineering could become Balkanized. But another risk could be that the research remains in the control of the unaccountable private actors who are currently backing most research."</div><div style="text-align: justify;">- <a href="https://www.huffpost.com/entry/solar-geoengineering-climate-change_n_605c765dc5b67593e055ff9d" target="_blank">Geoengineering The Climate Just Became More Of A Real Possibility In The U.S. (Alexander C. Kaufman/Huff Post, 25/03/2021)</a>;</div><div style="text-align: justify;"><br /></div><div><span style="text-align: left;">**************************************************************</span><div><h4 style="text-align: justify;"><span style="text-align: left;">Brazil's edible plants (from a paper by researches of the University of Leiden): </span></h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Piso indicated that roots [tubers] of S. tuberosa deserved special attention, because of the way they developed underground and their use as a refreshment [water reservoir] for feverish patients and exhausted travelers, as he experimented himself. He and Marcgrave also described how its fruits were valued as food... Currently S. tuberosa, known as Umbu or Umbuzeiro, is an important economic and subsistence food resource for rural communities in semiarid regions of northeast Brazil. Its specialized root system (xylopodia) bears tubers that store liquids, sugars and other nutrients and allow the survival of the tree during the dry seasons of the caatinga and central Brazilian savanna, where this species is endemic. The water or sweet juice of these xylopodia is still used as an emergency thirst quencher in extreme arid areas of the Brazilian sertão..."</div></div><div style="text-align: justify;">"Several rainforest trees were highly valued for its edible fruits or seeds, such as Hymenaea courbaril L. or Lecythis pisonis L., of which the 'seeds (also called chestnuts) were eaten raw or roasted' and 'were considered aphrodisiacs.' The fruit of Macoubea guianensis Aubl. was 'appreciated for its sweetness by the indigenous peoples to eat during their travels, while Europeans used it to treat chest affections.' The fruit of Swartzia pickelii Killip ex Ducke was 'not eaten unless it was cooked, from which the inhabitants made a wholesome delicacy for the stomach called Manipoy.' The same applies to the tomato-like fruits of the African eggplant Solanum aethiopicum L., which were 'eaten cooked, after seasoning with oil and pepper; it has lemon taste'..."</div><div style="text-align: justify;">- <a href="https://www.nature.com/articles/s41598-021-99226-8" target="_blank">Alcàntara-Rodríguez, M., Francozo, M., & Andel, T. R. van. (2021). Looking into the flora of Dutch Brazil: botanical identifications of seventeenth century plant illustrations in the Libri Picturati. Scientific Reports, 11</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><h4><span style="text-align: left;">Degradation of Brazilian's flora </span><span style="text-align: left;">(from a paper by researches of the University of Leiden)</span><span style="text-align: left;">: </span></h4></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"In the past centuries, the Atlantic Forest and savannah regions of northeast Brazil have been severely affected by habitat loss and degradation due to the expansion of urbanization, intensive agriculture, farming and logging. Several plant species that were abundant enough to be noted by European artists around 1640 are not common anymore today. According to the IUCN Red List, eight species in the Libri Picturati, seven in the Theatrum and one in the LP are currently experiencing population decline or are at risk of facing extinction. Several endemic plants from the northeast Atlantic rainforest and caatinga biomes appear in the illustrations. Four species in the Libri Picturati are currently CITES-listed and restricted to trade: the cacti Brasiliopuntia brasiliensis (Willd.) A. Berger, Cereus fernambucensis Lem., Epiphyllum phyllanthus (L.) Haw. and Melocactus violaceus subsp. margaritaceus N. P. Taylor. The latter is an endemic cactus of the coastal sand dunes’ ecoregion in the Atlantic rainforest known as restinga, which is severely threatened by agricultural expansion and urbanization."</div><div style="text-align: justify;">"Some endemic species are classified as Least Concern by the IUCN or the CNC Flora (12 species), while others (13 species) have not been evaluated yet. The MC does not contain threatened species, but includes two endemic trees: Attalea compta Mart. and Eugenia cf. brasiliensis Lam., which are only found in the biodiversity hotspots of the Atlantic rainforest and the cerrado, both greatly affected by habitat loss. The mangrove vegetation along the Brazilian coast has been severely affected by urbanization, pollution by industrial and domestic waste and climate change, threatening the populations of the mangrove trees Avicennia schaueriana Stapf & Leechm. ex Moldenke and Laguncularia racemosa (L.) C. F. Gaertn. The occurrence of anthropogenic impacts and the lack of available data call for the implementation of more in-depth and continuous studies on the conservation status of these vulnerable populations."</div><div style="text-align: justify;">- <a href="https://www.nature.com/articles/s41598-021-99226-8" target="_blank">Alcàntara-Rodríguez, M., Francozo, M., & Andel, T. R. van. (2021). Looking into the flora of Dutch Brazil: botanical identifications of seventeenth century plant illustrations in the Libri Picturati. Scientific Reports, 11</a>;</div><div style="text-align: justify;"><br /></div></div><div style="text-align: justify;"><span style="text-align: left;">**************************************************************</span><div></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">See also:</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/12/agamben-lovelock-greta-thunberg-coluna.html">Agamben, Lovelock, Greta Thunberg</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception & the learned foolery of research</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">L'affirmation de l'âne + non-locality</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/11/allan-ginsberg-burroughs-ney-matogrosso.html">Allen Ginsberg, Burroughs & Ney Matogrosso sobre Ayahuasca</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/05/what-is-meaning-of-sacer-in-homo-sacer.html">What is the meaning of sacer in Homo Sacer? (lacération de la deésse)</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/10/amat-escalante.html">Amat Escalante (& Werner Herzog): Basilisk's Cinema</a>;</div><div style="text-align: justify;">And also (with the whole of it):</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html">5G?! internet of things & the crap...</a></div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/environmental-issue-brazil-novo-porto.html">Environmental Issue (Brazil): A new harbour in Torres</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/blue-crab-siri-azul-torres-brazil-jan.html">Blue Crab/ Siri Azul (Torres, Brazil, Jan 2019) & the World Food Club</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/10/who-wants-to-be-worlds-5th-largest.html">Who Wants to Be the World's 5th Largest Economy? </a></div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/03/instead-of-revolution-demontage-super.html">Instead of revolution: démontage</a>;</div><div style="text-align: justify;"><a href="https://www.academia.edu/31233486/Sloterdijk_Rules_for_the_Human_Park">***Peter Sloterdijk's Rules for the Human Park</a>;</div><div style="text-align: justify;"><a href="https://doi.org/10.1007/s13347-023-00617-8">***Ecomodernism and the Libidinal Economy: Towards a Critical Conception of Technology in the Bio‐Based Economy (Roel Veraart, Vincent Block, Pieter Lemmens, Philosophy & Technology/2023);</a></div><div style="text-align: justify;"><a href="https://www.ihu.unisinos.br/images/stories/cadernos/ideias/326cadernosihuideias.pdf">***Técnica e Ética no Contexto Atual (Oswaldo Giacoia, IHU)</a>; </div><div style="text-align: justify;"><a href="https://dra.revistas.csic.es/index.php/dra/article/view/538">***La Chute du ciel: un pas-de-deux entre un chamán y un antropólogo [excellent critical review that questions the apologetics of Viveiros de Castro, Bruce Albert and, to a certain extent, Davi Kopenawa himself around "A Queda do Céu"]</a>; </div><div style="text-align: justify;"><a href="https://center-yanomami.publicanthropology.org/docs/4-c9%20Le-Monde29Jan11.pdf">***Le Sang Volé des Yanomami (Catherine Vincent/Le Monde)</a>;</div><div style="text-align: justify;"><a href="https://seer.ufrgs.br/EspacoAmerindio/article/view/61133">***Paisagens, Territórios e Pressão Colonial (Ailton Krenak/Espaço Ameríndio)</a>;</div><div style="text-align: justify;"><a href="https://www.ufmg.br/revistaufmg/downloads/22/11-Artigo-11-p142-159.pdf"></a><a href="https://www.ufmg.br/revistaufmg/downloads/22/11-Artigo-11-p142-159.pdf">***O Cosmo Segundo os Yanomami (Davi Kopenawa)</a>;</div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-1410239956314155102021-01-11T09:56:00.102-08:002023-09-19T06:24:40.464-07:00Cartografia de Água Viva (Objeto Gritante)*** &/ou lista de velhas figuras alquímicas (under construction, Good God!)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2mg-Ud00GvN0e89fh2lN66MTy0_wwRo3P9EhbymWUnhXvJYC9k5csevJCDep3QkWSISDKn-30PCMTR-EchhSiivuua3r0W0kbeX1bqHGhuJ8SLdCZfq0b2pblaq2RKZJwS5cx-Q/s1826/clarice_agua_viva.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1009" data-original-width="1826" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2mg-Ud00GvN0e89fh2lN66MTy0_wwRo3P9EhbymWUnhXvJYC9k5csevJCDep3QkWSISDKn-30PCMTR-EchhSiivuua3r0W0kbeX1bqHGhuJ8SLdCZfq0b2pblaq2RKZJwS5cx-Q/w400-h221/clarice_agua_viva.jpeg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2mg-Ud00GvN0e89fh2lN66MTy0_wwRo3P9EhbymWUnhXvJYC9k5csevJCDep3QkWSISDKn-30PCMTR-EchhSiivuua3r0W0kbeX1bqHGhuJ8SLdCZfq0b2pblaq2RKZJwS5cx-Q/s1826/clarice_agua_viva.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vymgBCfQXDo" width="320" youtube-src-id="vymgBCfQXDo"></iframe></a></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ohHP1l2EVnU" width="320" youtube-src-id="ohHP1l2EVnU"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/HZ4TXDlUwQc" width="320" youtube-src-id="HZ4TXDlUwQc"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PYueBfPwv9o" width="320" youtube-src-id="PYueBfPwv9o"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1IM61lRNkm0" width="320" youtube-src-id="1IM61lRNkm0"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CRyTFcJhZyo" width="320" youtube-src-id="CRyTFcJhZyo"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gB0OKFWikB4" width="320" youtube-src-id="gB0OKFWikB4"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2fcXRVUVKGE" width="320" youtube-src-id="2fcXRVUVKGE"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3EvB0Rw_kZs" width="320" youtube-src-id="3EvB0Rw_kZs"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YGxj36XYN7k" width="320" youtube-src-id="YGxj36XYN7k"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CxvgevK4rLI" width="320" youtube-src-id="CxvgevK4rLI"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/SsD9rG9BOGs" width="320" youtube-src-id="SsD9rG9BOGs"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/cAug2MqrWGk" width="320" youtube-src-id="cAug2MqrWGk"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Wbc2qQ5Z75w" width="320" youtube-src-id="Wbc2qQ5Z75w"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-seQk-cyfhw" width="320" youtube-src-id="-seQk-cyfhw"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_5isRPTn6GE" width="320" youtube-src-id="_5isRPTn6GE"></iframe></div><br /><div><br /></div><div style="text-align: justify;">A/Z montage (original photography + Guan Tong, Li Long-mien, Baltrusaitis), <a href="https://www.juststructontologin.com/projects--about.html" target="_blank">for more see here</a>;</div><div style="text-align: justify;">Seminário Aberto Filosofia e Literatura/Clarice Lispector, 100 anos de existência, 10/12/2020 (Universidade do Porto); </div><div style="text-align: justify;">Entrevista de Clarice com Julio Lerner (1977); </div><div style="text-align: justify;">Lygia Clark and her "Abandonment" in MoMA (Luis Pérez-Orama);</div><div><div style="text-align: justify;">Ilé Aiyé: The House of Life (documentary about Salvador/Bahia's Candomblé by David Byrne, 1989); </div><div style="text-align: justify;">Colloque de Cerisy: Dostoïevsky, l'auteur de ma vie (Julia Kristeva & Nicolas Aude); </div><div><div style="text-align: justify;">Documentário su August Strindberg (1849-1912) (Fondazione Teatro Due) [this is an excellent material that ended being censured on Youtube, so I took it from here because the preview wouldn't show]; </div><div style="text-align: justify;">'Strindberg: A Life' Author Sue Prideaux Interviewed by Yale Books;</div><div><div style="text-align: justify;">Nerval, La folie d'écrire (Stéphane Ginet, Jacques Bony/Canal du Savoir, 1996); </div><div style="text-align: justify;">Heidegger & Holderlin (par Jean Amrouche et Jean Wahl/RTF, 1956);</div><div style="text-align: justify;"><span style="text-align: left;">Friedrich Hölderlin : Folie et génie par Pierre Jean Jouve (1951/France Culture);</span></div><div style="text-align: justify;"><span style="text-align: left;">Alchimie & représentations du monde (1991/France Culture);</span></div><div style="text-align: justify;"><span style="text-align: left;">Paracelse: une vie une oeuvre (1985/France Culture); </span></div><div style="text-align: justify;"><span style="text-align: left;"><span style="text-align: justify;">Giacinto Scelsi's Four illustrations: IV, Krishna-Avatara;</span></span></div><div style="text-align: justify;"><span style="text-align: left;">Giacinto Scelsi's Come un cri traverse un cerveau (Youtube); </span></div><div style="text-align: justify;"><span style="text-align: left;"><div style="text-align: justify;">Giacinto Scelsi's Okanagon (1968, Youtube); </div><div></div></span></div><div style="text-align: justify;"><span style="text-align: left;">Brian Ferneyhough's Terrain (1992) (Youtube); </span></div><div style="text-align: justify;"><span style="text-align: left;">Brian Ferneyhough's La Terre est un Homme (Youtube); </span></div><div><span style="text-align: left;">**************************************************************</span></div><h4 style="text-align: left;">Vestibule (to keep your imagination as busy as my own):</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Jung contrappone, è noto, a uno strato superficiale dell'inconscio (personale) uno strato piú profondo, innato e collettivo che ha contenuti e comportamenti che (cum grano salis) sono gli stessi dappertutto e per tutti gli individui. I contenuti dell'inconscio collettivo sono i cosiddetti archetipi. Tipi arcaici, immagini universali presenti sin dai tempi remoti, répresentations collectives (Lévi-Bruhl) ovvero figure simboliche delle primitive visione del mondo... I principi basilari dell'inconscio, le archai, nonostante siano riconoscibili, sono, per la loro ricchezza di riferimenti, indescrivibili. Nessuna formulazione univoca é possibile: essi sono contraddittori e paradossali, come lo spirito è, per gli alchimisti, simul senex et iuvenis..."</div><div style="text-align: justify;">Umberto Eco, Semiótica e Filosofia del linguaggio</div><div style="text-align: justify;"><div>"... die Geschichte des Christentums—und zwar vom Tode am Kreuze an—ist die Geschichte des schrittweise immer gröberen Missverstehns eines ursprünglichen Symbolismus."</div><div><div>"Heute noch ist ein solches Leben möglich, für gewisse Menschen sogar notwendig: das echte, das ursprüngliche Christentum wird zu allen Zeiten möglich sein... Nicht ein Glauben, sodern ein Tun, ein Vieles-nicht-tun vor allem, ein andres Sein... Bewusstseins-Zustände, irgendein Glauben, ein Für-wahr-halten zum Beispiel, jedes Psycholog weiss das, sind ja vollkommen gleichgültig und fünften Ranges gegen den Wert der Instinkte: strenger geredet, der ganze Begriff geistiger Ursächlichkeit ist falsch. Das Christ-sein, die Christlichkeit auf ein Für-wahr-halten, auf eine blosse Bewusstseins-Phänomenalität reduzieren, heisst die Christlichkeit negieren."</div></div><div>Nietzsche (Der Antichrist)</div><div><br /></div><div><div>"Indem nämlich die Vielheit unverbundener Einzeltriebe sich in zwei einander gleichsam gegenüber stehende Wesenheiten zerspaltet, von denen die Eine herrscht, die Andere dient, — wird es dem Menschen ermöglicht, zu sich selber nicht nur wie zu einem anderen, sondern auch wie zu einem höhern Wesen zu empfinden. Indem er einen Theil seiner selbst sich selber zum Opfer bringt, ist er einer religiösen Exaltation nahe gekommen. In den Erschütterungen seines Geistes, in denen er das heroische Ideal eigener Preisgebung und Hingebung zu verwirklichen wähnt, bringt er an sich selbst einen religiösen Affect zum Ausbruch." </div><div>"Von allen grossen Geistesanlagen Nietzsches gibt es keine, die tiefer und unerbittlicher mit seinem geistigen Gesammtorganismus verbunden gewesen wäre, als sein religiöses Genie. Zu einer anderen Zeit, in einer andern Culturperiode würde dasselbe diesem Predigerssohn sicherlich nicht gestattet haben, zum Denker zu werden. Unter den Einflüssen unserer Zeit erhielt jedoch sein religiöser Geist die Richtung aufs Erkennen und vermochte dasjenige, wonach es ihn instinctiv am drängendsten verlangte, wie nach dem natürlichen Ausdruck seiner Gesundheit, nur in krankhafter Weise zu befriedigen, — das heisst, er vermochte es nur vermittelst einer Rückbeziehung auf sich selbst anstatt auf eine ihn mit umfassende, ausser ihm liegende Lebensmacht."</div><div>"So erreichte er das gerade Gegentheil des Angestrebten: nicht eine höhere Einheit seines Wesens, sondern dessen innerste Zweitheilung, nicht den Zusammenschluss aller Regungen und Triebe zu einem einheitlichen Individuum, sondern ihre Spaltung zum »Dividuum«. Es war immerhin eine Gesundheit erreicht, — doch mit den Mitteln der Krankheit; eine wirkliche Anbetung, doch mit den Mitteln der Täuschung; eine wirkliche Selbstbehauptung und Selbsterhebung, doch mit den Mitteln der Selbstverwundung."</div><div>Lous Salomé</div></div><div><br /></div><div><div>"Mais l'expérience est là qui désigne en Dieu le moyen d'échapper à ce délire qu'atteint rarement l'amour de Dieu, qui désigne en Dieu le 'Bon Dieu', le garant de l'ordre social et de la vie discontinue. Ce qu'atteint au sommet l'amour de Dieu est en vérité la mort de Dieu. Mais nous ne pouvons de ce côté rien connaître, sinon la limite de la connaissance. Cela ne signifie pas que l'expérience de l'amour de Dieu ne nous donne pas les indications les plus vraies. Nous ne devons pas nous étonner que les données théoriques ne faussent pas l'expérience possible. La recherche est toujours celle de la continuité, qu'atteint l'état theopathique. Jamais les voies de cette recherche ne sont droites."</div><div>Georges Bataille ("La Béauté", <i>L'Érotisme</i>)</div></div><div>"Quoi qu'il en soit (et je reconnais volontiers que sur un point assez obscur, il est possible d'hésiter), il apparaît qu'au moins en partie Hegel tira de ses connaissances théologiques, de même que de la connaissance de maître Eckart et de Jacob Noehme, le mouvement de dialectique qui lui est propre. Mais si j'ai parlé maintenant de Hegel, ce n'est pas avec l'intention d'insister sur la valeur de sa philosophie."</div><div>"Il me semble même que la réaction contre cet aspect glacé de la philosophie caractérise la philosophie moderne dans son ensemble, mettons, sans parler de Kierkegaard, de Nietzsche à Heidegger. Naturellement la philosophie, me semble-t-il, est profondément malade. Elle est inconciliable avec une possibilité bohême, une possibilité débraillée de la pensée, que je représente peut-être aux yeux de certains d'entre vous."</div><div>"Si nous suivons la voie indiquée par le christianisme, il est vrai, nous pouvons non seulement sortir de la solitude, mais accéder à une sorte d'équilibre, qui échappe au déséquilibre premier, dont je pars, qui nous empêche de concilier la discipline et le travail avec l'expérience de l'extrême."</div><div>Georges Bataille ("La Sainteté", <i>L'Érotisme</i>)</div><div><br /></div><div><div>"Les normes mêmes de la démonologie non seulement décrivent l'existence d'un point de vue différent de celui de la croyance en général; elles forment de surcroît une méthode, telle qu'elle est conçue à l'origine par les néo-platoniciens, en dernier lieu par l'herméneutique scolastique — prônant une traduction spectaculaire des puissances avec lesquelles on compose — en fin de compte analysant jusqu'aux procédures de la pensée même —, et qui concourt, contre toute 'pathogénie' critique, à figurer plutôt une 'pathophanie': soit à considérer en nous l'insidieuse présence des esprits, mais aussi toute façon de penser et de sentir comme une expression indissociable de leur dissimulation. De là vient, dirai-je à la suite de Varron, le caractère théâtrique de la théologie, dont le théâtre occidental, strindbergien et shakespearien, à son tour dérive indirectement."</div><div>"Parce que l'affabulation, dans La Vocation suspendue, est en réalité plus autobiographique que l'autobiographie n'eût semblé le permettre, même si en fin de compte cette affabulation se retourne contre elle-même — et de fait aujourd'hui à vos yeux, je me comporterais comme un athée, quoique je ne cache point mon non-athéisme. Kierkegaard indique bien que tous les chrétiens ne peuvent que se comporter comme des athées. D'avoir abandonné l'habit ne me rend pas moins sensibles aux motifs particuliers dont s'est servi mon propre mouvement ver la foi. Bien au contraire — et ainsi que, lors de mon expérience conventuelle, je découvris que de fuir les 'ténèbre'au-dehors, celles-ci n'en paraissaient que plus présentes à l'esprit sou la persécution des âmes où le Vatican menait une parti de l'Eglise, — de même, j'ai voulu prouver à l'inverse, dans le style de cette confession, que la réduction à l'état laïc fasait encore dépendre cet état d'une conception religieuse de la vie profane."</div><div>Pierre Klossowski (entretiens avec Jean-Maurice Monnoyer)</div></div><div><div>"La Gaya Scienza, fruit de la plus grande solitude imaginable, parle essentiellement à des esprits qui, eux, sauront retrouver cette solitude, donc à ces natures qu'un fond de noblesse dispose à refuser autant la distraction à tout prix que le travail à tout prix, donc à supporter l'ennui: nous touchons là aux ressources de la solitude, lesquelles, en dépit de son extrême isolement, lui donnaient le sentiment d'être toujours 'entre nous'... Quant aux états d'élévation, il lui semble, dit-il, que la plupart des gens ne croient guère à la réalité de pareils états d'âme, excepté ceux qui connaissent par expérience un état d'elévation de longue durée."</div><div>Pierre Klossowski (Un si funeste désir) </div></div><div><br /></div><div><div><span style="text-align: start;">"As Dante writes of the sunlight coming through the clouds from a hidden source and illuminating part of a field, long before the painters had depicted such effects of light and shade, so are later watchers on the alert for colour perceptions of a subtler sort, neither affirming them to be 'astral' or 'spiritual' nor denying the formulae of theosophy."</span></div><div><span style="text-align: start;">Ezra Pound (The Wisdom of Poetry)</span></div><div><div>"Speaking aesthetically, the myths are explications of mood: you may stop there, or you may probe deeper. Certain it is that these myths are only intelligible in a vivid and glittering sense to those people to whom they occur. I know, I mean, one man who understands Persephone and Demeter, and one who understands the Laurel, and another who has, I should say, met Artemis. These things are for them real."</div><div style="text-align: justify;">"The problem, in so far as it concerns Provence, is simply this: Did this 'chivalric love,' this exotic, take on mediumistic properties? Stimulated by the color or quality of emotion did that 'color'take on forms interpretive of the divine order? Did it lead to an 'exteriorization of the sensibility,' and interpretation of the cosmos by feeling?"</div><div style="text-align: justify;">"Though the servants of Amor went pale and wept and suffered heat and cold, they come on nothing so apparently morbid as the 'dark night'. The electric current giver light where it meets resistance."</div></div></div><div style="text-align: justify;"><span style="text-align: start;">Ezra Pound (Psychology and Troubadours)</span></div><div style="text-align: justify;"><span style="text-align: start;"><span style="text-align: justify;">"I came to London </span><span style="text-align: justify;">with £3 knowing no one... I wanted to meet certain men whose work I admired. I have done this... Besides knowing living artists I have come in touch with the tradition of the dead."</span></span></div><div style="text-align: justify;"><span style="text-align: start;"><span style="text-align: justify;">Ezra Pound (How I began)</span></span></div><div><br /></div><div><div>"La grande ressource de Maeterlinck est le mot. Le mot est une résonance intérieure... il se forme dans la tête de l'auditeur une représentation abstraite, un objet dématérialisé qui éveille immédiatement dans le 'coeur' une vibration. Ainsi l'arbre vert, jaune, rouge dans la prairie n'est qu'un cas matériel, une forme matérialisée fortuite de l'arbre que nous ressentons au son du mot, arbre. L'emploi habile (selon l'intuition du poète) d'un mot, la répétition intérieurement nécessaire d'un mot, deux fois, trois fois, plusieurs fois rapprochées, peuvent aboutir non seulement à une amplification de la résonance intérieur, mais aussi à faire apparaître certaines capacités spirituelles insoupçonnées de ce mot."</div><div>"De même se perd parfois le sens devenu abstrait de l'objet désigné et seul subsiste, dénudé, le son du mot. Inconsciemment nous entendons peut-être ce son 'pur' en consonance avec l'objet, réel ou ultérieurement devenu abstrait. Dans ce dernier cas cependant, ce son pur passe au premier plan et exerce une pression directe sur l'âme. L'âme en vient à une vibration sans objet encore plus complexe, je dirais presque plus 'surnaturelle' que l'émotion ressentie par l'âme à l'audition d'une cloche, d'une corde pincée, de la chute d'une planche, etc."</div></div><div>Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)</div><div><br /></div><div>"Mais il n'y aurait pas seulement différence de degré, comme sur une échelle, entre le philosophe et le sage: le vieux sage venu d'Orient pense peut-être par Figure, tandis que le philosophe invente et pense le concept."</div><div><div>"Dans le cas des figures, au contraire, le pré-philosophique montre que le plan d'immanence lui-même n'avait pas pour destination inévitable une création de concept ou une formation philosophique, mais pouvait se déployer dans des sagesses et des religions suivant une bifurcation qui conjurait d'avance la philosophie du point de vue de sa possibilité même."</div><div>Deleuze & Guattari (Qu'est-ce que la philosophie?)</div></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Estou começando a ler uma mulher com boa cara chamada Simone Weil. Uma mística das antigas eras mas que o Michel acha que eu estou passando também por uma grande experiência mística na medida em que sou o outro. Imagine uma experiência mística e erótica ao mesmo tempo, mas um erótico nada transcendente e camuflado... Aconteceu um fenômeno incrível essa noite. Depois de começar a ler o tal livro, e ela usa muito a terminologia do vazio pleno, e também outros termos que uso, só que em uma outra concepção etc. e tal. Dormi. Acordei duas vezes à noite e, aterrorizada, percebi uma luz difusa dentro do quarto... no duro e pela primeira vez tremi de horror. Mesmo na Praia da Rasa, quando aconteceu aquele fenômeno, lembra-se, de minha cama ter sido levantada e batida no chão, não tive tal medo... Acho que coisas começam a se remoer dentro de mim e devo passar ainda por grandes transformações! É duro, mas o que se há de fazer?"</div><div style="text-align: justify;"><div>Lygia Clark (carta a Hélio Oiticica)</div></div><div style="text-align: justify;">"Mando para você uma foto de um trabalho que chamo de Baba antropofágica. Uma pessoa se deita no chão. Em volta os jovens que estão ajoelhados põem na boca um carretel de linha de várias cores. Começam a tirar com a mão a linha que cai sobre a deitada até esvaziar o carretel. A linha sai plena de saliva e as pessoas que tiram a linha começam por sentir simplesmente que estão tirando um fio, mas em seguida vem a percepção de que estão tirando o próprio ventre para fora. É a fantasmática do corpo, aliás, o que me interessa, e não o corpo em si."</div><div style="text-align: justify;">Lygia Clark (carta a Hélio Oiticica)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Mit demselben Instinkte, mit dem die Unterworfnen ihren Gott zum 'Gutten an sich' herunterbringen, streichen sie aus dem Gotte ihrer Überwinder die guten Eigenschaften aus; sie nehmen Rache an ihren Herren, dadurch dass sie deren Gott verteufeln."</div><div style="text-align: justify;">"... hier wird der Affekt gegen einen Mächtigen, 'Gott' genannt, beständig aufrechterhalten (durch Gebet)... ein versteckter heimlicher Wettbewerb..."</div><div><div style="text-align: justify;">"Psychologisch nachgerechnet, ist das jüdische Volk ein Volk der zähesten Lebenskraft, welches, unter unmögliche Bedingungen versetzt, freiwillig, aus der tiefsten Klugheit der Selbsterhaltung, die Partei aller décadence-Instinkte nimmt—nicht als von ihnen beherrscht, sondern weil es in ihnen eine Macht erriet, mit der man sich gegen 'die Welt' durchsetzen kann."</div><div style="text-align: justify;">"Das Christentum als Formel, um die unterirdischen Kulte aller Art, die des Osiris, der grossen Mutter, des Mithras zum Beispiel, zu überbieten—un zu summieren: in dieser Einsicht besteht das Genie des Paulus."</div>Nietzsche (Der Antichrist)</div><div><div style="text-align: justify;">"Von allem Wunderbaren — so erzählte mir Paracelsus — was ich je sah und hörte, ist Eins das Erstaunlichste, und ich muß nicht nur ein muthiges Herz wie ein Löwe, sondern auch die unschuldige Geduld eines Lammes dazu haben, es gerade so zu berichten, wie es sich zugetragen hat. Denn gesetzt, es wäre das Blendwerk eines mir übel wollenden Geistes gewesen, so gab es nie für mich eine ärgere Versuchung: und sprach das, was mir erschien, die Wahrheit..."</div><div style="text-align: justify;">Nietzsche (Nachgelassene Fragmente, 1881)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Soweit die Kunst auf das Schöne ausgeht und es, wenn auch noch so schlicht, 'wiedergibt', holt holt sie es (wie Faust die Helena) aus der Tiefe der Zeit herauf... <span style="text-align: left;">Dem Blick wohnt aber die Erwartung inne, von dem erwidert zu </span><span style="text-align: left;">werden, dem er sich schenkt. Wo diese Erwartung erwidert wird (die ebensowohl, im Denken, an einen intentionalen Blick der Aufmerksamkeit sich heften kann wie an einen Blick im schlichten Wortsinn), da fällt ihm die Erfahrung der Aura in ihrer Fülle zu. 'Die Wahrnehmbarkeit', so urteilt Novalis, ist 'eine Aufmerksamkeit'. Die Wahrnehmbarkeit, von welcher er derart spricht, ist keine andere als die der Aura. Die Erfahrung der Aura beruht also auf der übertragung einer in der menschlichen Gesellschaft geläufigen Reaktionsform auf das Verhältnis des Unbelebten oder der Natur zum Menschen. Der Angesehene oder angesehen sich Glaubende schlägt den Blick auf. Die Aura einer Erscheinung erfahren, heißt, sie mit dem Vermögen belehnen, den Blick aufzuschlagen. Die Funde der memoire involontaire entsprechen dem. (Sie sind übrigens einmalig: der Erinnerung, die sie sich einzuverleiben sucht, entfallen sie. Damit stützen sie einen Begriff der Aura, der die 'einmalige Erscheinung einer Ferne' in ihr begreift. Diese Bestimmung hat für sich, den kultischen Charakter des Phänomens transparent zu machen. Das wesentlich Ferne ist das Unnahbare: in der Tat ist Unnahbarkeit eine Hauptqualität des Kultbildes.) </span><span style="text-align: left;">Wie sehr Proust im Problem der Aura bewandert war, bedarf nicht der Unterstreichung. Immerhin ist es bemerkenswert, daß er es bei Gelegenheit in Begriffen streift, die deren Theorie in sich schließen: 'Einige, die Geheimnisse lieben, schmeicheln sich, daß den Dingen etwas von den Blicken bleibt, welche jemals auf </span><span style="text-align: left;">ihnen ruhten'... </span><span style="text-align: left;">Verwandt... ist Valerys Bestimmung der Wahrnehmung im Traume als einer auratischen. 'Wenn ich sage: ich sehe das da, so ist damit nicht eine Gleichung zwischen mir und der Sache niedergelegt... Im Traume dagegen liegt eine Gleichung vor. Die Dinge, die ich sehe, sehen mich ebensowohl wie ich sie sehe.' Eben der Traumwahrnehmung ist die Natur der Tempel, von dem es heißt 'L'homme y passe à travers des forêts de symboles/Qui l'obervent avec des regards familiers' [Baudelaire]. </span><span style="text-align: left;">Je besser Baudelaire darum gewußt hat, desto untrüglicher hat der Verfall der Aura seinem lyrischen Werk sich einbeschrieben."</span></div><div style="text-align: justify;"><span style="text-align: left;">Walter Benjamin (Über einige Motive bei Baudelaire)</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Il arrive quelquefois que la personnalité disparaît et que l'objectivité, qui est le propre des poëtes panthéistes, se développe en vous si anormalement, que la contemplation des objets extérieurs vous fait oublier votre propre existence, et que vous vous confondez bientôt avec eux..."</div><div style="text-align: justify;">"Car les proportions du temps et de l'être sont complètement dérangées par la multitude et l'intensité des sensations et des idées."</div><div style="text-align: justify;">"Je me considérais comme enfermée pour longtemps, pour des milliers d'années peut-être, dans cette cage somptueuse, au milieu de ces paysages féeriques, entre ces horizons merveilleux. Je rêvais de Belle au bois dormant, d'expiation à subir, de future délivrance. Au-dessus de ma tête voltigeaient des oiseaux brillants des tropiques..."</div><div style="text-align: justify;">"... bientôt à ces rêves de terrasses, de tours, de remparts, montant à des hauteurs inconnues et s'enfonçant dans d'imenses profondeurs, succédèrent des lacs et des vastes étendues d'eau... Il ne peut pas les congédier; car la volonté n'a plus de force et ne gouverne plus de facultés. La mémoire poétique, jadis source infinie de jouissances, est devenue un arsenal inépuisable d'instruments de supplices... Le Malais était devenu l'Asie elle-même; l'Asie antique, solennelle, monstrueuse et compliquée comme ses temples et ses religions; où tout, depuis les aspects les plus ordinaires de la vie jusqu'aux souvenirs classiques et grandioses qu'elle comporte, est fait pour confondre et stupéfier l'esprit d'un Européen... et puis la Chine et l'Inde formaient bientôt avec l'Égypte une triade menaçante, un cauchemar complexe, aux angoisses variées..."</div><div style="text-align: justify;">"Sous les deux conditions connexes de chaleur tropicale et de lumière verticale, je ramassais toutes les créatures, oiseaux, bêtes, reptiles, arbres et plantes, usages et spectacles, que l'on trouve communément dans toute la région des tropiques, et je les jetais pêle-mêle en Chine ou dans l'Indoustan. Par un sentiment analogue, je m' emparais de l'Égypte et de tous ses dieux, et les faisais entrer sous la même loi... J'étais l'idole; j'étais le prêtre; j'étais adoré; j'étais sacrifié. Je fuyais la colère de Brahma à travers toutes. les forêts de l'Asie; Vishnû me haïssait; Siva me tendait une embûche. Je tombais soudainement chez Isis et Osiris; j'avais fait quelque chose, disait-on, j'avais commis un crime qui faisait frémir l'ibis et le crocodile... tôt ou tard se produisait un reflux de sentiments où l'étonnement à son tour était englouti, et qui me livrait non pas tant à la terreur qu'à une sorte de haine et d'abomination pour tout ce que je voyais... Le crocodile maudit devint pour moi l'objet de plus d'horreur que presque tous les autres. J'étais forcé de vivre avec lui, hélas! pendant de siècles... des autres monstres et inexprimables avortons..."</div><div style="text-align: justify;">"Ses regards étaient tranquilles, mais doués d'une singulière solennité d'expression, et je la contemplais alors avec une espèce de crainte. Tout à coup, sa physionomie s'obscurcit; me tournant du côté des montagnes, j'aperçus des vapeurs qui roulaient entre nous deux..."</div><div style="text-align: justify;">Baudelaire/De Quincey (Les Paradis artificiels) </div><div><div style="text-align: left;">"... on peut rêver en écrivant? Et si la scène du rêve est toujours une scène d'écriture?"</div><div style="text-align: left;">Jacques Derrida (De la grammatologie)</div><div style="text-align: left;"><br /></div><div style="text-align: justify;">"Le perroquet demandait à déjeuner comme en ses plus beaux jours, et me regarda de cet oeil rond, bordé d'une peau chargée de rides, qui fait penser au regard expérimenté des vieillards."</div><div style="text-align: justify;">"... la tour de Gabrielle se reflète de loin sur les eaux d'un lac factice étoilé de fleurs éphémères; l'écume bouillonne, l'insecte bruit... Il faut échapper à l'air perfide qui s'exhale en gagnant les grès poudreux du désert et les landes où la bruyère rose relève le vert des fougères."</div><div style="text-align: justify;">"Père Dodu, vous savez trop bien que l'homme se corrompt partout."</div><div style="text-align: justify;">"La lettre était si empreinte de mysticisme germanique, que je n'en devais pas attendre un grand succès..."</div><div style="text-align: justify;">"J'ai passé par tous les cercles de ces lieux d'épreuves qu'on appelle théâtres."</div><div style="text-align: justify;">"Puis un rayon divin a lui dans mon enfer; entouré de monstres contre lesquels je luttais obscurément, j'ai saisi le fil d'Ariane, et dès lors toutes mes visions sont devenues célestes."</div><div style="text-align: justify;">"Mon cher Liszt... Il y a bien longtemps que je ne vous ai écrit... J'ai souffert d'une maladie nerveuse dont la convalescence a été longue et qui a commence à la suite d'un excès de travail occasionné par une pièce de théâtre..."</div></div><div><div style="text-align: justify;">"Apulée, l'initié du culte d'Isis, l'illuminé païen, à moitié sceptique, à moitié crédule, cherchant sous les débris des mylhologies qui s'écroulent les traces de superstitions antérieures ou persistantes, expliquant la fable par le symbole, et le prodige par une vague définition des forces occultes de la nature..."</div><div style="text-align: justify;">Gérard de Nerval</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Dans ses Leçons sur l'histoire de la philosophie, après avoir rappelé que pour Boehme la négativité travaille et constitue la source, qu'au principe « Dieu est aussi le Diable, les deux pour soi », etc., Hegel écrit ceci, que je renonce à traduire: « Ein Hauptbegriff ist die Qualität. Böhme fängt in der Aurora (Morgenröte im Aufgang) von den Qualitäten an. Die erste Bestimmung Böhmes, die der Qualität, ist Inqualieren, Qual, Quelle. In der Aurora sagt er: « Qualität ist die Beweglichkeit, Quallen (Quellen) oder Treiben eines Dinges »... » (Troisième Partie, Première Section, B. Jakob Böhme)."</div></div><div style="text-align: justify;">Jacques Derrida (Qual Quelle)</div><div style="text-align: justify;"><div>"Qu'en Grèce une femme incarnant une compagne de Dionysos soit figurée comme possédée par une panthère ou qu'au Dahomey ce soit une divinité des eaux qui incarne passagèrement l'esprit du fauve, l'un et l'autre ne font que montrer, une fois de plus, d'une part que la thématique de la possession est universelle et que la fureur des bêtes sauvages est un de ses aspects favoris, de l'autre, et c'est ce qui nous intéresse surtout présentement que la possession s'accompagne partout d'un grand mouvement d'échange et de va-et-vient des âmes..."</div><div>Gilbert Rouget</div><div><div>"... il arrive trop souvent que ce pain [qui convient à des sections plus grandes et situées plus bas dans l'hiérarchie du triangule] devienne la nourriture d'hommes qui appartiennent déjà à une section plus élevée. Pour eux, ce pain devient alors un poison: à petites doses il fait progressivement glisser l'âme d'une section élevée dans une autre plus basse; à haute dose, il provoque une chute brutale, vers des sections de plus en plus basses."</div><div>Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)</div></div></div><div style="text-align: justify;">"And he stared hard at the object of discourse, as one might do at a strange repulsive animal: a centipede from the Indies..."</div><div style="text-align: justify;">Nelly (Wuthering Heights)</div><div style="text-align: justify;">"Os jagunços investiam sobre os canhões, punham a mão em cima e diziam: viram canaias! o que é ter coragem?"</div><div style="text-align: justify;">Euclides da Cunha (Caderneta de Campo)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"En 1896 un millar de rebaños correrían de la playa hacia el sertón y el mar se volvería sertón y el sertón se volvería mar... que había visto la zarza ardiente en el desierto, igual que Moisés..."</div><div style="text-align: justify;">"... y por un trago de cachaça y un plato de charqui y farofa contaban las historias de Oliveros, de la princesa Magalona, de Carlomagno y los Doce Pares de Francia..."</div><div style="text-align: justify;">"El Anticristo podía mandar soldados a Canudos: de qué le serviría? Se pudrirían, desaparecerían. Los creyentes podían morir, pero, tres meses y un día después, estarían de vuelta, completos de cuerpo y purificados de alma..."</div><div style="text-align: justify;">"... esos códigos de conducta tan puntillosos, cómo explicárselos en este fin del mundo?"</div><div style="text-align: justify;">"... aunque distorcionada, era una leyenda medieval que había leído de niño y visto de joven transformada en vodevil romántico: Roberto el Diablo."</div><div style="text-align: justify;">"De nuevo tuvo una sensación de absurdo e irrealidad."</div><div style="text-align: justify;">"Eran los colgajos de los árboles lo que el Enano miraba hechizado..."</div><div style="text-align: justify;">"... lo dan la impresión de no ser de carne y hueso sino de cuento o pesadilla."</div><div style="text-align: justify;">"... prosiguió León de Natuba, sin amargura, con esa aquiescencia tranquila que el periodista miope había visto a las gentes de aquí enfrentar al mundo, como se las desgracias fueran, igual que las lluvias, los crepúsculos, las mareas, fenómenos naturales contra los que sería estúpido rebelarse."</div><div style="text-align: justify;">Mario Vargas Llosa (La guerra del fin del mundo) </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... l'habitude d'avoir toujours du whisky dans ma valise dans le cas d'insomnies ou de désespoirs subits. Pendant cette période-là j'ai eu des amants."</div><div style="text-align: justify;">"Les hommes ne le supportent pas: une femme qui écrit. C'est cruel pour l'homme. C'est difficile pour tous. Sauf pour Robert A."</div><div style="text-align: justify;">"Personne ne peut la connaître, Lol V. Stein, ni vous ni moi. Et même ce que Lacan en a dit, je ne l'ai jamais tout à fait compris."</div><div style="text-align: justify;">"Quand je me couchais, je me cachais le visage. J'avais peur de moi. Je ne sais pas comment je ne sais pas pourquoi. Et c'est pour ça que je buvais de l'alcool avant de dormir."</div><div style="text-align: justify;">"Ça rend sauvage l'écriture. On rejoint une sauvagerie d'avant la vie. Et on la reconnaît toujours, c'est celle des forêts, celle ancienne comme le temps. Celle de la peur de tout, distincte e inséparable de la vie même. On est acharné."</div><div style="text-align: justify;">"Écrire c'est hurler sans bruit."</div><div style="text-align: justify;">"J'entends par là la recherche de la bonne forme, de la forme la plus courante, la plus claire et la plus inoffensive. Il y a encore des générations mortes qui font des livres pudibonds."</div><div style="text-align: justify;">"... la mouche savait déjà... C'était ça le plus effrayant. Le plus inattendu. Elle savait. Et elle acceptait."</div><div style="text-align: justify;">"... la mouche, elle, elle écrit, sur les murs, elle a beaucoup écrit dans la lumière de la grande salle, réfractée par l'étang."</div><div style="text-align: justify;">"Tu es mon lecteur, Paulo. Puisque je te le dis, je te l'écris, c'est vrai."</div><div style="text-align: justify;">"Son visage, ce trou, au bout du corps sans yeux."</div><div style="text-align: justify;">"J'ai vu le ciel avec le soleil à travers les arbres eux aussi tués dans le champs, mutilés, les arbres noirs."</div><div style="text-align: justify;">"... ils étaient des lieux de passage obligés vers l'inconnu des sentiers et des sources et des bords de mer ou si on voulait se protéger des loups."</div><div style="text-align: justify;">"Et elle, la sorcière des forêts de Michelet, elle a dû être étripée, brûlée vive. Violée. Assassinée." </div><div style="text-align: justify;">Marguerite Duras (Écrire)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Il se présente aussi souvent comme le disciple moderne de Rousseau, il le lit comme l'instituteur et non seulement comme le prophète de l'ethnologie moderne. On pourrait citer cent textes à la gloire de Rousseau. Rappelons néanmoins, à la fin du Totémisme aujourd'hui, ce chapitre sur 'Le totémisme du dedans': 'ferveur militante' 'envers l'ethnographie', 'clairvoyance étonnante' de Rousseau qui, 'mieux avisé que Bergson' et 'avant même la découverte du totémisme' a 'pénétré dans ce qui ouvre la possibilité du totémisme en général', à savoir : La pitié, cette affection fondamentale, aussi primitive que l'amour de soi, et qui nous unit naturellement à autrui : à l'homme, certes, mais aussi à tout être vivant."</div><div style="text-align: justify;">"... la présence est à la fois promise et refusée. La parole que Rousseau a élevée au-dessus de l'écriture, c'est la parole telle qu'elle devrait être ou plutôt telle qu'elle aurait dû être. Et nous devrons être attentif à ce mode, à ce temps qui nous rapporte à la présence dans la collocution vivante. En fait, Rousseau avait éprouvé le dérobement dans la parole même, dans le mirage de son immédiateté..."</div><div style="text-align: justify;">Jacques Derrida (De la grammatologie)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"Tal ligação aliás faz parte da experiência cotidiana de todos os ouvintes contemporâneos, não raro às voltas com um teminha absolutamente detestável do rádio, que no entanto se agarra aos nossos ouvidos com a força de um mau-olhado... Os portugueses foram os primeiros, na época moderna, a estabelecer relações comerciais e de conquista com as culturas negras da África. E chamaram de feitiço, isto é, coisa feita, aos objetos, bonecos, oferendas, etc. aos objetos que os africanos empregavam com finalidades mágicas e religiosas. Essa palavra portuguesa deu origem ao francês 'fétiche', ao inglês 'fetich', ao alemão 'fetichismus' utilizado por Marx na famosa quarta seção do primeiro capítulo de o capital... Vemos, portanto, que as palavras feitiço e fetichismo têm sua própria origem no contato inicial entre portugueses e africanos."</div><div>Carlos Sandroni (Feitiço Decente)</div></div><div>**************************************************************</div><div><h4 style="text-align: justify;">Main Hall (according to the tenor, true intent & meaning of the text, with free ingress, egress, & regress): </h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Fundo: </div><div style="text-align: justify;">- "instantes-já" (da "quarta dimensão"), "átomos do tempo", "substrato último", "vibração última", "energia", "estilhaços de X" (9, 11, 80), (<i>cf</i>. "como começar pelo início, se as coisas acontecem antes de acontecer?", <i>A Hora da Estrela</i>, Rocco, 1998: 9); </div><div style="text-align: justify;">- "o it", "transcendência dentro de mim" ("pensamento que uma ostra tem"), "o it vivo" ("é o Deus"), "elemento puro", "material do instante do tempo", "Eu é", "ribombo oco do tempo", "aquilo", "X" ("tenho medo do seu diapasão") (30, 34, 37, 79), (<i>cf. "</i>eu era uma menina muito curiosa e, para minha palidez, eu vi; eriçada, prestes a vomitar, embora até hoje não saiba ao certo o que vi; mas sei que vi; vi tão fundo quanto numa boca, de chofre eu via o abismo do mundo... como se um fígado ou um pé tentassem sorrir", Os Desastres de Sofia) ("é que olhei demais para dentro de...", A Quinta História), ("Ana se agarrou ao banco da frente, como se pudesse cair do bonde, como se as coisas pudessem ser revertidas com a mesma calma com que não o eram", Amor), ("o explorador tentou sorrir-lhe de volta, sem saber exatamente a que abismo seu sorriso respondia", A Menor Mulher do Mundo), ("uma coisa branca espalhara-se dentro dela, branca como papel, fraca como papel, intensa como uma brancura", O Búfalo);</div><div style="text-align: justify;">- "aura do corpo em plenilúnio" (74); </div><div style="text-align: justify;">- espelho, água (77-80); </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Meio: </div><div style="text-align: justify;">- "entrelinha", "signos", "gesto", "pintar", "mergulho na matéria da palavra", "onomatopéia", "convulsão da linguagem", "atrás do pensamento", "parar de raciocinar", "verdade latente", "incompreensão", "vida liberta do entendimento", "o fundo da existência", "ao escrever lido com o impossível", "se não compreendo o que escrevo a culpa não é minha, tenho que falar porque salva" (21, 24, 27, 33, 40, 53, 66, 72, 85), (<i>cf. "</i>esta história será feita de palavras que se agrupam em frases e destas se evola um sentido secreto que ultrapassa palavras e frases", <i>A Hora da Estrela</i>, Rocco, 1998: 15), ("tesouro que se disfarça, que está onde menos se espera", "numa solidão sem dor, não menor que a das árvores, eu recuperava inteira, a ignorância e a sua verdade incompreensível", Os Desastres de Sofia), ("o que eu não sei do ovo é o que realmente importa", "as pessoas que chamam o ovo de branco, essas pessoas morrem para a vida", O Ovo e a Galinha);</div><div style="text-align: justify;">- "sânscrito", "língua anterior ao sânscrito" (43, 45); </div><div style="text-align: justify;">- "parambólica", "não existe a palavra espelho" ("um único espelho é uma infinidade de espelhos"), "cada um de nós é um símbolo que lida com símbolos" (74, 77, 80);</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Noite: </div><div style="text-align: justify;">- "caverna de terror e das maravilhas" ("lugar de almas aflitas"), "gruta" ("com seu miasma"), "mal", "missa negra", "vida latejante infernal", "perigo de morte de alma", "noite" ("entorpecimento, azinhavre e visgo", "mais longa que a vida"), "marca de Satã" ("a mão verde e os seios de ouro"), "escuridão feérica" ("caldo de cultura"), "cercam-me criaturas elementares, anões, gnomos, duendes e gênios, sacrifico animais para colher-lhes o sangue de que preciso para minhas cerimônias de sortilégio", "a planta maldita que está próxima de se entregar ao Deus, quanto mais maldita mais até o Deus", "as inscrições cuneiformes quase ininteligíveis falam de como conceber e dão fórmulas sobre como se alimentar da força das trevas, falam das fêmeas nuas rastejantes", "intensidade do crepúsculo" (16, 20, 25, 26, 28, 38, 41, 42, 76), (<i>cf. "</i>a vida come a vida", <i>A Hora da Estrela</i>, Rocco, 1998: 85), ("no tronco da árvore pregavam-se as luxuosas patas de uma aranha; a crueza do mundo era tranquila", "com uma maldade de amante, parecia aceitar que da flor saísse o mosquito, que as vitórias-régias boiassem no escuro do lago", Amor);</div><div style="text-align: justify;">- "existo de um modo febril", "trabalho enquanto durmo", "convalescença macia" ("de algo que poderia ter sido absolutamente terrível"), "mina faiscante e sonambúlica", "bola de cristal", "campo de meditação", "sono criador" ("que se espreguiça através das veias") (22, 66, 69, 80), (<i>cf. "</i>a prece mais profunda é a que não pede mais", Os Desastres de Sofia), ("um cego mascando chicles mergulhava o mundo em escura sofreguidão", Amor); </div><div style="text-align: justify;">- "rainha dos medas e dos persas", "Diana caçadora" (24, 26);</div><div style="text-align: justify;">- "dama da noite" ("perfume de lua cheia", "fantasmagórica", "da esquina deserta e em trevas e dos jardins de casas de luzes apagadas", "assobio no escuro", "o que ninguém aguenta") (44, 46, 59);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Vida Sobrenatural:</div><div style="text-align: justify;">- "mítico, fantástico", "sobrenatural" ("sou assombrada pelos meus fantasmas"), "os bichos me fantasticam" ("são o tempo que não se conta"), "os seres vivos (que não o homem) são um escândalo de maravilhamento", "mistério doido" (perfume da rosa), "taja" (planta que fala da Amazônia, "uma vez entrou tarde da noite em casa e quando estava passando pelo corredor ouviu a palavra 'João'"), "estou transfigurando a realidade", "eu não disse que um dia ia me acontecer alguma coisa?", "e a parte divina das borboletas é mesmo de dar terror", "as flores são assombradamente delicadas como um suspiro de alguém no escuro" (29, 40, 48, 56, 60, 65, 67, 92), (<i>cf. "</i>existir é coisa de doido, caso de loucura, porque parece, existir não é lógico", <i>A Hora da Estrela</i>, Rocco, 1998: 20), ("... não só chegou a essa conclusão, como esta transformou sua vida em mais alargada e perplexa, em mais rica, e até supersticiosa; cada coisa parecia o sinal de outra coisa, tudo era simbólico, e mesmo um pouco espírita dentro do que o catolicismo permitiria", Os Obedientes) ("fora atingida pelo demônio da fé", Amor); </div><div style="text-align: justify;">- "tigre" ("lambo o meu focinho depois de ter devorado o veado"), "negra pantera lustrosa" ("andava macio, lento e perigoso"), "gata parindo" ("comi minha própria placenta"), "planta carnívora" ("que lamenta tempos imemoriais"), "pantera negra enjaulada" ("uma vez olhei bem nos olhos, ela me olhou bem nos olhos, transmutamo-nos"), "tigre" ("lambo uma das patas"), "tigre" ("com flecha imortal cravada na carne") (25, 28, 34, 41, 80);</div><div style="text-align: justify;">- " morcegos" ("ratos com asas em forma de cruz"), "insetos, sapos, piolhos, moscas, pulgas e percevejos", "corrupta germinação malsã de larvas", "seres putrefatos em decomposição", "ouço o canto doido de um passarinho e esmago borboletas entre os dedos, sou uma fruta roída por um verme", "chusma dissonante de insetos", "salamandra", "anjo aleijado" (15, 41, 67, 70, 73); </div><div style="text-align: justify;">- "gosto é das paisagens de terra esturricada e seca, com árvores contorcidas e montanhas feitas de rocha e com uma luz alvar e suspensa", "oh, vento siroco" (39, 52); </div><div style="text-align: justify;">- formiga, abelha e rosas ("são elas") (57, 61, 73);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Morte Impossível: </div><div style="text-align: justify;">- "a morte apaga os traços de espuma do mar na praia", "sou minha própria morte" ("ninguém vai mais longe"), "quero morrer com vida", "há uma prece profunda em mim que vai nascer não sei quando", "éclater", "alguma coisa minha que no entanto fica inteiramente fora de mim", "eu mesmo estátua a ser vista de noite", " quem não é perdido não conhece a liberdade e não a ama", "a morte é o impossível e o intangível" (29, 39, 46, 67, 72, 84), (<i>cf. "... </i>não falei e nem falarei em morte e sim apenas um atropelamento", "que não significa sequer desastre", "encontro consigo", "tempo de morangos" <i>A Hora da Estrela,</i> Rocco, 1998: 80, 84, 86), ("morrer é ininterrupto", Os Desastres de Sofia), ("e tinha muito passarinho que voava do abismo para a estrada", Viagem a Petrópolis), ("antes de se deitar, como se apagasse uma vela, soprou a pequena flama do dia", Amor);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Ordenamento: </div><div style="text-align: justify;">- "a ausência de Deus é um ato de religião" (estou precisando de Deus "mais do que a força humana"), "Ordem", "Deus é no passado que se soube, é algo que já se sabe", "duas assimetrias encontrar-se-ão na simetria", "o material criado é religioso", "síntese", "simetria utópica", "um pedaço mínimo de espelho é sempre o espelho todo", "mecanicismo" ("objeto que grita") (55, 64-65, 73, 76-77, 86); </div><div style="text-align: justify;">- "o oblíquo da vida", "nós somos de soslaio", "eu falo bem baixo para que os ouvidos sejam obrigados a ficar atentos" (68, 70), (<i>cf. "</i>apareceu portanto um homem magro de paletó puído tocando violino na esquina", <i>A Hora da Estrela</i>, Rocco, 1998: 82), (<i>cf. </i>"ser matéria de Deus era a minha única bondade", Os Desastres de Sofia);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">***Everything from Clarice Lispector, <i>Água Viva</i> (Rio de Janeiro: Rocco, 1973);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">See also: </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2020/07/the-willy-mina-adventures-erlebnisse-is.html">The Willy-Mina Adventures (Erlebnisse)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/12/modern-literature-and-esotericism.html">Modern Literature and Esotericism: Baudelaire, Rimbaud, Mallarmé & others</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html">the dogma of semantic uniformity &amp; Python Gored Naturalism</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/why-self-help-books-are-not-to-be.html">why self-help books are not to be dismissed</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/09/defi-du-non-circuncis-le-petit-fils.html">défi du non-circoncis</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html">view from Berthe Trépat's apartment</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/02/audrey-hepburn-haunted-by-az-or-how-to.html">Audrey Hempburnt haunted by A/Z</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">list des déclencheurs musicaux</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/08/se-desubicar-lucrecia-martel-la-nina.html">desubicarse (Lucrecia Martel)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2020/10/shingon-myoe-kukan.html">Japanese Esoteric Buddhism</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/07/ecritureviolence-it-is-important-to.html">Écriture/Violence (Blanchot)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/01/lintelligence-des-fleurs-maeterlinck.html">L'intelligence des fleurs</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/01/ce-faune-ces-nymphes-je-les-veux.html">Ce faune & ces nymphes</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2012/07/blog-post.html">Spooky Blue</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2014/10/sarebbe-la-definizzione-piu-giusta-del.html">Umberto Eco about Nietzsche (& Deconstruction)</a>; </div><div style="text-align: justify;">And also:</div><div style="text-align: justify;">- <a href="https://www.triplov.com/mesa_redonda/zir/lispector.html">O Avesso da Ontologia: A Cidade Sitiada de Clarice Lispector</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900">Interactive while indifferent—Kinds &amp; Phantasmagoria circa 1900</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/49515563/Da_Ursa_à_Ursa_Maior_Perspectivismo_e_Analogismo_na_Literatura_Brasileira">Da Ursa à Ursa Maior: Perspectivismo e Analogismo na Literatura Brasileira</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/45544937/Clarice_Lispector_e_a_Tradi%C3%A7%C3%A3o_do_Romance_de_Vanguarda_Contrapontos">Clarice Lispector e a Tradição do Romance de Vanguarda: Contrapontos</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/37668483/Entre_vida_ativa_e_experi%C3%AAncia_liter%C3%A1ria_aporias_da_rela%C3%A7%C3%A3o_entre_o_eu_e_os_outros">Entre vida ativa e experiência literária: aporias da relação entre o eu e os outros</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/34378952/A_STRATEGY_FOR_WRITING_CONTRACTING_CONTEMPLATION_IN_BUDAPESTE_AND_LEITE_DERRAMADO">A Stragegy for Writting: Contracting Contemplation in Budapeste and Leite Derramado</a>;</div><div style="text-align: justify;">- <a href="https://www.triplov.com/novaserie.revista/numero_63/alessandro_zir/index.html">conversa de etiqueta (peça em 1/2 ato)</a>; </div><div style="text-align: justify;">- <a href="http://periodicos.uefs.br/index.php/sitientibusBiologia/article/view/8081">"Metamorphoses of insects as described by Guilherme Piso (1658)" (Argus Vasconcelos de Almeida & Carlos Romero Ferreira de Oliveira, Sitientibus/2008)</a>;</div><div style="text-align: justify;">- <a href="https://www.ucl.ac.uk/taxome/jim/pap/JoronMalletTREE98.pdf">"Diversity in mimicry: paradox or paradigm?" (Mathieu Joron & James L. B. Mallet, Perspectives, 1998)</a>;</div><div style="text-align: justify;">- <a href="https://orca.cardiff.ac.uk/id/eprint/78237/1/Lankila%20Aphrodite.pdf">"Aphrodite in Proclus's Theology" (by Tuomo Lankila)</a>; </div><div style="text-align: justify;">- <a href="https://warwick.ac.uk/fac/soc/philosophy/news/calendar/lydia_goer_postgraduate/jstor_terms_and_conditions.pdf">"On Some Relations between Music and Painting" (Theodor Adorno, Susan Gillespie's translation)</a>;</div><div style="text-align: justify;">- <a href="https://www.anppom.com.br/revista/index.php/opus/article/view/opus2018b2402">"Som-silêncio em Concretion 1960, de Hans-Joachim Koellreutter" (Luigi Antonio Irlandini, Revista Eletrônica da ANPPOM)</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/13615965/Der_Morgenlandfahrer_und_der_tonale_Abenteurer_Neues_über_Scelsi_und_Tosatti">"Der Morgenlandfahrer und der tonale Abenteurer Neues über Scelsi und Tosatti" (Johannes Menke, 2015)</a>;</div></div></div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-64138954996398145842020-10-14T12:08:00.021-07:002023-09-19T06:25:33.511-07:00Shingon (Japanese Esoteric Buddhism): Myoe & Kukai (men of erudition and refined taste)<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilCxBFkfI_ghdflpCWrMtzO74aeObgA38E8zvE2SxkzaA5rxUW2XFmOV1p65hJAhmJ6pPx659ugVR4uFJWbstkuDPv1m3wbP1pd1kJMdnwiqVIXE5iVZiBAV7i6VFNUxqxQlKL-Q/w400-h183/buda_chopin_logo.jpeg" /><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/InPhsbNZdQc" width="320" youtube-src-id="InPhsbNZdQc"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3bOU8PN2vsw" width="320" youtube-src-id="3bOU8PN2vsw"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qGxQbQco34Q" width="320" youtube-src-id="qGxQbQco34Q"></iframe></div><br /><div><br />Buddha at Muzeum Fryderyka Chopina (<a href="https://www.juststructontologin.com/projects--about.html" target="_blank">picture by A/Z, for more se here</a>); </div><div><span style="text-align: justify;">Toshi Ichiyanagi's Life Music (1966); </span></div><div><div style="text-align: justify;">Toshi Ichiyanagi's In Memory of John Cage (1992, Youtube); </div>Korean Buddhism (Robert Buswell/University of California, talk at Univ. of Michigan, 2008);<div><br /></div><h4 style="text-align: left;">Orations & disputations (to cut no contemptible figure in a metaphysic circle):</h4><div><br /></div><div><div><div style="text-align: justify;">"Eben darum fordert er auch keinen Kampf gegen Andersdenkende; seine Lehre wehrt sich gegen nichts mehr als gegen das Gefühl der Rache, der Abneigung, des ressentiment (— 'nicht durch Feindschaft kommt Feindschaft zu Ende': der rührende Refrain des ganzen Buddhismus...)."</div><div style="text-align: justify;">"... man darf sich vielleicht an jenen Athener erinnern, der der reinen 'Wissenschaftlichkeit' gleichfalls den Krieg machte, an Sokrates, der den Personal-Egoismus auch im Reich der Probleme zur Moral erhob."</div><div style="text-align: justify;">Nietzsche (Der Antichrist)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Vocês já viram as notícias que passam na televisão sobre o Japão? O Japão fica na beira da Hutukara, lá venta muito, muito forte balançando, aí cai. Aí, vocês mandam mensagem pela televisão. Aqui, vocês estão vendo... Eu iniciei, meu sogro Lorival ensinou a tomar yãkoana, que é bem forte, dá uma luz para poder enxergar a chegada do xapiri. Ele vem de longe como do Japão. Lá no Japão, tem outra terra, mas a gente e vocês não chegamos lá ainda. Então, os xapiri vêm de muito longe, existe um outro mundo só dos xapiri, eles ficam lá."</div><div style="text-align: justify;"><a href="https://www.ufmg.br/revistaufmg/downloads/22/11-Artigo-11-p142-159.pdf" target="_blank">Davi Kopenawa (O Cosmo Segundo os Yanomami)</a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Ce n'est pas vous qui serez reçues en partage par un Démon, mais c'est vous qui choisirez un Démon: que celui que le sort aura désigné pour être le premier, choisisse le premier l'existence à la compagnie de laquelle il y a nécessité qu'il soit uni!... c'était le plus souvent en rapport avec les conditions concrètes de leur vie antérieure qu'elles [les âmes] faisaient leur choix. (Donc exactement le: Voudrais-tu encore une fois ceci et cela? de la parabole nietzschéenne!) Quand toutes les âmes eurent choisi leur existence, gardant le rang que le sort leur avait assigné, elles s'avancèrent en fille vers Lachésis; et celle-ci donna à chacun pour compagnon le Démon qu'il avait choisi, ce gardien de son existence, préposé à l'accomplissement intégral de tout ce qui est compris dans ce choix... Une fois ce passage effectué par leur bande, tous sans exception se mirent alors en route vers la plaine du Léthé (l'Oubli) par une terrible et suffocante chaleur; et de fait ce lieu était vide d'arbres et de tout ce que produit la terre. Ils dressèrent ensuite leur tente le long du fleuve Amélès (absence d'inquiétude) dont aucun récipient ne peut retenir l'eau. Or, c'etait pour tous une nécessité d'avoir bu de cette eau une quantité mesurée, mais ceux que la prudence ne sauvegarde point en boivent plus que la mesure et, chaque fois qu'on en boit, on oublie tout..."</div><div style="text-align: justify;">Pierre Klossowski (Un si funeste désir)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"Indem nämlich die Vielheit unverbundener Einzeltriebe sich in zwei einander gleichsam gegenüber stehende Wesenheiten zerspaltet, von denen die Eine herrscht, die Andere dient, — wird es dem Menschen ermöglicht, zu sich selber nicht nur wie zu einem anderen, sondern auch wie zu einem höhern Wesen zu empfinden. Indem er einen Theil seiner selbst sich selber zum Opfer bringt, ist er einer religiösen Exaltation nahe gekommen. In den Erschütterungen seines Geistes, in denen er das heroische Ideal eigener Preisgebung und Hingebung zu verwirklichen wähnt, bringt er an sich selbst einen religiösen Affect zum Ausbruch." </div><div>"Von allen grossen Geistesanlagen Nietzsches gibt es keine, die tiefer und unerbittlicher mit seinem geistigen Gesammtorganismus verbunden gewesen wäre, als sein religiöses Genie. Zu einer anderen Zeit, in einer andern Culturperiode würde dasselbe diesem Predigerssohn sicherlich nicht gestattet haben, zum Denker zu werden. Unter den Einflüssen unserer Zeit erhielt jedoch sein religiöser Geist die Richtung aufs Erkennen und vermochte dasjenige, wonach es ihn instinctiv am drängendsten verlangte, wie nach dem natürlichen Ausdruck seiner Gesundheit, nur in krankhafter Weise zu befriedigen, — das heisst, er vermochte es nur vermittelst einer Rückbeziehung auf sich selbst anstatt auf eine ihn mit umfassende, ausser ihm liegende Lebensmacht."</div><div>"So erreichte er das gerade Gegentheil des Angestrebten: nicht eine höhere Einheit seines Wesens, sondern dessen innerste Zweitheilung, nicht den Zusammenschluss aller Regungen und Triebe zu einem einheitlichen Individuum, sondern ihre Spaltung zum »Dividuum«. Es war immerhin eine Gesundheit erreicht, — doch mit den Mitteln der Krankheit; eine wirkliche Anbetung, doch mit den Mitteln der Täuschung; eine wirkliche Selbstbehauptung und Selbsterhebung, doch mit den Mitteln der Selbstverwundung."</div><div>Lous Salomé</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"... le son est vécu comme ce qui nous relie au monde extérieur et au monde intérieur, nous révélant souvent l'intérieur des objets, des récipients opaques — parmi lesquels le corps humain, pour le médicin formé à l'auscultation. Il y aurait alors un besoin idéologique de ne pas diviser — de garder intouché, à travers la préservation d'un mot unique, ce mythe du son comme une sorte de jardin d'Éden de la sensation ou comme un lieu de passage, un lien entre toutes les dimensions."</div><div>Michel Chion (Le Son)</div></div><div style="text-align: justify;"><span style="text-align: left;">**************************************************************</span></div><h4 style="text-align: justify;">Notable and curious conclusions from a dissertation as ever was engendered in the womb of speculation: </h4><div><br /><div style="text-align: justify;">"Shingon is the Japanese pronunciation for the Chinese 'Zhenyan,' meaning literally 'mantra'; thus the Shingon is the Mantra sect. It is the esoteric or tantric branch of Japanese Buddhism, the counterpart to the Vajrayana in Tibetan Buddhism and traces its origins to Indian tantra... The Shingon headquarters was established on Mount Köya, relatively far removed from the capital of Kyoto, for centuries the political, cultural, and religious center of Japan. The Shigon founder Kükai had located it on Mount Koya for good reason, in part to establish the religious and institutional independence of this esoteric form of Buddhism in Japan."</div><div style="text-align: justify;">"Myoe was a Buddhist monk ordained in the Shingon tradition, but this was not his only sectarian affiliation. In the latter half of his career, he served as abbot of Kozanji, a temple of the Kegon (Chinese Huayan) sect... it was not uncommon for Buddhist monks in medieval Japan to be ordained in multiple sectarian lineages."</div><div style="text-align: justify;"><span style="text-align: left;">"Among the various Buddhist doctrines Myoe invoked, he placed particular emphasis on the classic Mahayana notion of emptiness, first formulated by Nagarjuna. This provided Myoe with a widely accepted basis for his Buddhist thought; ironically, very few other Buddhists of his time made it the cornerstone of their thought... there [also] some striking similarities with the Daoist thought of the fourth-century BCE figure Zhuangzi. In particular, both Myoe and Zhuangzi closely analyze the use of language, its limits and possibilities, and its relation to illusion and reality."</span></div><div style="text-align: justify;">"Myoe came to form close relationships with a number of women, both historical and mythic. These relationships raise questions about the relationship between form and emptiness, samsara and nirvana, eros and compassion. For Myoe, who largely rejected the dominant patriarchy of his day, women came to play crucial roles both in his mantra practice and in his life as a whole... He was recognized by the foremost contemporary authority on waka poetry Fujiwara Teika as a preeminent poet, and he kept a diary of his dreams and visions for over thirty-five years."</div><div style="text-align: justify;">"For the purposes of articulating their visions of spiritual liberation, historical accuracy was not necessarily important; Honen, Shinran, Dogen, and others are well known for their creative 'misreadings' of sacred texts... Of course, much of the literature of the Mahayana including the sutras is built not on historical literal truths but on the idea of discerning the highest truth of emptiness beyond the artificiality of fixed ideas... highest spiritual truth takes priority over conventional historical truth... Myoe invokes transcendent, cosmic deities expressing the highest truth as the very source of immanent, earthly lineages."</div><div style="text-align: justify;">"In China, Tantric Buddhism was first introduced by the Indian monk Vajrabodhi (671-741), who translated key sutras, introduced methods of practice, and won the favor of many Chinese from the emperor down... When we turn to the case of India, however, the Tantric lineage quickly becomes more obscure. Vajrabodhi's master was Nagabodhi, who in turns was tutored by Nagarjurna. Now, Vajrabodhi lived during the seventh and eight centuries, and Nagarjuna approximately during the second. This would mean that Nagabodhi would have to have lived at least five hundred years. To make matters even more complicated, the Tantric Nagarjuna, scholars now believe, differed from Nagarjuna the Madhyamika dialectician, the first Mahayana exponent of emptiness. The Tantric Nagarjuna's master was an even more mythical figure, Vajrasattva, who purportedly heard Mahavairocana expound the dharma..."</div><div style="text-align: justify;">"Unlike Zen and most other schools, then, Indian and Chinese Tantric Buddhism, the ancestors to Japanese Shingon, do not appeal to a purely historical lineage originating with the person of Buddha Sakyamuni [Gautama]; instead, they trace their ancestry to ever more legendary and mythic figures until one reaches the cosmic scale fo the Buddha Mahavairocana [regarded as the dharma body, containing all other buddhas and bodhisattvas]."</div><div style="text-align: justify;">"According to Myoe, the 'profoundity of the profound dharma is constant. The Shingon is profound because it expounds the shallow as profound."</div><div style="text-align: justify;">"With the all-inclusive cosmologies of the Shingon and Kegon with Mahavairocana as the center... virtually any celestial deity could infuse Myoe with its mystic power."</div><div style="text-align: justify;">"Most monks these days envisage the buddha dharma they have chanced to learn not as a key to emancipation but as a means fro attaining high rank, a trivial, contemptible thing" [Myoe].</div><div style="text-align: justify;">"... truly sudden realization is to be found in gradual practice, and true immediacy in meditation."</div><div style="text-align: justify;">"'To believe, accept, and obtain virtue is like becoming intoxicated with the mushrooms' [Myoe]... Furthermore, 'intoxicating' carries both the positive connotation of 'inspiring' or 'entrancing' on the one hand, and the negative connotation of 'poisonous' on the other."</div><div style="text-align: justify;">"Social and moral decay, institutional corruption, and spiritual lassitude plagued China in the fourth century BCE as much as in thirteenth-century Japan."</div><div style="text-align: justify;">"If one's heart is pure, the truth can be found in wiping one's behind" [Myoe].</div><div style="text-align: justify;">"Wonhyo was told by an elder master he would not know the full meaning of the dharma as long as he remained attached to purity, and so... he set off into town and the redlight district."</div><div style="text-align: justify;">"In the Buddha Way, one should first of all obtain the appropriate amount of knowledge such that it will empower one's practice. To know the appropriate amount is to be the one who truly knows" [Myoe].</div><div style="text-align: justify;">"One will know well if ignorance is removed. Those who know well always desire to act" [Myoe].</div><div style="text-align: justify;">"Sentient beings believing [in what they say] is as though they eat the mushrooms. To believe, accept, and obtain virtue is like becoming intoxicated [entranced & also 'poisoned'] with the mushrooms."</div><div style="text-align: justify;">"... the pharmakon of the Mantra of Light does adhere even to bodies in impure places... before it is scattered the sand should be revered like the relics of the Buddha."</div><div style="text-align: justify;">"... when I was still a child, I went to the meditation hall to practice in the middle of the night without anyone's knowledge, seeking to attain true faith and wisdom... In observing the practices of the masters of the exoteric and esoteric teachings, I was grieved by their outrageous behavior about which I did not know what should be done..."</div><div style="text-align: justify;">- Mark Unno, Shingon Refractions: Myoe and the Mantra of Light (Boston: Wisdom Publications, 2004); </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"This versatile man [Kukai] has often been depicted as a scholar-monk with three faces and six arms. Such a representation implies a mysterious entity whose entirety can be grasped only vaguely."</div><div style="text-align: justify;">"Esoteric Buddhism was for a while perhaps the most international form of Buddhism in the East. Though it was short lived in China and in the Southeast Asian regions such as Ceylon and Indonesia, it survives to this day in Tibet and in the Himalayan kingdoms."</div><div style="text-align: justify;">"Kukai did not actually invent the kana syllabary, but its emergence owed much to his introduction of Sanskrit studies, for the kana system is formed on the basis of the Sanskrit alphabet."</div><div style="text-align: justify;">"The Esoteric Buddhism of Kukai, though incomparably more complex and sophisticated than Shinto, had many elements compatible with the later. A few of these were the idea of the oneness of man and nature, a belief in the magical efficacy of the word (mantra in the former, kotodama in the latter), and the concept of a ritually consecrated realm."</div><div style="text-align: justify;">"Kukai's The Secret Treasure-house of the Mirrors of Poetry is the most important extant book about the poetical theory and phonology of Six Dynasties and Early T'ang China..."</div><div style="text-align: justify;">"The Mahavairocana Sutra was the basic text of Esoteric Buddhism representing the most recent phase of seventh-century Indian Buddhism."</div><div style="text-align: justify;">"Chinese civilization attained its peak of glory in the T'ang period (618-907). When Kukai reached Ch'ang-an, the city was the cultural center both of China and of Central and Eastern Asia... Of the foreign temples it is certain that one was Nestorian Christian and one was Zoroastrian or Manichaean."</div><div style="text-align: justify;">"Kukai met Master Hui-kuo (746-805), the patriarch of Esoteric Buddhism in China, who lived in the East Pagoda Hall of the Ch'ing-lung Temple. Master Hui-kuo (Keika in Japanese) had inherited the Dharma of the Esoteric tradition from the famed master Pu-k'ung, or Amoghavajra (705-74). This Buddhist school was transmitted to China in 716 when an Indian master, Subhakarasimha (637-735), came to China by invitation of the Emperor Hsüan-tsung (r. 713-55)... in 720, another great master of Esoteric Buddhism, Vajrabodhi (d. 741), arrived in Canton by sea..."</div><div style="text-align: justify;">"Though Kukai [at the time Emperor Saga turned out to be his promoter] remained inactive socially, he must have been well known as a poet, calligrapher, writer, and master of Esoteric Buddhism."</div><div style="text-align: justify;">"The School of Arts and Sciences was a private school open to all students, regardless of their social status or economic means. It was the first school in Japan to provide for universal education. Behind it was Kukai's convinction of the oneness of humanity, his ideal of equal opportunity in education, and his belief in the intrinsic value of each individual. Affirming the importance of both religious and secular studies, Kukai included in his curriculum Buddhism, Taoism, and Confucianism." </div><div style="text-align: justify;">"According to Kukai, the historical Buddha is but one manifestation of Mahavairocana, who exists in history and yet at the same time transcends it. Mahavairocana in his samadhi is timeless and eternally present in a state of bliss... Those who have been denied a chance of salvation by the Exoteric teachings—such as the cursed ones (icchantika) and those guilty of serious crimes—can be saved by the most rudimentary Esoteric practice of reciting a mantra."</div><div style="text-align: justify;">" It was in 830, five years before his death, that Kukai produced his most ambitious work, the Ten Stages, perhaps the most comprehensive religious work that has come down to us in Japan."</div><div style="text-align: justify;">"Kukai conceives man as 'body-mind,' not as mind or body, nor body and mind, and holds that this 'body-mind' is grounded in the 'Body-Mind,' the secret and sacred living Body-Mind of all, the Dharmakaya Mahavairocana... all men as well as all other sentient beings are particular 'body-mind' beings participating in the 'Body-Mind.' It is this 'Body-Mind' that is represented in the Shingon mandalas, which describe various aspects of Mahavairocana."</div><div style="text-align: justify;">"... Kukai's motto reads 'attaining enlightenment in this very body'... 'bod (shin)' clearly does not mean the body as opposed to the mid but stands for 'existence' or 'body-mind-being.' The choice of the word 'body' over the normally expected 'mind' underscores the basic character of Kukai's religion: emphasis on direct religious experience through one's total being and not merely through the intellect."</div><div style="text-align: justify;">"... the mantras, conveying as they do the essential meaning of these sutras, are most thoroughly impregnated with the preacher's spirit, compassion, wisdom, and saving power... Oral preaching is only one means of communication; preaching may sometimes be pursued by non-oral means, such as silence, gesture, color or form... all things in the universe reveal the presence of Mahavairocana."</div><div style="text-align: justify;">"On his return from China Kukai said: 'Since the Esoteric Buddhist teachings are so profound as to defy expression in writing, they are revealed through the medium of painting.'"</div><div style="text-align: justify;">"... it was probably Hui-kuo who stressed the identity of Mahavairocana with the timeless Dharmakaya Buddha and who also taught that the Mahavairocana Sutra and Vajrasekhara Sutra were preached by the Dharmakaya Mahavairocana himself rather than by the historical Buddha, as Buddhist had always held."</div><div style="text-align: justify;">"By defining Mahavairocana as the Dharmakaya, Kukai identified Mahavairocana with the eternal Dharma, the uncreated, imperishable, beginningless, and endless Truth. It is the realization of this truth which made Gautama the Enlightened One and which makes all bodhisattwas into Buddhas. The sun is the source of light and warmth, the source of life. Similarly, Mahavairocana is the Great Luminous One... 'Where is the Dharmakaya? It is not far away; it is in our body.'"</div><div style="text-align: justify;">"... the Body of Wisdom is represented by the Diamond Mandala; the Body of Principle, by the Matrix Mandala. Kukai interpreted these two aspects of Mahavairocana as being inseparably related and asserted that both Bodies are nondual (richi funi)."</div><div style="text-align: justify;">"... the term principle, in Chinese li and in Japanese ri, is Chinese in origin and has no exact counterpart in Sanskrit. 'Body of Principle' is therefore a Chinese concept... Li is one of the key words in Hua-yen Buddhism and means the universal principle underlying the multiplicity of particulars (shih)."</div><div style="text-align: justify;">"The Six Great Elements are earth, water, wind, space, and consciousness... There is no creator other than the Six Great Elements, which are at once the creating and the created; the Six Great Elements are in a state of perpetual interfusion."</div><div style="text-align: justify;">"The Sixt Great Elements are clearly analogous to the well-known five natural elements—fire, wood, earth, metal, and water; the Body of Wisdom and that of Principle, symbolized by the vajra and the lotus, or by the Diamond and the Matrix Mandalas, resemble yin and yang; and Mahavairocana, the Great Sun Buddha, recalls the Great Sun Goddess. In the proposition that Mahavairocana is in a state of eternal harmony, the word 'harmony' is a translation of yuga, which in turn is a transliteration of yoga."</div><div style="text-align: justify;">"... faith comes through the grace of the Buddha: it is not acquired by the individual but given."</div><div style="text-align: justify;">"In the triple world [of desire, form, and non-form] there is no permanent residence; there is no fixed place in the world of transmigration. Sometimes my home is in heaven; sometimes, in hell. Sometimes I may be your wife or your son; at other times, your father or your mother. Sometimes the Tempter King is my teacher and heretics, my friends. Ghosts, birds, and animals may be our parents, children, or wives. From the beginning to the present, there has been no such thing as first and second... From the beginningless beginning, you and I have been transmigrating continuously without stopping in any fixed life" [the mendicant, in Kukai's Indications of the Goals of the Three Teachings].</div><div style="text-align: justify;">"Since the Esoteric Buddhist teachings are so profound as to defy expression in writing, they are revealed through the medium of painting to those who are yet to be enlightened. The various postures and mudras [depicted in Mandalas] are products of the great compassion of the Buddha" [Kukai's A Memorial Presenting a List of Newly Imported Sutras].</div><div style="text-align: justify;">"They are bound by the rope of deluded thoughts and are intoxicated by the wine of ignorance. Their union is comparable to someone meeting another in a dream, or to travelers meeting each other by chance at the same inn" [Kukai's The Precious Key to The Secret Treasury].</div><div style="text-align: justify;">"The Sravakas recognize the five sense perceptions and mind, but not the seventh or the eighth [consciousness]" [Precious Key].</div><div style="text-align: justify;">"The good and wise are rare, the bad and foolish, abundant" [Precious Key].</div><div style="text-align: justify;">"The mind, whose caracteristic is like that of empty space, transcends both individuation and nonindividuation" [Precious Key].</div><div style="text-align: justify;">"... the various objects of sight are harmful like poison to the foolish, but beneficial like medicine to the man of wisdom" [The Meanings of Sound, Words, and Reality].</div><div style="text-align: justify;">"... the colors of the five great elements are identified as yellow [earth], white [water], red [fire], black [wind], and blue [space]" [The Meanings of Sound...].</div><div style="text-align: justify;">- Yoshito S. Hakeda, Kukai: Major Works (New York: Columbia University Press, 1972);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">See also: </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html">Dogen with Hagakure</a>;</div><div style="text-align: justify;">- <a href="http://aletche.blogspot.com.br/2018/03/turning-light-around-is-not-turning.html">Turning the light around</a>;</div><div style="text-align: justify;">- <a href="http://aletche.blogspot.com.br/2018/01/dark-consciousness.html">Dark Consciousness</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/02/needham-van-gulik-china.html">Needham & Van Gulik: China</a>;</div><div style="text-align: justify;">- <a href="http://aletche.blogspot.com.br/2016/09/sonatine-takeshi-kitano-1993.html">Sonatine (Takeshi Kitano, 1993)</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2020/07/the-willy-mina-adventures-erlebnisse-is.html">The Willy-Mina Adventures</a>; </div><div style="text-align: justify;">- <a href="http://aletche.blogspot.com.br/2017/10/liste-des-declencheurs-atonales-under.html">liste des déclencheurs musicaux</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/07/blog-post_27.html">Torres (Northeast of Rio Grande do Sul)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/11/blog-post.html">Warszawa</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2014/10/sarebbe-la-definizzione-piu-giusta-del.html">Umberto Eco about Nietzsche (& Deconstruction)</a>; </div><div style="text-align: justify;">- <a href="https://periodicos.unespar.edu.br/index.php/vortex/article/view/430/320">"An introduction to the poetics of sacred sound in twentieth-century music" (Luigi Irlandini, Revista Vórtex)</a>; </div><div style="text-align: justify;">- <a href="https://www.anppom.com.br/revista/index.php/opus/article/view/opus2018b2402">Som-silêncio em Concretion 1960, de Hans-Joachim Koellreutter (Luigi Antonio Irlandini, Revista Eletrônica da ANPPOM)</a>;</div></div></div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-73309797226631012752020-07-31T16:18:00.170-07:002023-09-19T06:26:47.678-07:00The Willy-Mina Adventures (Erlebnisse): Is life itself professional? PLUS Derrida & Max Stirner, Sylvia Leclercq, Spinoza &c...<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgOu-jlPQtPD8feHdH-q1OQEhO6dh9k7yDSsBlP8vvsIuWwvSIgzuoeXtO5bVj_39TdC3Plm6QIKNlS9e7eWwma3uIBYFOwTmEUioCWHri8Cdb7Tv1S8XttoK5b3o2hIPaR9BiTA/s1600/teresa_abraham_sylvia_derrida_logo+copy-3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgOu-jlPQtPD8feHdH-q1OQEhO6dh9k7yDSsBlP8vvsIuWwvSIgzuoeXtO5bVj_39TdC3Plm6QIKNlS9e7eWwma3uIBYFOwTmEUioCWHri8Cdb7Tv1S8XttoK5b3o2hIPaR9BiTA/w400-h225/teresa_abraham_sylvia_derrida_logo+copy-3.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaX94iB2bMKgX9EB_-AQz8055NzMjFA6DMCqmv8WZfet1K7-iz7_P35KUMtNE9XqgD9I6gyKEYC-x0GO_oSL5yvs3W0b161_BXdOz85BVtXwP2iciwQ0NQ-ZHc6BGm91RFKkFXTw/s1538/greek_dance_logo.jpeg" style="clear: left; 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text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZnoKgWnMEq8" width="320" youtube-src-id="ZnoKgWnMEq8"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/c0scmuNFC-E" width="320" youtube-src-id="c0scmuNFC-E"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4OT3400Y7t4" width="320" youtube-src-id="4OT3400Y7t4"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Wbc2qQ5Z75w" width="320" youtube-src-id="Wbc2qQ5Z75w"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/cAug2MqrWGk" width="320" youtube-src-id="cAug2MqrWGk"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WNqFLpYxM0k" width="320" youtube-src-id="WNqFLpYxM0k"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;"><span>A/Z montage </span>(Image de la Vierge from Sylvia Leclercq's Theresa mon amour + Rembrandt's Le sacrifice d'Abraham from Derrida, Donner la mort)<span>, (Greek vases photographed at the Louvre), </span><a href="https://www.juststructontologin.com/projects--about.html" target="_blank">for more see here</a>;</div><div style="text-align: justify;">Colloque de Cerisy: Dostoïevsky, l'auteur de ma vie (Julia Kristeva & Nicolas Aude);</div></div><div style="text-align: justify;">Jacobe Boehme, par J.-M. Vivenza (France Culture, 2008);</div><div style="text-align: justify;">The Theosophical System of Jakob Böhme (Wouter Hanegraaff/Univ. of Amsterdam 2013); </div><div style="text-align: justify;">Transcripción de una conferencia de Borges sobre Swedenborg (Universidad de Belgrano, 1978); </div>Emanuel Swedenborg - The man who had to know (1978 documentary/Youtube 2018);<div><span style="text-align: justify;">Immortality: An Egyptian Dream (Jan Assmann/University of California, 2015);</span><br /><div style="text-align: justify;"><span style="text-align: left;">Ilé Aiyé: The House of Life (documentary about Salvador/Bahia's Candomblé by David Byrne, 1989);</span></div><div style="text-align: justify;">María Lionza, detrás del culto (Bexandra Morillo, Patricia Arvelaez, 2011); </div><div><div style="text-align: justify;">Exorcismo Negro (José Mojica Marins, 1974); </div><div style="text-align: justify;">The Phrygian Scale (Jake Lizzio/Signals Music, 2018); </div><div style="text-align: justify;">Film Scoring/The Phygian Mode (Rick Beato, 2016); </div><div style="text-align: justify;">Ernst Krenek's Pfingstoratorium (Spiritus intelligentiae Sanctus) Op. 152 (Youtube); </div><div style="text-align: justify;"><div>Giacinto Scelsi's Okanagon (1968, Youtube); </div><div><div><span style="text-align: left;">Giacinto Scelsi's Come un cri traverse un cerveau (Youtube); </span></div><div><span style="text-align: left;"></span></div></div><div></div></div><div style="text-align: justify;">Code Morel & One Hundred Forty Nine Inches (montage A/Z, <a href="https://www.juststructontologin.com/video.html">for more see here</a>);</div><div style="text-align: justify;">**************************************************************</div><h4 style="text-align: left;">Foundation (with the whole of it):</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Do demo: digo?"</div><div style="text-align: justify;">Guimarães Rosa/Augusto de Campos (Um Lance de Dês)</div><div style="text-align: justify;">"C'est un être perdu à jamais que cet être dont il est impossible de retrouver le commencement et le fin. Le démoniaque est ce non-être qui se manifeste comme pure agression: le défiguré."</div><div><div style="text-align: justify;">Enrico Castelli/André Masson (Le Jardin des Délices/Écrits, anthologie établie par Françoise Levaillant)</div><div style="text-align: justify;">"Sie unterrichtet weiter darüber, was unter diesen Massen eigentlich zu denken ist. Von keiner Klasse, von keinem irgendwie strukturierten Kollektivum kann die Rede sein. Es handelt sich um nichts anderes als um die amorphe Menge der Passanten, um Straßenpublikum... Dieser Menge eine Seele zu leihen, ist das eigenste Anliegen des Flaneurs. Die Begegnungen mit ihr sind ihm das Erlebnis, das er unermüdlich zum Besten gibt. Au. Baudelaires Werk sind gewisse Reflexe dieser Illusion nicht hinwegzudenken."</div><div style="text-align: justify;">Walter Benjamin (Über einige Motive bei Baudelaire)</div></div><div style="text-align: justify;"><div>"Tal ligação aliás faz parte da experiência cotidiana de todos os ouvintes contemporâneos, não raro às voltas com um teminha absolutamente detestável do rádio, que no entanto se agarra aos nossos ouvidos com a força de um mau-olhado... Os portugueses foram os primeiros, na época moderna, a estabelecer relações comerciais e de conquista com as culturas negras da África. E chamaram de feitiço, isto é, coisa feita, aos objetos, bonecos, oferendas, etc. aos objetos que os africanos empregavam com finalidades mágicas e religiosas. Essa palavra portuguesa deu origem ao francês 'fétiche', ao inglês 'fetich', ao alemão 'fetichismus' utilizado por Marx na famosa quarta seção do primeiro capítulo de o capital... Vemos, portanto, que as palavras feitiço e fetichismo têm sua própria origem no contato inicial entre portugueses e africanos."</div><div>Carlos Sandroni (Feitiço Decente)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Der Christ, diese ultima ration der Lüge..."</div><div style="text-align: justify;">Nietzsche (Der Antichrist)</div><div style="text-align: justify;"><div>"Von allem Wunderbaren — so erzählte mir Paracelsus — was ich je sah und hörte, ist Eins das Erstaunlichste, und ich muß nicht nur ein muthiges Herz wie ein Löwe, sondern auch die unschuldige Geduld eines Lammes dazu haben, es gerade so zu berichten, wie es sich zugetragen hat. Denn gesetzt, es wäre das Blendwerk eines mir übel wollenden Geistes gewesen, so gab es nie für mich eine ärgere Versuchung: und sprach das, was mir erschien, die Wahrheit..."</div><div>Nietzsche (Nachgelassene Fragmente, 1881)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"Notre intérêt proclamé pour l'art des fous et des médiums n'était pas fait pour arranger les choses!"</div><div>André Masson (A Joan Mirò pour son anniversaire/Écrits, anthologie établie par Françoise Levaillant)</div><div>"Mais, au moment où j'écris ces lignes, conclut-elle, je n'en suis plus là: j'ai compris que désirer aussi consciencieusement la 'santé' dans le but de 'servir', fût-ce Dieu, ne peut que causer ma 'ruine'..."</div><div>Sylvia Leclercq</div><div>"Yo después anoche no me podía dormir pensando en eso. Qué suerte tienen estos ignorantes. Qué lindo sería llegar a esa pieza primera, te imaginás?"</div><div>Lídia (Cae la noche tropical)</div><div>"E tinha muito passarinho que voava do abismo para a estrada... Então, como estava cansada, a velha encostou a cabeça no tronco da árvore e morreu."</div><div>Clarice Lispector (Viagem a Petrópolis)</div><div><br /></div><div><div>"Estou começando a ler uma mulher com boa cara chamada Simone Weil. Uma mística das antigas eras mas que o Michel acha que eu estou passando também por uma grande experiência mística na medida em que sou o outro. Imagine uma experiência mística e erótica ao mesmo tempo, mas um erótico nada transcendente e camuflado... Aconteceu um fenômeno incrível essa noite. Depois de começar a ler o tal livro, e ela usa muito a terminologia do vazio pleno, e também outros termos que uso, só que em uma outra concepção etc. e tal. Dormi. Acordei duas vezes à noite e, aterrorizada, percebi uma luz difusa dentro do quarto... no duro e pela primeira vez tremi de horror. Mesmo na Praia da Rasa, quando aconteceu aquele fenômeno, lembra-se, de minha cama ter sido levantada e batida no chão, não tive tal medo... Acho que coisas começam a se remoer dentro de mim e devo passar ainda por grandes transformações! É duro, mas o que se há de fazer?"</div><div>Lygia Clark (carta a Hélio Oiticica)</div></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... je dirais qu'il décrit d'abord l'incorporation platonicienne du mystère démonique et de l'irresponsabilité orgiaque. Ne peut-on aller plus loin et dire que cette incorporation est à son tour refoulée par un certain christianisme?"</div><div style="text-align: justify;">"Telle serait l'<i>Unheimlichkeit</i> du <i>Geheimnis </i>et il nous faudrait interroger systématiquement la portée de ce concept de <i>Unheimlichkeit."</i></div><div style="text-align: justify;">Jacques Derrida (Donner la mort)</div><div style="text-align: justify;">"... this is the deep contradiction in the demonic, and in a certain sense there is infinitely more goodness in a demonic than in shallow people."</div><div style="text-align: justify;">Kierkegaard (Fear and Trembling, Sylvia Walsh's translation)</div><div style="text-align: justify;">"... gosto de andar por diversas cloacas. Esse clima, essa ária tartamudeante de <i>Lucia </i>[<i>di Lammermoor</i>], esses criados em trajes russos que beiram a indecência, essa fumaça de tabaco, esses gritos oriundos da sala de sinuca — tudo isso é tão banal e prosaico que quase confina com o fantástico..."</div><div style="text-align: justify;">Viersílov (O Adolescente, tradução de Paulo Bezerra)</div><div style="text-align: justify;">"Diga-me o que o motiva a atos tão descomedidos, fora de quaisquer condições e medidas aceitas? O que podem significar semelhantes extravagâncias que parecem cometidas em delírio?"</div><div style="text-align: justify;">Ivan Óssipovitch à Nikolai Vsievolódovitch (Os Demônios, tradução de Paulo Bezerra)</div><div style="text-align: justify;"><div>"Once I was at a house on Riverside Drive where people were invited to be present at a Zen service conducted by a Japanese Roshi. He did the ritual, rose petals and all. Afterwards tea was served with rice cookies. And then the hostess and her husband, employing an out-of-tune piano and a cracked voice, gave a wretched performance of an excerpt from a third-rate Italian opera. I was embarrassed and glanced towards the Roshi to see how he was taking it. The expression on his face was absolutely beatific."</div><div>John Cage (The Future of Music: Credo)</div><div><br /></div><div>"Les normes mêmes de la démonologie non seulement décrivent l'existence d'un point de vue différent de celui de la croyance en général; elles forment de surcroît une méthode, telle qu'elle est conçue à l'origine par les néo-platoniciens, en dernier lieu par l'herméneutique scolastique — prônant une traduction spectaculaire des puissances avec lesquelles on compose — en fin de compte analysant jusqu'aux procédures de la pensée même —, et qui concourt, contre toute 'pathogénie' critique, à figurer plutôt une 'pathophanie': soit à considérer en nous l'insidieuse présence des esprits, mais aussi toute façon de penser et de sentir comme une expression indissociable de leur dissimulation. De là vient, dirai-je à la suite de Varron, le caractère théâtrique de la théologie, dont le théâtre occidental, strindbergien et shakespearien, à son tour dérive indirectement."</div><div>"Parce que l'affabulation, dans La Vocation suspendue, est en réalité plus autobiographique que l'autobiographie n'eût semblé le permettre, même si en fin de compte cette affabulation se retourne contre elle-même — et de fait aujourd'hui à vos yeux, je me comporterais comme un athée, quoique je ne cache point mon non-athéisme. Kierkegaard indique bien que tous les chrétiens ne peuvent que se comporter comme des athées. D'avoir abandonné l'habit ne me rend pas moins sensibles aux motifs particuliers dont s'est servi mon propre mouvement ver la foi. Bien au contraire — et ainsi que, lors de mon expérience conventuelle, je découvris que de fuir les 'ténèbre'au-dehors, celles-ci n'en paraissaient que plus présentes à l'esprit sou la persécution des âmes où le Vatican menait une parti de l'Eglise, — de même, j'ai voulu prouver à l'inverse, dans le style de cette confession, que la réduction à l'état laïc fasait encore dépendre cet état d'une conception religieuse de la vie profane."</div><div>Pierre Klossowski (entretiens avec Jean-Maurice Monnoyer)</div><div><div>''Zarathoutra, dès lors qu'il a voulu l'éternel retour de toutes choses, a d'avance choisi de voir tourner en dérision sa propre doctrine... Quel autre sens, si ce n'est celui-là, attribuerait-on à l'extraordinaire parodie de la Cène où le meurtrier de Dieu est aussi celui qui offre le calice à l'âne — figure sacrilège du Dieu chrétien du temps de la réaction païenne, mais plus spécifiquement animal sacré des mystères antiques, l'âne d'or de l'initiation isiaque, animal digne par son infatigable Ia (ita est!) — son infatigable oui donné au retour de toutes choses — digne de représenter la longanimité divine, digne donc aussi d'incarner une antique divinité, Dionysos, le dieu de la vigne, ressuscité dans l'ivresse générale. Et en effet, comme Voyageur le déclare à Zarathoustra: la mort, chez les dieux, n'est jamais qu'un préjugé."</div><div>Pierre Klossowski (Un si funeste désir) </div></div><div><br /></div><div><div>"Indem nämlich die Vielheit unverbundener Einzeltriebe sich in zwei einander gleichsam gegenüber stehende Wesenheiten zerspaltet, von denen die Eine herrscht, die Andere dient, — wird es dem Menschen ermöglicht, zu sich selber nicht nur wie zu einem anderen, sondern auch wie zu einem höhern Wesen zu empfinden. Indem er einen Theil seiner selbst sich selber zum Opfer bringt, ist er einer religiösen Exaltation nahe gekommen. In den Erschütterungen seines Geistes, in denen er das heroische Ideal eigener Preisgebung und Hingebung zu verwirklichen wähnt, bringt er an sich selbst einen religiösen Affect zum Ausbruch." </div><div>"Von allen grossen Geistesanlagen Nietzsches gibt es keine, die tiefer und unerbittlicher mit seinem geistigen Gesammtorganismus verbunden gewesen wäre, als sein religiöses Genie. Zu einer anderen Zeit, in einer andern Culturperiode würde dasselbe diesem Predigerssohn sicherlich nicht gestattet haben, zum Denker zu werden. Unter den Einflüssen unserer Zeit erhielt jedoch sein religiöser Geist die Richtung aufs Erkennen und vermochte dasjenige, wonach es ihn instinctiv am drängendsten verlangte, wie nach dem natürlichen Ausdruck seiner Gesundheit, nur in krankhafter Weise zu befriedigen, — das heisst, er vermochte es nur vermittelst einer Rückbeziehung auf sich selbst anstatt auf eine ihn mit umfassende, ausser ihm liegende Lebensmacht."</div><div>"So erreichte er das gerade Gegentheil des Angestrebten: nicht eine höhere Einheit seines Wesens, sondern dessen innerste Zweitheilung, nicht den Zusammenschluss aller Regungen und Triebe zu einem einheitlichen Individuum, sondern ihre Spaltung zum »Dividuum«. Es war immerhin eine Gesundheit erreicht, — doch mit den Mitteln der Krankheit; eine wirkliche Anbetung, doch mit den Mitteln der Täuschung; eine wirkliche Selbstbehauptung und Selbsterhebung, doch mit den Mitteln der Selbstverwundung."</div><div>Lous Salomé</div></div><div><br /></div><div>"The confusion which obliterates the controls' grasp of science and philosophy does not prevent them from spouting realms of pompous nonsense upon religious and philosophical topics and presenting it as profoundest truth, sometimes in the teeth of the sitters' queries; so that we have to attribute to them not just confusion but downright tale-spinning, which was certainly not a habit of the purported communicators in life, nor yet of the normal Mrs Piper."<br />"Several communicators showed a somewhat marked interest in clothes and hats, which would not have been characteristic of them in life, but was characteristic of Mrs Piper."<br />"The most remarkable cases of trance mediumship illustrate what may happen when a telepathic agent, with his powers thus emancipated, works upon a gifted psychic—one, say, at least as remarkable as the best of Osty's sensitives—who adds to these essential gifts the psychological quirk, whatever it may be (a tendency to dissociation, perhaps, or a liability to sink into unstructured reverie), which makes her in addition highly responsive to suggestions conveyed by or implicit in the telepathic influences playing upon her."</div><div>Alan Gauld (Mediumship and Survival: A Century of Investigations)<br />"'Extraneous 'wills to communicate' may contribute to the results as well as a 'will to personate', and the two kinds of will may be distinct in entity, though capable of helping each other out. The will to communicate, in our present instance, would be, on the prima facie view of it, the will of Hodgson's surviving spirit, and a natural way of representing the process would be to suppose the spirit to have found that by pressing, so to speak, against 'the light', it can make fragmentary gleams and flashes of what it wishes to say mix with the rubbish of the trance-talk on this side. The wills might thus strike up a sort of parternship and reinforce each other. It might even be that the 'will to personate' would be comparatively inert unless it were aroused to activity by the other will." </div><div>William James ("Report on Mrs Piper's Hodgson Control", <i>Proceeding of the Society for Psychical Research, </i>23/1909, as quoted by Alan Gauld)</div><div>"These views were confirmed by the behaviour of physical phenomena known to classical science; hence the uniqueness of time and the absolute character of simultaneity had been accepted. In other words, the simultaneity and the order of succession of two spatially separated events were assumed to constitute facts transcending our choice of a system of reference... But the point we wish to stress is that if perchance experiment were ever to suggest that simultaneity was not absolute, no rational argument could be advanced to prove the absurdity of this opinion. As we shall see, Einstein's interpretation of certain refined electromagnetic experiments consists precisely in recognising the relativity of simultaneity and the ambiguity of duration... As is the case with space, mathematical time is an amorphous continuum presenting no definite metrics. The concept of congruence or of the equality of successive durations has no precise meaning; and a definition of time-congruence can be obtained only after we have imposed some conventional measuring standard on an indifferent duration... What is commonly called the sense of rhythm, which manifests itself in the primitive music of drum beats and in the dances of savages, is nothing but a consequence of this intuitive understanding of time-congruence."</div></div><div style="text-align: justify;">A. D'abro (The Evolution of Scientific Thought)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Sylvia Beach found Joyce a series of typists to finish the Circe episode, but for one reason or another they dropped out in quick succession. 'Circe herself is punishing me for having written it,' he told Miss Beach. One typist had to stop because her father suffered a seizure, and Joyce noted that coincidentally this was an incident in the chapter. At last he found a Mrs. Harrison, whose husband had a post at the British Embassy. She made good progress until on April 8 her husband glanced at the manuscript, and, scandalized, threw it into the fire."</div><div style="text-align: justify;">"'Why are you so afraid of thunder?' asked [Arthur] Power, 'your children don't mind it.' 'Ah,' said Joyce contemptuously, 'they have no religion.'"</div><div style="text-align: justify;">Richard Ellmann</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Les abolisseurs d'âmes (matérialistes) sont nécessairement des abolisseurs d'enfer; ils sont, à coup sûr, intéressés. Tout au moins ce sont de gens qui ont peur de revivre, — des paresseux."</div><div style="text-align: justify;">Baudelaire (Mon coeur mis a nu)</div><div style="text-align: justify;">"De même une certaine école spiritualiste, qui a ses représentants en Angleterre et en Amérique, considère les phénomènes surnaturels, tels que les apparitions de fantômes, les revenants, etc., comme des manifestations de la volonté divine, attentive à réveiller dans l'esprit de l'homme le souvenir des réalités invisibles."</div><div style="text-align: justify;">"Dans le sommeil, ce voyage aventureux de tous les soirs, il y a quelque chose de positivement miraculeux; c'est un miracle dont la ponctualité a émoussé le mystère... le rêve absurde, imprévu, sans rapport ni connexion avec le caractère, la vie et les passions du dormeur! ce rêve, que j'appellerai hiéroglyphique, représente évidemment le côté surnaturel de la vie, et c'est justement parce qu'il est absurde que les anciens l'ont cru divin."</div>Baudelaire (Les Paradis artificiels)<br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Il était mort. Mort à jamais? Qui peut le dire? Certes, les expériences spirites pas plus que les dogmes religieux n'apportent de preuve que l'âme subsiste. Ce qu'on peut dire, c'est que tout se passe dans notre vie comme si nous y entrions avec le faix d'obligations contractées dans une vie antérieure; il n'y a aucune raison dans nos conditions de vie sur cette terre pour que nous nous croyions obligés à faire le bien, à être délicats, même à être polis, ni pour l'artiste athée à ce qu'il se croie obligé de recommencer vingt fois un morceau dont l'admiration qu'il excitera importera peu à son corps mangé par les vers, comme le pan de mur jaune que peignit avec tant de science et de raffinement un artiste à jamais inconnu, à peine identifié sous le nom de Ver Meer. Toutes ces obligations qui n'ont pas leur sanction dans la vie présente semblent appartenir à un monde différent, fondé sur la bonté, le scrupule, le sacrifice, un monde entièrement différent de celui-ci, et dont nous sortons pour naître à cette terre, avant peut-être d'y retourner, revivre sous l'empire de ces lois inconnues auxquelles nous avons obéi parce que nous en portions l'enseignement en nous, sans savoir qui les y avait tracées, ce lois dont tout travail profond de l'intelligence nous rapproche et qui sont invisibles seulement <span>— e encore! </span><span>— pour les sots. De sorte que l'idée que Bergotte n'était pas mort à jamais est sans invraisemblance. On l'enterra, mais toute la nuit funèbre, aux vitrines éclairées, ses livre, disposés trois por trois, veillaient comme des anges aux ails éployées et semblaient pour celui qui n'était plus, le symbole de sa résurrection."</span></div><div style="text-align: justify;">"... une véritable différence, celle qu'il y avait entre la pensée de tel musicien et les éternelles investigations de Vinteuil, la question qu'il se posa sous tant de formes, son habituelle spéculation, mais aussi débarrassée des formes analytiques du raisonnement que si elle s'était exercée dans le monde des anges, de sorte que nous pouvons en mesurer la profondeur, mais pas plus la traduire en langage humain que ne le peuvent les esprits désincarnés quand, évoqués par un médium, celui-ci les interroge sur les secrets de la mort; un accent, car tout de même en tenant compte de cette originalité acquise qui m'avait frappé dans l'après-midi, de cette parenté aussi que les musicographes pourraient trouver entre des musiciens, c'est bien un accent unique auquel s'élèvent, auquel reviennent malgré eux ces grands chanteurs que sont les musiciens originaux, et qui est une preuve de l'existence irréductiblement individuelle de l'âme."</div><div style="text-align: justify;">Marcel Proust (le narrateur, La Prisonnière)</div><div style="text-align: justify;">"Aussi à ces moments-là si j'avais pu réussir à l'évoquer en faisant tourner une table comme Bergotte croyait que c'était possible, ou à la rencontrer dans l'autre vie, comme le pensai l'abbé X, je ne l'aurais souhaité que pour lui dire: 'Je sais pour la blanchisseuse. Tu disais: tu me mets aux anges, j'ai vu la morsure.'"</div><div style="text-align: justify;">"... souvent, ce souvenir qu'Albertine était morte se combinait sans la détruire avec la sensation qu'elle était vivante. Je causais avec elle, pendant que je parlais ma grand-mère allait et venait dans le fond de la chambre... à ce qu'on dit, les morts ne peuvent rien sentir, rien faire. On le dit, mais cela n'empêchait pas que ma grand-mère qui était morte continuait pourtant à vivre depuis plusieurs années et en ce moment allait et venait dans la chambre."</div><div style="text-align: justify;">Marcel Proust (le narrateur, Albertine disparue)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"... c'est le désir de mourir sans doute, mais c'est en même temps le désir de vivre, aux limites du possible et de l'impossible, avec une intensité toujours plus grande. C'est le désir de vivre en cessant de vivre ou de mourir sans cesser de vivre, le désir d'un état extrême que saint Thérèse peut-être seule a dépeint assez fortement par ces mots: 'Je meurs de ne pas mourir!' Mais la mort de ne précisément n'est pas la mort, c'est l'état extrême de la vie; si je meurs de ne pas mourir, c'est à la condition de vivre: c'est de la mort qu'en vivant j'éprouve, en continuant de vivre. Saint Thérèse chavira mais ne mourut pas réellement du désir qu'elle eut de chavirer réellement."</div><div>Georges Bataille (Mystique, <i>L'Érotisme</i>)</div><div>"Si nous suivons la voie indiquée par le christianisme, il est vrai, nous pouvons non seulement sortir de la solitude, mais accéder à une sorte d'équilibre, qui échappe au déséquilibre premier, dont je pars, qui nous empêche de concilier la discipline et le travail avec l'expérience de l'extrême."</div><div>Georges Bataille (Sainteté, <i>L'Érotisme</i>)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... the inadequate knowledge of external bodies found in imagination, sense, and memory (and also implicated in the passive emotions) ceases when the human body ceases to endure (E 5P2i,34). Yet, the essence of the human body is in God (without regard to duration) and is conceived through God "by a certain eternal necessity"; thus: "[T]here is necessarily in God an idea which expresses the essence of this or that human body under the aspect of eternity" (E 5P22). That is, the human mind, insofar as it expresses the essence of the human body—and so is "part of the infinite intellect of God"—is itself eternal; or, as Spinoza somewhat misleadingly expresses the point (E 5P23): "The human mind cannot be absolutely destroyed along with the body, but something of it remains, which is eternal." Here again we find Spinoza succumbing to a temptation to exalt mind over body, with regard to some kind of permanence; yet correctly (in accordance with his own carefully developed principles) he could and should be holding simply this: that the human mind has a noneternal part that perishes when the body ceases to endure,—but also an eternal part, to be understood as knowledge of the essence of the body from the point of view of eternity: "[W]e nevertheless sense that our mind, in so far as it involves the essence of the body under the aspect of eternity, is eternal, and that this existence of it cannot be defined by time, nor explained through duration" (E 5P23S; cf. E 5p29)."</div><div style="text-align: justify;">"As I have already mentioned, one of Spinoza's central views, with regard to knowledge and the achievement of human perfection, is that our mind's ability to understand the essence of various things under the aspect of eternity is a function of its ability to understand or know or conceive the essence of its own body under the aspect of eternity. Because such knowledge, like all knowledge, involves understanding its object in relation to its cause—God—this knowledge that the mind has in relation to its body and external bodies satisfies the definition of "the third kind of knowledge."</div><div style="text-align: justify;">"The third kind of knowledge, Spinoza goes on to argue, brings pleasure "accompanied by the idea of God as its cause" and hence (partly by some previous remarks about the nature of love) love of God, conceived as eternal (E 5P32). Thus it is tied not only to self-contentment, but also to what Spinoza calls "intellectual love of God" (amor intellectualis Dei), which is itself "eternal" (E 5P32C and 5P33). This condition Spinoza identifies, in succeeding propositions, with perfection of mind, and blessedness or salvation or freedom (E 5P33S and 5P36S)."</div><div style="text-align: justify;">"The more things a given human mind understands adequately, the larger portion of it belongs to the infinite intellect of God, and so is eternal; and the less reason is there to fear death (E 5PP38-40)... In deploying his doctrine of eternity of mind Spinoza perversely tends to imply that the mind achieves existence separate from the body (and even speaks of its achieving "duration without relation to the body"). To this extent Spinoza's language doubtless evokes a less esoteric conception of the "eternity of mind" than his principles permit. But this lapse does not seem inherently unmanageable: Texts of Part 5 itself show that his earlier conception of the mind-body relation, as asserted in Part 2 especially, persists under the inconsistent language (which can accordingly largely be disregarded). The more serious problem, I believe, is quite a different one: namely, explaining how Spinoza really understands the "third kind of knowledge"—or, for that matter, the second. The third kind of knowledge, as we have seen, involves grasping the "inmost essence" of singular things in relation to the essence of God. I pointed out that Spinoza gives us some reason to suppose that what he has in mind is (at least in part) our coming to grasp intuitively the "force to persevere in existence" that defines the essence of singular things as a manifestation and consequence of God's power." </div><div style="text-align: justify;">Margaret D. Wilson (Spinoza's Theory of Knowledge/Cambridge Companion to Spinoza)</div><div style="text-align: justify;">**************************************************************</div><h4 style="text-align: left;">Thomas Mann & Willy-Mina (or another small anecdote known only in our own family):</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... and nature is an equivocal element: impure, obscene, spiteful, daemonic..."</div><div style="text-align: justify;">"... the mediumistic faculty, however genuine, is no guarantee of good character..."</div><div style="text-align: justify;">"It is not hard to see why science, which sets store by exact values, is at home in the dry, objective air of the laboratory and used to purely abstract work with apparatus and prepared subjects, should feel put off with this all too human kind of experimentation. It is the same with the layman. He has come keyed up to a suggestive atmosphere and a mood of consecration and mystery. He is disappointed to find himself in a situation which probably disgusts him both intellectually and aesthetically, suggesting as it does the mawkish revival methods of the Salvation Army."</div><div style="text-align: justify;">"The one mystical thing about the situation<span>—</span>and that not in any spiritual sense, but with reference to organic mysteries, primitive and affecting at once<span>—</span>is the medium himself, as he tosses and threshes with his arms, whispering in quick groans and pants: he is the primary object of my curiosity."</div><div style="text-align: justify;">"Let me withdraw within myself and try to divine where may be the point, when the magical moment, in which a dream-picture objectivates itself and becomes a spatial reality, before the eyes of other people. Nausea. Clearly this point does not lie within the plane of our consciousness, or of the laws of knowledge as we know them. If anywhere, it is located in that state in which I see this lad now before me, and which is certainly a gate-whither? Behind the house, behind the world? But I admit that this is not thinking at all<span>—</span>only a mild form of seasickness."</div><div style="text-align: justify;">"What a playful monster! We all laugh. But it is not amusement we feel, rather a sort of sinking sensation at the chilling arrogance of this something or other which is perhaps only a distressingly complicated kind of humbug. But, as I said, a civilized. It did not throw the music-box in my face, but tactfully chose one of the soft little rings. People have had their ears boxed, and other practical jokes have been played, such as unlacing boots... an indication of good sense and decent feeling. On the other hand, they do unmistakably tend to become demoralized, to play silly tricks and make unmotivated displays of strength."</div><div style="text-align: justify;">"And, on my honour, the writing machine begins to click, there on the floor. This is insane. Even after all we have already seen, it is in the highest degree startling, bewildering, ridiculous; the fantasticality of the thing is even fascinating."</div><div style="text-align: justify;">"It was quite light on the table, the phantom would have exposed itself all too defencelessly to our view, and to do that did not in the least correspond to the image I had made to myself of the shy, sly, stealthy, equivocal character of our elusive guest: a character too insignificant to have evil intent, on the contrary probably quite well-meaning, but weak-minded and embarrassed."</div><div style="text-align: justify;">"Well, now, what had I seen? Two-thirds of my readers will answer: swindle, sleight-of-hand, deception. Some day, when our knowledge of these matters has progressed, the field will be popularized, and they will deny that such was their judgment. Even now, and even if they take me for a credulous and suggestible fad-chaser, the testimony of trained experimenters like the French scholar Gustave Geley ought to make them less glib. Geley closes his report with the categorical statement: 'I do not merely say that there was no deception present in these sittings; I say that the possibility of deception was ruled out.' That is absolutely my own position."</div><div style="text-align: justify;">"'Delusion' is such a word; its very vagueness helps by preventing us from seeing to the bottom of it. The two conceptions of reality and of deception are mingled in it, and perhaps the mingling has more justification than we know, and is less strange in nature than it is to our downright processes of thought. I will say, then, that what I saw had to do with an occult delusion in the domain of organic life; with bewilderingly deep and sub-human complexes, at once primitive and involved. These, undignified by nature and trivial in their activity as they are, are well calculated to be offensive to our proud aestheiic sense, but to deny their abnormal reality would be nothing less than unreasonable obstinacy."</div><div style="text-align: justify;">"... as for the problem of exteriorization and materialization, the longer one looks at it, the more it reveals a complexity apparently calculated for the express purpose of making a mock of the human intellect..."</div><div style="text-align: justify;">"'That which governs life,' Claude Bernard wrote, 'is neither chemistry nor physics, nor anything of the kind; but the ideal principle of the life-process.' A strangely indefinite saying for a great scientist, he being a French man to boot; a saying that gropes vaguely after a mystery, and shows that it is precisely the great world of scholarship which never loses an inward feeling for the mystery; and that only the rank and file run the danger of scientific darkness, unmindful how very little complete, how much mingled with mystery<span>—</span>and riddles perhaps never to-be-solved<span>—</span>is all their exact knowledge of nature and life and its functions."</div><div style="text-align: justify;">"... in other words, it passes beyond the limits of the organism and operates outside it, 'ectoplastically.' That is, it calls into temporary existence, out of the exteriorized, organic basic substance (the appearance and form of which have already been observed with some degree of exactitude), shapes, limbs, bodily organs, particularly hands, which possess all the properties and functions of normal, physiological, biologically living organs. These teleplastic end-organs move apparently free in space..."</div><div style="text-align: justify;">"It was Hegel who said that the idea, the spirit, is the ultimate source of all phenomena; and perhaps supra-normal physiology is more apt than normal to demonstrate his statement."</div><div style="text-align: justify;">"In other words, we call to aid an uninvestigated <i>ideoplastic faculty</i> possessed by the medial constitution. Ideoplastic<span>—</span>a word, and a conception, of Platonic power and charm, not without flattering unction to the artist's ear, who will be ready from now on to characterize, not only his own work, but universal reality as ideoplastic phenomena. Yet a word, and a conception, of quite as turbid depths as the word 'delusion' itself, and, by virtue of its maddening mixture of elements of the real and the dream, leading straight to the morbid and the preposterous."</div><div style="text-align: justify;">- Thomas Mann, "An Experience in the Occult" [Okkulte Erlebnisse], translated by H. T. Lowe-Porter;</div><div style="text-align: justify;"><span style="text-align: start;">**************************************************************</span></div><div style="text-align: justify;"><h4>Jacques Derrida & Max Stirner: </h4><span style="text-align: start;"><div style="text-align: justify;"><span style="text-align: start;"><br /></span></div>"Il faudrait bien sûr, tâche nécessaire et passionnante, lire Stirner au-delà des extraits que <i>L'Idéologie allemande</i> [de Marx] découpe (largement, il est vrai) et soumet le plus souvent à la torsion de la satire. Il faudrait aussi reconstituer, traversant le texte de Stirner, une tradition ou une généalogie de cette thématique du fantôme au XIXe siècle, au moins, de Kant (non seulement celui qui s'intéressa à Swedenborg, mais le penseur de l'imagination transcendantale et donc de tous les tiers conceptuels que la fantastique introduit entre le sensible et l'intelligible, autant de lieux propices à la spectralité) jusqu'au Schopenhauer de l'<i>Essai sur les fantômes</i> (<i>Versuch liber Geistersehen und was damit zusammenhängt</i>, 1851), à Nietzsche </span><span>— </span><span style="text-align: start;">qui connaissait indirectement les textes de Stirner et en conseilla la lecture à Baumgartner en 1874, ou à Mallarmé</span><span>s — </span><span style="text-align: start;">dont l'œuvre veille auprès d'un « fantôme blanc comme une page pas encore écrite » (Mimique). Une telle reconstitution excédant ici les limites de notre propos, citons au moins une fois quelques passages de <i>L'Unique et sa Propriété</i> [de Stirner]: « Les Romantiques ressentirent bien l'atteinte à la foi en Dieu elle-même que représentait l'abandon de la croyance aux esprits et aux fantômes et cherchèrent à remédier à ses fatales conséquences, non seulement en ressuscitant le monde fabuleux mais surtout en </span><span style="text-align: start;">ouvrant les portes d'un monde supérieur avec leurs somnambules, voyantes de Prévorst, etc. Les bons croyants et les Pères de l'Église ne se doutaient pas que détruire la croyance aux fantômes, c'était aussi enlever sa base à la religion et la laisser planer, détachée de son sol nourricier. Qui ne croit plus aux fantômes n'a plus qu'à pousser avec conséquence son incroyance pour se rendre compte qu'il ne se cache aucun être particulier derrière les choses, aucun fantôme ou</span><span>—</span><span style="text-align: start;">ce qui revient au même, en prenant le mot dans son acception naïve</span><span>—</span><span style="text-align: start;">aucun esprit. » </span><span style="text-align: start;">Et sous le titre </span><span style="text-align: start;">« Le spectre » : « Avec les fantômes, Nous entrons dans le royaume des esprits, des êtres. Ce qui hante l'univers, y poursuivant ses secrètes et insaisissables activités, c'est le spectre mystérieux que Nous appelons </span><span style="text-align: start;">Être suprême. Pendant des siècles, les hommes se sont donné pour tâche d'en connaître le fond, de le concevoir, d'y découvrir la réalité (de prouver l'existence de Dieu) ; c'est à cet effroyable, impossible et interminable travail de Danaïdes qu'ils s'acharnèrent, voulant changer un spectre en non-spectre, l'irréel en réel, l'esprit en une personne totale, en chair et en os. C'est ainsi qu'ils cherchèrent la 'chose en soi', derrière le monde existant, derrière la chose la non-chose. » </span></div><div style="text-align: justify;"><span style="text-align: start;">- Jacques Derrida, <i>Spectres de Marx </i>(Galilée, 1993, p. 117 n. 1); </span></div><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">The importance of the body in Western Esotericism: </h4><div style="text-align: justify;">"Les sephiroth de la Kabbale expriment le procès théogonique non pas comme un acte intellectuel, une simple prise de conscience de Dieu par lui-même, mais comme une réalisation corporelle, une incorporisation continuelle... Gorceix pense que la notion de corps spirituel, qui d'ailleurs n'est point héterodoxe — Paul distingue le corps et la chair —, fut transmise, durant le Moyen Âge et plus tard, par l'alchimie, dont la lapis (que de nombreux textes assimilent au Christ) n'est pas seulement corps mais tout autant sprit."</div><div style="text-align: justify;">"L'intuition centrale de Boehme, c'est-à-dire la double nécessité d'une lutte et d'une opposition des contraires dont la synthèse constitute la vie, fonde les spéculations de Gichtel lui-même... Ce qui le séduit le plus lorsqu'il parle des 'trois principes' ou de Sophia, c'est la notion de corporéité céleste: la nouvelle naissance est un processus autant corporel que spirituel, une naissance totale, globale. Cette notion de corps-puissance, ou corps-énergie, Oetinger la reprendra au XVIIIe siècle avec sa conception de Geistleiblichkeit."</div><div style="text-align: justify;">"'Rendez à Dieu ce qui est à Dieu!' signifie pour Baader: 'Rendez à Dieu son image!' Il incombe donc aux hommes d'être des miroirs qui rassemblent les débris d'un monde éclaté et transforment la dispersion en unité. Pratiquer le culte divin, c'est laisser Dieu se servir de nous pour effectuer la descente et la remontée auxquelles il aspire incessamment... Les anges, à aller et venir le long de l'échelle entrevue en songe par Jacob... Messiaen nous a donné, dans Quatour pour la fin des temps, un arc-en-ciel théologique."</div><div style="text-align: justify;">- Antoine Faivre, <i>Accès de l'ésotérisme occidental</i>, vol. II (Gallimard, 1996);</div><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">The body in American Spiritualism: </h4><div style="text-align: justify;">"... an examination of the shared characteristics of hysteria and Spiritualist mediumship, rather than serving to pathologize believers, in fact reveals that Spiritualism saw itself as a competing discourse to the emerging one of psychoanalysis, self-consciously and adamantly offering an alternative view of similar phenomena... The answers Spiritualists sought were external to the individual; believers tried to uncover the secrets of the past, rather than the secrets of their selves. By explicitly attacking psychoanalytic constructions of the unconscious as a locus of mental illness, Spiritualism offered not only a theological understanding of alternative psychic states, but also a radically alternative interpretation of the body—especially the woman’s body—as an instrument of intangible forces."</div><div style="text-align: justify;">"Mediumship shared phenomenological characteristics with several similar movements of its day, foremost Mesmerism... Mesmerism clearly included a mystical as well as medical component, and in certain cases mesmerized patients reported a facility for the paranormal and the ability to talk to the dead." </div><div style="text-align: justify;">- <a href="https://www.academia.edu/4170599/FROM_ELECTRICITY_TO_ECTOPLASM_HYSTERIA_AND_AMERICAN_SPIRITUALISM" target="_blank">Cathy Gutierrez, From electricity to ectoplasm: Hysteria and American Spiritualism (Aries, vol. 3, issue 1/ 2003)</a>;</div><div style="text-align: justify;"><span style="text-align: start;"><br /></span></div><div><h4 style="text-align: left;">Possession, Chamanisme & Music (Gilbert Rouget): </h4><span><div style="text-align: justify;">"Comme l'écrit Éliade à propos des chamanes tchouktchi, eskimo, lapon ou sémang, se transformant en loup, ours, renne, poisson ou tigre et imitant leurs gestes et leur voix, ce n'est pas d'une 'possession par les animaux qu'il s'agit, mais bien plutôt d'une <i>prise de possession, par le chaman, de ses esprits auxiliares</i>: c'est lui qui <i>se transforme</i> en animal, de même qu'il obtient un résultat semblable en mettant un masque d'animal... En Afrique, le possédé n'imite pas le dieu qu'il incarne, il <i>est ce dieu</i>. En Asie, le chamane coexiste avec les esprits protecteurs ou auxiliares qu'il s'est incorporés grâce à son chant magique, et c'est ce qui lui permet de dialoguer avec eux. En Afrique, semblable coexistence, en une même personne, du sujet en transe et de l'esprit qui le possède, ne s'observe jamais, sauf erreur, en tout cas pas dans les cultes que nous avons nommés..."</div><div style="text-align: justify;">"... la distinction à faire entre possession et chamanisme apparaît très tranchée. Mais là comme en tant d'autres domaines des glissements s'opèrent d'un modèle à l'autre — les Bochiman en fourniront plus loin un très beau cas —, des formes hybrides se constituent, des contacts se nouent et se dénouent, donnant naissance à des mélanges qui ne cessent de se faire et de se défaire."</div><div style="text-align: justify;">"Si telle rythmique passe pour déclencher la transe dans telle région, dans l'autre c'est une rythmique tout à fait différente qui jouera le même rôle. C'est donc que toute rythmique, ou tout système rythmique — car toute rythmique est un système — peut faire l'affaire. Ou encore, ce qui revient au même, c'est qu'aucun système rythmique n'est spécifique de la transe."</div><div style="text-align: justify;">"On "sait que tout le système des modes grecs peut être considéré comme reposant, au départ tout au moins, sur une opposition fondamentale, celle du dorien et du phrygien... le dorien était un mode pentatonique sans demi-ton et le phrygien était, au contraire, un mode diatonique à demi-ton... Nous retrouvons ici, par un autre biais, la Phrygie. On constate ainsi que l'instrument de musique de la possession [l'aulos] tout autant que son mode musical étaient considérés, en Grèce hellénique, comme venant d'ailleurs... la division de la musique grecque en deux mondes opposés, celui du dorien 'harmonie de l'Hellade européenne' et celui du phrygien 'musique des Asiates, importée par les aulètes de Phrygie'. On sait combien les grandes oppositions de ce type — et l'on pense bien entendu à celle qu'on a tant faite, après Nietzsche, entre Apollon et Dionysos — sont facilement réductrices."</div><div style="text-align: justify;">"... la devise musicale, qui joue un rôle central dans la possession... peut se définir comme un signe dont le signifié est le dieu auquel il se réfère et dont le signifiant est à trois facettes: linguistique, musicale et chorégraphique. Le pouvoir signifiant de ce signe est particulièrement étendu puisqu'il intéresse en même temps l'esprit et le corps, l'intelligence et la sensibilité, les facultés d'idéation et de mouvement. C'est évidemment à cela qu'il doit d'être, pour l'adepte, le plus puissant moyen de s'identifier à la divinité qui le possède." </div><div style="text-align: justify;">"Physiologiquement, au niveau sensoriel, si la musique est principalement perçue par l'ouïe, elle ne passe pas que par cette voie. Les vibrations musicales sont des mouvements dont l'amplitude est, à l'échelle du corps humain, relativement grande. Le mouvement des objets qui leur donne naissance — ou le mouvement qu'elles impriment aux objets, puisque l'action peut s'exercer dans les deux sens — est toujours palpable et souvent même visible... Qu'on touche la table d'un violon pendant qu'on en joue, le bout du doigt ressent la palpitation des sons. Qu'on s'approche de ces très gros tambours que les Yorouba font sonner pour leurs cérémonies secrètes de <i>oro</i>, c'est par le ventre, qui se met à vibrer, autant que par les oreilles qu'on les entend. Qu'on se mette au contraire tout près de ce très petit tambour qui sonne également pour <i>oro</i>, mais dont la membrane très petite et très tendue est plutôt fouettée que battue, prestissimo, à l'aide de fines baguettes, c'est toute la tête qui retentit. À la tribune d'un orgue, à pleins jeux, c'est par tout le corps qu'on perçoit la musique. C'est le monde qui tremble, c'est toute l'atmosphère qui résonne. 'Baigner dans la musique' n'est pas qu'une métaphore."</div><div style="text-align: justify;">"Dans la dimension du temps, la musique modifie plus encore la conscience d'être. Elle est architecture du temps. Elle donne au temps une densité différente de sa densité quotidienne. Elle lui donne une matérialité qu'il n'a pas d'ordinaire ou qui est d'un autre ordre."</div><div style="text-align: justify;">"Transformant ainsi de différentes manières le sentiment du temps et de l'espace, la musique modifie notre être-dans-le-monde."</div><div style="text-align: justify;">"... le chaman est le musiquant de sa propre entrée en transe. Ce n'est pas en écoutant les autres chanter ou tambouriner pour lui, mais au contraire en chantant et en tambourinant lui-même qu'il entre en transe. Toutes les descriptions concordent sur ce point. Là réside, pour ce qui nous intéresse ici, la grande différence entre chamanisme et possession."</div><div style="text-align: justify;">"Le chamanisme était apparu essentiellement comme agi (si toutefois l'on peut risquer ce barbarisme), la possession comme subie... Par ailleurs, dans la possession le sujet entre en transe parce qu'il change d'identité, dans le chamanisme il entre en transe parce qu'il change de monde."</div><div style="text-align: justify;">"Cela ne doit pas nous faire oublier que s'il s'agit de chasser parfois le venin et toujours ce qu'il symbolise, il ne s'agit pas de chasser l'araignée, mais bien au contraire de s'identifier à elle, ce qu'on fait abondamment en l'imitant de plusieurs façons différentes."</div><div style="text-align: justify;">"Dans l'antiquité grecque, la transe, on l'oublie trop souvent encore aujourd'hui, constituait en très important aspect de la vie religieuse. Les pratiques dionysiaques, avec leurs égarements et leurs violences, font certes partie intégrante du tableau que l'on se fait couramment de la religion grecque. Rohde et bien d'autres après lui en ont rendu compte. Nietzsche les a abondamment célébrées. Mais bien que Jeanmaire et Dodds l'aient fort bien montré il y a plus de trente ans, on ne se rend pas suffisamment compte, en général, du fait que le ressort central du culte de Dionysos Bacchos était purement et simplement la transe de possession."</div><div style="text-align: justify;">"Ni le poète, ni l'amant, ni la Pythie ne sont jamais figurés dans cette attitude de crise, caractérisée par la projection de la tête en arrière et par la cambrure de tout le corps, tant de fois peinte dans les scènes de possession qu'on voit figurées sur des vases. Ni les uns ni les autres ne sont donnés comme subissant les effets de la musique, non plus que comme ayant pour activité principale la danse."</div><div style="text-align: justify;">"... comment les Grecs [de l'époque de Platon] se représentaient-ils, concrètement, les relations existant entre Dionysos, cet état divin qu'était la mania et la maladie? C'est une des plus célèbres tragédies d'Euripide, les <i>Bacchantes, </i>don't le sujet est précisément, comme on sait, la transe dionysiaque qui va nous le dire. Dionysos y est peint exerçant une terrible vengeance contre ceux qui, dans son propre lignage, insultent la mémoire de sa mère, refusent de célébrer son culte et pourchassent ses zélateurs."</div><div style="text-align: justify;">"A partir des donnés fournies par les trois dialogues précédemment cités (<i>Phèdre, Lois, Ion</i>), la théorie générale de Platon peut se formuler maintenant de la manière suivante: Les gens, un peu fragiles psychologiquement, qui par suite du courroux d'un dieu souffrent de folie divine, s'en guérissent en pratiquant la transe rituelle, laquelle est déclenchée par une devise musicale et prend la forme d'une danse; musique et danse, par l'effet de leur mouvement, réintègrent la malade dans le mouvement général du cosmos, la guérison étant assurée grâce à la bienveillance des dieux rendus propices par des sacrifices."</div><div style="text-align: justify;">"Si nous devions mettre en parallèle la théorie de Platon et la nôtre, nous dirions que pour lui la guérison est obtenue par réinsertion de l'individu dans le cosmos, celle-ci étant le résultat du mouvement de la musique et de al danse qui rétablissent l'harmonie avec le grand Tout, tandis que pour nous la guérison est obtenue par la réinsertion de l'individu dans la société, celle-ci étant le résultat du mouvement de la musique et de la danse qui permettent l'identification avec le dieu."</div><div style="text-align: justify;">"... brusque rejet de la tête en arrière — ce rejet 'qui désarticule la nuque', dont parle Pindare dans un dithyrambe — violente cambrure du corps, attitudes égarées et convulsives, tels sont les principaux caractères, bien connus, au demeurant, de l'aspect abstrait de la danse de possession chez les Grecs. Comme on voit, cela a été plusieurs fois souligné, par Jeanmarie en particulier, on retrouve là un comportement très semblable à celui qui s'observe de nos jours dans tant de danses de possession, de Bali au Brésil en passant par le Moyen et le Proche-Orient, le bassin méditerranéen et l'Afrique blanche et noire."</div><div style="text-align: justify;">"La théorie de l'harmonie des astres repose, avons-nous vu, sur la croyance, purement intuitive, que le mouvement des planètes et les rapports de consonance sont régis par la même loi des nombres et par le même mystère de la tetraktys (mot qu'on pourrait traduire par 'quartité'), laquelle désigne l'ordonnance des quatre premiers nombres suivant les rapports 1/2, 2/3, 3/4 (lesquels seraient dits maintenante de superpartiels), qui sont ceux de la consonance. C'est, en un mot, une arithmologie mystique."</div><div style="text-align: justify;">"En se réclamant de Platon et en invoquant sous le nom de 'fureur poétique' la mania, poètes et musiciens de la Pléiade renouaient certes avec la tradition grecque de la transe, mais ils n'en représentaient — est-ce la peine de le dire? — que l'aspect le plus littéraire et le plus édulcoré."</div><div style="text-align: justify;">"De tous les peuples du monde, ce sont sans doute les Arabes qui auront le plus étroitement associé la musique et la transe. Dans la vie religieuse d'abord, avec le soufisme, où la transe (<i>wajd</i>), qui pour beaucoup d'adeptes tient une très grande place dans la quête de Dieu, s'obtient très souvent par la musique."</div><div style="text-align: justify;">"De nos jours en Occident, dans le domaine de la musique pop, la conduite des fans électrisés par leurs idoles — Janis Joplin, par exemple, ou Elvis Presley —, hors d'eux-mêmes, hurlant et saccageant pour finir la salle de concert, peut-être vue comme l'équivalent culturel (ou contre-culturel) de ce que sont pleurs, évanouissement et lacération des vêtements chez les Arabes. Mais c' est plus encore ce qu'a dit Rousseau de l'effet du 'ranz des vaches' sur les soldats helvétiques qui serait à en rapprocher."</div><div style="text-align: justify;">"... référer à la culture, c' est mettre. brusquement l'individu en présence de ce qui l'a formé, de ce qui a façonné. sa sensibilité, de ce qui lui est par conséquent antérieur, de ce qu'il a toujours connu et de ce qui le dépasse. C'est confronter son individualité éphémere, imparfaite, inaccomplie, avec la permanence, l'achèvement, la plénitude ontologique."</div><div style="text-align: justify;">- Gilbert Rouget, <i>La musique et la transe </i>(Gallimard, 1990); </div></span></div><div style="text-align: justify;"><span style="text-align: start;">**************************************************************</span></div><div style="text-align: justify;"><span style="text-align: start;"><br /></span></div><h4 style="text-align: justify;">A list of mystical figures (under construction, d'après Sylvia Leclercq, a person of no small note and consequence, célèbre auteur de <i>Duras ou l'Apocalypse blanche </i>et <i>Thérèse mon amour</i>): </h4><div style="text-align: justify;">- Enoch (Bible); </div><div style="text-align: justify;">- Origen; </div><div style="text-align: justify;">- Pseudo-Dionysius; </div><div style="text-align: justify;">- Salomon Ibn Gabirol; </div><div style="text-align: justify;">- Juda Halevi; </div><div style="text-align: justify;"><div>- Al-Hallaj (Sufism); </div><div>- Ibn Al-Arabi (Sufism); </div></div><div style="text-align: justify;">- Abraham Abulafia (Kabbalah); </div><div style="text-align: justify;">- Moses de Léon (Zohar); </div><div style="text-align: justify;">- Hildegard von Bingen; </div><div style="text-align: justify;">- Ruysbroeck (Flandres); </div><div style="text-align: justify;">- Hadewijch (Flandres); </div><div style="text-align: justify;">- Meister Eckhart;</div><div style="text-align: justify;">- Catarina de Siena; </div><div style="text-align: justify;">- Nicolaus Cusanus; </div><div style="text-align: justify;">- Jacob Boehme; </div><div style="text-align: justify;">- Angelus Silesius; </div><div style="text-align: justify;">- San Juan de la Cruz; </div><div style="text-align: justify;">- Santa Teresa d'Ávila; </div><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">Figures of ecstasy & metapsychology (Leclercq/Ávila, <i>Thérèse mon amour</i>):</h4><div style="text-align: justify;">Folie (Marie-Madeleine, saint Paul, saint Augustin) et/ou passion <i>sadomasochique </i>(Eros-Thanatos)<i> </i>(p. 33, 84, 101, cf. 194-98, 201, 243-47, 421-22, 430, 455, 465-67, 470-72, 496-509, 562-63, 594, 616);</div><div style="text-align: justify;">L'enfer, <i>shéol </i>(p. 312-314, 408, 610-612); </div><div style="text-align: justify;"><i>Kénose</i>, mort de Dieu<i> </i>(Christianisme ortodoxe, Hegel, Nietzsche) (p. 471-73, 475); </div><div style="text-align: justify;">Nobodaddy, Godot (p. 484-85, 553);</div><div style="text-align: justify;">Transfer (Freud), lien à autrui, troisième genre de connaissance (Spinoza) (p. 36, 84, 509, 660-61, 676); </div><div style="text-align: justify;">Vision intellectuelle (Proust) (p. 251-57, 290-91, 629-630);</div><div style="text-align: justify;">Jouissance (Molly Bloom) (p. 41, 628); </div><div style="text-align: justify;"><div style="text-align: justify;">Semence désoeuvrée, jaillissement fantasmatique (Klossowski) (p. 93); </div></div><div style="text-align: justify;">Hiérogamie avec l'Autre (Lacan) (p. 50, 64-65, 83, 88-89, 101, 104, 118, 129, 249-250, 259, 264, 266-68, 359-365, 465, 508-509); </div><div style="text-align: justify;">Nom du père, mère-version (p. 207-217, 359-365);</div><div style="text-align: justify;">Le pouvoir de la fiction (des fictions) (Cervantes, Schreber) (p. 209, 213, 441, 447-450, 454, 460-62, 475, 509, 677, 696-97); </div><div style="text-align: justify;">Refoulement originel (p. 91); </div><div style="text-align: justify;">Mystère, <i>mukham </i>(latim, greek, sanskrit) (p. 51); </div><div style="text-align: justify;">Immanence <i>et</i> transcendance, l'Être <i>et </i>l'impossibilité d'Être (sufism) (p. 55, 57, 81);</div><div style="text-align: justify;"><i>Analogia entis</i> (christianisme) (p. 57); </div><div style="text-align: justify;">Pensée apophatique (p. 106, 116, 124, 273); </div><div style="text-align: justify;">Eucharistie (catholicisme) (p. 58, 218-223, 272, 618-19); </div><div style="text-align: justify;">Épiphanie (p. 63, 92); </div><div style="text-align: justify;">Déconstruction de soi (p. 105, 110);</div><div style="text-align: justify;">Souffle cosmique de le <i>yin</i> et le <i>yang</i>, le Tao<i> </i>(p. 68, 82);</div><div style="text-align: justify;">Yoga (p. 52, 72);</div><div style="text-align: justify;">Océanité (l'expérience archaïque du lien mére-enfant) (Klein, Winnicott) (p. 75, 99-100);</div><div style="text-align: justify;">La fiction de l'eau, "le toucher", coenesthésie (p. 121, 130, 132, 135, 509);</div><div style="text-align: justify;">Miracle, métamorphose (p. 80, 87, 90, 121, 125, 607, 614);</div><div style="text-align: justify;"><i>Hekhalot</i>, moradas (p. 130, 132, 232, 412, 563, 638-640, 645); </div><div style="text-align: justify;">Polytope généreux, kaléidoscope baroque (p. 408, 411); </div><div style="text-align: justify;">L'infini (Leibniz) (p. 638-643, 695-98);</div><div style="text-align: justify;">Raison mentale, flux de l'affect (Francisco de Osuna, <i>Abecedário</i>) (p. 183-85); </div><div><span style="text-align: justify;">**************************************************************</span></div><div><span style="text-align: justify;"><br /></span></div><div style="text-align: justify;">See also (if not worn down to a thread): </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2021/01/cartografia-de-agua-viva-lista-de.html">Cartografia de Água Viva</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/12/modern-literature-and-esotericism.html">Modern Literature and Esotericism: Baudelaire, Rimbaud, Mallarmé & others</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html">the dogma of semantic uniformity &amp; Python Gored Naturalism</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/why-self-help-books-are-not-to-be.html">why self-help books are not to be dismissed</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/09/defi-du-non-circuncis-le-petit-fils.html">défi du non-circoncis</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html">view from Berthe Trépat's apartment</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/02/audrey-hepburn-haunted-by-az-or-how-to.html">Audrey Hempburnt haunted by A/Z</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">list des déclencheurs musicaux</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/08/se-desubicar-lucrecia-martel-la-nina.html">desubicarse (Lucrecia Martel)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2020/10/shingon-myoe-kukan.html">Japanese Esoteric Buddhism</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/01/lintelligence-des-fleurs-maeterlinck.html">L'intelligence des fleurs</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2012/07/blog-post.html">Spooky Blue</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2014/10/sarebbe-la-definizzione-piu-giusta-del.html">Umberto Eco about Nietzsche (& Deconstruction)</a>; </div><div style="text-align: justify;">- <a href="https://www.triplov.com/novaserie.revista/numero_63/alessandro_zir/index.html">conversa de etiqueta (peça em 1/2 ato)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900">Interactive while indifferent—Kinds & Phantasmagoria circa 1900</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/5123444/Infinity_and_the_Sublime">"Infinity and the Sublime" (by Karin Verelst)</a>; </div><div style="text-align: justify;">- <a href="https://www.ufmg.br/revistaufmg/downloads/22/11-Artigo-11-p142-159.pdf">"O Cosmo Segundo os Yanomami" (Davi Kopenawa)</a>;</div><div style="text-align: justify;">- <a href="https://dra.revistas.csic.es/index.php/dra/article/view/538">"La Chute du ciel: un pas-de-deux entre un chamán y un antropólogo" [excellent critical review that questions the apologetics of Viveiros de Castro, Bruce Albert and, to a certain extent, Davi Kopenawa himself around "A Queda do Céu"]</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/19967748/_Toward_a_Magical_Enlightenment_Notes_on_Brunos_Magic_Walking_the_Worlds_Vol_2_No_1_Winter_2015_pp_96_109">"Toward a Magical Enlightenment: Notes on Bruno's Magic" (Edward Butler)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/40640114/Aspetti_del_linguaggio_armonico_di_Aleksandr_Skrjabin._Sguardo_alla_produzione_pianistica">"Aspetti del linguaggio armonico di Aleksandr Skrjabin: Sguardo alla produzione pianistica" (Luigi Verdi, </a><a href="https://www.academia.edu/40640114/Aspetti_del_linguaggio_armonico_di_Aleksandr_Skrjabin._Sguardo_alla_produzione_pianistica">Diastema Diastema: Rivista di cultura e informazione musicale)</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/40685124/Kandinskij_e_la_musica">"Kandinskij e la musica" (Luigi Verdi, Civiltà musicale)</a>;</div><div style="text-align: justify;">- <a href="http://dx.doi.org/10.17613/6901-8497">"Balzacian Mysticism, Palindromic Design, and Heavenly Time in Berg's Music" (John Covach)</a>;</div><div style="text-align: justify;">- <a href="https://www.anppom.com.br/revista/index.php/opus/article/view/opus2018b2402">"Som-silêncio em Concretion 1960, de Hans-Joachim Koellreutter" (Luigi Antonio Irlandini, Revista Eletrônica da ANPPOM)</a>;</div><div style="text-align: justify;">- <a href="https://periodicos.unespar.edu.br/index.php/vortex/article/view/430/320">"An introduction to the poetics of sacred sound in twentieth-century music" (Luigi Irlandini, Revista Vórtex)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/13615965/Der_Morgenlandfahrer_und_der_tonale_Abenteurer_Neues_über_Scelsi_und_Tosatti">"Der Morgenlandfahrer und der tonale Abenteurer Neues über Scelsi und Tosatti" (Johannes Menke, 2015)</a>;</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">And see also the following very interesting papers on Spinoza [who I own to be a champion of 17th century's rationalism, also a person of no small note and consequence, to whom <i>untrustworthy</i> ghost stories<i> do show something to exist of nature unknown</i> (<a href="https://www.sacred-texts.com/phi/spinoza/corr/corr54.htm" target="_blank">letter to Hugo Boxel, September 1674</a>), and to whom J. F. Helvetius's allegation of having successfully produced gold through alchemical procedures <i>was trustworthy</i> (<a href="http://hyperspinoza.caute.lautre.net/Lettre-40-Spinoza-a-Jarig-Jelles-25-mars-1667" target="_blank">letter to Jarig Jelles, March 25, 1667</a>)]: </div><div style="text-align: justify;">- <a href="https://www.academia.edu/38674712/Spinozas_Atheism_the_Ethics_and_the_TTP" target="_blank">"Spinoza's 'Atheism,' the Ethics and the TTP," by Yitzhak Y. Melamed</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/17582829/Spinoza_on_Death_Our_Present_Life_and_the_Imagination" target="_blank">"Spinoza on Death, 'Our Present Life' & the Imagination," by Yitzhak Y. Melamed</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/20666690/_Spinozism_Acosmism_and_Hassidsm_A_Closed_Circle_" target="_blank">"Spinozism, Acosmism, and Hassidism: A Closed Circle," by Yitzhak Y. Melamed</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/37708754/Spinoza_and_the_Kabbalah_From_the_Gates_of_Heaven_to_the_Field_of_Holy_Apples_forthcoming_in_Cristina_Ciucu_ed_Modern_Philosophy_and_the_Kabbalah_" target="_blank">"From the Gate of Heaven to the ‘Field of Holy Apples’: Spinoza and the Kabbalah," by Yitzhak Y. Melamed</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/17582392/Deus_sive_Vernunft_Schelling_s_Transformation_of_Spinoza_s_God" target="_blank">"Deus sive Vernunft: Schelling's Transformation of Spinoza's God," by Yitzhak Y. Melamed</a>; </div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-86449346144269618812020-07-20T17:04:00.028-07:002022-04-23T18:08:36.654-07:00Rogério Sganzerla &/or the most audacious Brazilian film maker after Glauber Rocha (+ Neville de Almeida: yes, there is such a body still in the world!)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHLzSBsE9_Jjye-9KTuVhCGpVPdouYytFoUtVymp79eSv5vOhk-XPKRu4TujqCs9Qhsmcc7tAeV2_7B7pwMopMieh5MrybtoxCCr_pVVPGOjkYA-hhe-EZs-G4XkKVbhkiDfDyuw/s2042/sganzerla_1logo.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="2042" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHLzSBsE9_Jjye-9KTuVhCGpVPdouYytFoUtVymp79eSv5vOhk-XPKRu4TujqCs9Qhsmcc7tAeV2_7B7pwMopMieh5MrybtoxCCr_pVVPGOjkYA-hhe-EZs-G4XkKVbhkiDfDyuw/w400-h148/sganzerla_1logo.jpeg" width="400" /></a></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQrgGQAsUEwIPBUZkIohJTaAv3Ptufb1g12_-kqIIDTy1a27K1qWiIVfwIuwaDXEmdXgB-W3oByzmy21MunbvD_DlNsDnUWqf5EezZlGXpigDZLO4wQ3MX89oL0-97mWrmKodhbQ/s2311/sganzerla_2logo.jpeg" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1122" data-original-width="2311" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQrgGQAsUEwIPBUZkIohJTaAv3Ptufb1g12_-kqIIDTy1a27K1qWiIVfwIuwaDXEmdXgB-W3oByzmy21MunbvD_DlNsDnUWqf5EezZlGXpigDZLO4wQ3MX89oL0-97mWrmKodhbQ/w400-h194/sganzerla_2logo.jpeg" width="400" /></a></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xXKmUA5cOqU" width="320" youtube-src-id="xXKmUA5cOqU"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/BZHomtSHMgo" width="320" youtube-src-id="BZHomtSHMgo"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TJI_O7sRUMA" width="320" youtube-src-id="TJI_O7sRUMA"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/15TyGPfQ4Cc" width="320" youtube-src-id="15TyGPfQ4Cc"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/wgdq8SZkk_k" width="320" youtube-src-id="wgdq8SZkk_k"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1JdDEkUGY4g" width="320" youtube-src-id="1JdDEkUGY4g"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_R6qdhrHOVE" width="320" youtube-src-id="_R6qdhrHOVE"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/pRtQyKia4d8" width="320" youtube-src-id="pRtQyKia4d8"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1MYxWaw9_g0" width="320" youtube-src-id="1MYxWaw9_g0"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/DIQizWyAGn8" width="320" youtube-src-id="DIQizWyAGn8"></iframe></div><div><br /></div><div><br /></div><div>Sem Essa, Aranha (Sganzerla/1970) + Navalha na Carne (Neville de Almeida/1997);</div><div>Death of Night (Alberto Cavalcanti, 1945);</div><div>Sem Essa, Aranha (trechos do filme, Sganzerla/1980);</div><div>Bonna Petit &/ou Helena Ignez Transcendental (<a href="https://www.juststructontologin.com/video.html" target="_blank">montage A/Z</a>);</div><div>Realce (Gilberto Gil + Andrea Tonacci, <a href="https://www.juststructontologin.com/video.html" target="_blank">montage A/Z</a>);</div><div>Jardim de Guerra (Neville de Almeida, 1970);</div><div>A Dama do Lotação (Neville de Almeida, 1978); </div><div>Rio Babilônia (Neville de Almeida, 1982); </div><div>Navalha na Carne (O Brinde) (Neville de Almeida, 1997); </div><div>Faca de Dois Gumes (Murilo Salles, 1989);</div><div>Exorcismo Negro (José Mojica Marins, 1974); </div><div>Assalto ao Trem Pagador (Roberto Farias, 1962);</div><div>**************************************************************</div><div><br /></div><h4 style="text-align: left;">Commentary, scholium, illustration and key: </h4><div><br /></div><div style="text-align: justify;">"... the people who are very talented, but whose talents are hard to define and almost impossible to market. That was the 'staff' of Andy Warhol Enterprises... I didn't expect the movies we were doing to be commercial. It was enough that the art had gone into the stream of commerce, out into the real world."</div><div style="text-align: justify;">Andy Warhol</div><div style="text-align: justify;">"More and more I have the feeling that we are getting nowhere. Slowly, as the talk goes on, we are getting nowhere and that is a pleasure. It is not irritating to be where one is. It is only irritating to think one would like to be somewhere else."</div><div style="text-align: justify;">John Cage (Lecture on Nothing)</div><div style="text-align: justify;">"... art is a sort of experimental station in which one tries out living; one doesn't stop living when one is occupied making the art, and when one is living, that is, for example, now reading a lecture on something and nothing, one doesn't stop being occupied making the art..."</div><div style="text-align: justify;">"... the movement with the wind of the Orient and the movement against the wind of the Occident meet in America and produce a movement upwards into the air..."</div><div style="text-align: justify;">John Cage (Lecture on Something)</div><br /><div style="text-align: justify;">"The figures in the ISCM and the League were not powerful aesthetically, but powerful only politically."</div><div style="text-align: justify;">John Cage (History of Experimental Music in the United States)</div><div style="text-align: justify;">"J'emmerde l'Art."</div><div style="text-align: justify;">Satie/Cage</div><div style="text-align: justify;">"Un foco ilumina con ramalazo de aluminio las tres cuartas partes de su rostro, y el vértice de su córnea brilla más que el de un actor de cine."</div><div style="text-align: justify;">Roberto Arlt</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Rogério tinha um cabelo Maracanã, se vestia muito mal. Então nós fomos a Nova York, compramos roupas fantásticas no Greenwich Village. Penteei Rogério. Eu acho fantástico. Um homem inteiramente sem personalidade na vida familiar e aquela pessoa ótima jogada pra fora. Acho genial."</div><div style="text-align: justify;">"Minha família é da alta classe média baiana. A gente vê, não tenho mau gosto, me visto bem. Não sou nenhuma miserável da Bahia."</div><div style="text-align: justify;">"Acho maravilhoso o Rogério perguntar o restaurante: 'o que é que eu vou comer?'... Essa dependência total que Rogério tem de mim é absolutamente maravilhosa. Porque é radical e total." </div><div style="text-align: justify;">Helena Ignez (Pasquim, 1970 — entrevista reproduzida na coletânea indicada abaixo)</div><div style="text-align: justify;">"Acredito que o Kubrick, pelos resultados que a gente vê nos filmes dele, também [como o Rogério] deve ter essa magia, esse conhecimento profundo do que é e um respeito profundíssimo pelo trabalho do ator."</div><div style="text-align: justify;">Helena Ignez (Entrevista para Alessandra Bastos, 2003)</div><div style="text-align: justify;">"Es decir, los fanáticos sebastianistas quieren restaurar el Imperio, con ayuda del conde de Eu, de los monárquicos, de Inglaterra y, por supuesto, del Partido Autonomista de Bahía."</div><div style="text-align: justify;">Barón Cañabrava (Mario Vargas Llosa, La guerra del fin del mundo)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Considero A mulher de todos o maior filme que já vi no cinema brasileiro em todos os tempos."</div><div style="text-align: justify;">"Helena Ignez colocou muito de sua linguagem em Cara a Cara, O Bandido da Luz Vermelha e A mulher de todos. Mas foi com a Belair que deu uma contribuição autoral, criativa e extraordinária, porque criou para aqueles filmes uma forma de representação ainda inexistente, algo que nenhuma atriz havia feito até então. Depois disso a imitaram, e isso chegou à televisão."</div><div style="text-align: justify;">Júlio Bressane (Folha de São Paulo, 1995)</div>**************************************************************<br /><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">Sobre fazer cinema e a experiência pessoal: </h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... enquanto pude, fiz cinema com a máquina de escrever."</div><div style="text-align: justify;">"O cinema é uma arte que nasce da identificação dos pólos contrários — e por isso é que todo cinema forte é ambíguo... [no Brasil] o único que conseguiu fundir pólos extremos foi o isolado José Mojica Marins, que filmou uma exigente história de terror, com as piores condições de produção."</div><div style="text-align: justify;">"Para que pudesse reencarnar Godard, esse tipo de cinema que influencia a maioria dos cineastas da nova geração, era preciso utilizar citações diretas, fazer quase um pastiche e, partindo da citação óbvia, chegar quase a um trabalho de limpeza."</div><div style="text-align: justify;">"Eu acho que, quando se faz um filme sobre o Brasil, sobre a realidade brasileira, não se pode ignorar o elemento mau gosto. É mesmo uma questão estética a utilização do mau gosto: se você não o utiliza, está falseando, está deixando de captar a realidade como ela é... terei de utilizar elementos vulgares, cafajestes."</div><div style="text-align: justify;">"Eu tentei fazer um filme em que me critico. Cada filme que eu fizer será uma forma de autocrítica."</div><div style="text-align: justify;">"Antonio Pitanga também teve liberdade para trabalhar à vontade, no papel de playboy conservador e antipático [em A Mulher de Todos, 1969], porque eu precisava criticar seus anteriores papéis de herói racial. Nós sabemos que a situação colonial do negro no Brasil é muito menos confortadora do que qualquer heroísmo oferece."</div><div style="text-align: justify;">"Quando eu faço um filme, eu tenho mil problemas de subdesenvolvimento da produção e tal, então, eu escolho o subdesenvolvimento não só como condição, mas, também, como escolha do filme. E aqui os filmes são subdesenvolvidos por natureza e vocação."</div><div style="text-align: justify;">"... teria sido muito mais criativo se você tivesse feito, dentro do regime soviético, um trabalho de modificação e de complicação geral que é o que eu estou fazendo. Eu já escolhi o caminho que é o caminho conseqüente de transformação da sociedade. Dentro desse caminho eu sou incômodo."</div><div style="text-align: justify;">"A única coisa que não me chamaram até hoje foi de bicha, porque o resto tudo já me chamaram. Mau-caráter, pichador."</div><div style="text-align: justify;">"Eu tenho origem italiana por parte de pai e de mãe. Eu tenho uma grande aversão pelas minhas origens e sou uma pessoa obviamente recalcada. Eu não escondo os meus conflitos."</div><div style="text-align: justify;">"Em São Paulo, morei numa pensão durante cinco ou seis anos. A pensão foi um negócio que me abriu, porque é um negócio sórdido brasileiro. Tem aquilo que os filmes de Glauber Rocha não tem. Um negócio totalmente visceral, sórdido. Morando em pensão eu deixei de ser um cara preconceituoso pra ser um cara liberal."</div><div style="text-align: justify;">"Jimi Hendrix é um pensador e a ele dedico e a ele dedico todos os meus travellings [em Abismu], panorâmicas e planos fixos. Com ele descobri a necessidade de tudo dizer de uma só vez não importa com quê."</div><div style="text-align: justify;">"O Bandido da Luz Vermelha é profético, pois começa com a declaração de que o estado de sítio tinha sido instituído no país. Ora, ele foi lançado em outubro de 1968, alguns dias antes do AI-5... acredito que a obra de arte de envergadura prenuncia a realidade."</div><div style="text-align: justify;">"O Abismu já é voltado para arqueologia, porque o Brasil não é neto do Egito, como dize. O Brasil acaba sendo antecessor dessas culturas da Antigüidade."</div><div style="text-align: justify;">"... o mercado é tão inferior, tão pouco revelador da realidade, que na medida que os filmes são marginalizados, mais eles farão presença na história."</div><div style="text-align: justify;">"Nem tudo é verdade mostra o abuso da autoridade, a prepotência, a truculência e a ignorância subdesenvolvida. Também focalizando o obscurantismo do Estado Novo."</div><div style="text-align: justify;">"Hoje o crime é diferente. Existem quadrilhas frias e implacáveis. Isto foi se implantando a partir de 64. O Bandido era uma espécie de Zorro dos pobres."</div><div style="text-align: justify;">"O cinema traz um sentido todo novo, embora concretize coisas antigas, que vêm, por exemplo, da idéia platônica das projeções, das sombras chinesas."</div><div style="text-align: justify;">"Não existe mais mise-en-scène porque não existe escolhe Pôr em cena ("mettre en scène") significa exatamente escolher as distâncias e as durações."</div><div style="text-align: justify;">"O que falta hoje em dia é a ausência de ornamentação, a essencialização da forma que se vê, por exemplo, em Robert Bresson."</div><div style="text-align: justify;">"Acho o Spielberg, às vezes, mais experimental do que qualquer um, porque você nem consegue entender as histórias dele, como em Parque dos Dinossauros, e, no entanto, o filme é um sucesso."</div><div style="text-align: justify;">"Quando eu fiz Bandido, eu lia muito na época, gostava demais de James Joyce, de John Dos Passos."</div><div style="text-align: justify;">"Nos meus filmes, os atores contribuem com novo estilo de interpretação, de desincorporação, uma nova técnica de reinvenção."</div><div style="text-align: justify;">"O Kubrick é um dos mais perfeitos diretores — recomendo sempre aos novos cineastas. Não incorreu nunca em um grande erro. O Kubrick é a pedra-de-toque do cinema."</div><div style="text-align: justify;">"Kubrick e os maiores cineastas americanos da década de 1950 ainda não estavam a serviço dessa diluição controlada pela burocracia sentimental."</div><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">Sobre Oswald de Andrade: </h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Minha ligação com esse pessoal todo, Caetano Veloso, Gal Costa, Gilberto Gil, é nossa disposição de voltar a Oswald de Andrade. Oswald é o ponto de ligação entre o meu trabalho e Caetano, Gil, os poetas concretistas de São Paulo, que têm essa nova compreensão estética, e Fernando Coni Campos, Zé do Caixão."</div><div style="text-align: justify;">"O Nelson Pereira tem filmes maravilhosos, Boca de ouro, Mandacaru vermelho, que é dez vezes melhor que Fome de Amor, embora ele não saiba, Barravento [de Glauber Rocha] é sensacional, gosto muito de Deus e o diabo, gosto do primeiro filme do Miguel Borges que chama-se Canalha em crise. O cinema brasileiro quando era feito no mato ou na favela. São caminhos que Oswald de Andrade apontava..."</div><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">Sobre cinema e mulheres: </h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Eu quis passar o heroísmo do plano masculino para o plano feminino, inclusive por achar que, neste momento, os homens estão se atrasando em relação às mulheres: a meu ver, elas estão adquirindo consciência mais rapidamente que nós."</div><div style="text-align: justify;">"Pela primeira vez em nosso cinema [com A Mulher de Todos], uma mulher canta, berra, bate, dança, deda, faz o diabo. Neste filme ela é Marlene Dietrich co-dirigida por Mack Sennet e José Mojica Marins, isto é, por mim."</div><div style="text-align: justify;">"Eu quero dizer que A Mulher de Todos é um filme que revela, sem dúvida nenhuma, sem falsa modéstia, o maior trabalho de atriz do cinema brasileiro."</div><div style="text-align: justify;"><br /></div><h4 style="text-align: left;">Sobre cinema no Brasil (train of vexatious disappointments): </h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"É difícil definir o cinema novo, sem dúvida. É uma igrejinha, mas também um movimento coletivo, talvez o mais importante da cultura brasileira nestes últimos vinte anos."</div><div style="text-align: justify;">"Eu acho que o Zé do Caixão é talvez o melhor cineasta do Brasil, não como autor — embora ache ele um bom autor que engloba tudo aquilo que Nelson Rodrigues jamais teve. Cineasta exacerbado, verdadeiro, ele é o dono de um estilo, um diretor com grande sentido de cinema, um grande sentido de poesia..."</div><div style="text-align: justify;">"Quando eu vejo um filme da Atlântida, eu acho bacana porque eu vejo lá um clima de perversão estética. Você pode notar que eles pegam filmes americanos de grande sucesso, filmes assim fascistas como Matar ou morrer, o próprio Sansão e Dalila, e transformam em aventuras com Oscarito e José Lewgoy. É exatamente nisto que estou interessado."</div><div style="text-align: justify;">"Resolvi estudar novamente o processo cinema via os produtores e autores vitais do nosso cinema, sobretudo Humberto Mauro, Mário Peixoto e nomes conhecidos mas necessários à deflagração de uma linguagem bárbara e nossa como Alberto Cavalcanti, Anselmo Duarte, Lima Barreto, o cinema novo e naturalmente Godard e Orson Welles..."</div><div style="text-align: justify;">"Existe um boicote contra o meu trabalho. E isso desde 1970. Desde o momento em que eu abri as baterias contra uma série de pessoas que me aceitavam como jornalista, escritor, não como diretor de cinema... eu fui sistematicamente discriminado."</div><div style="text-align: justify;">"... o próprio diretor-geral, com aquela barba, com aquela pose sisuda e veja só! financiando projetos, roteiros para ele e a mulher. Veja se isso é possível... Enquanto o produtor independente, que sempre trabalhou, fez o cinema brasileiro de expressão e de valor local e internacional, é sempre o que sofre as conseqüências da censura econômica. Acabam sempre economizando com o pequeno."</div><div style="text-align: justify;">"O Brasil é extremamente filmável, mas há uma preguiça mental terrível. Nossos filmes são piores que as novelas mais fracas. Falta técnica, estudo, tudo. O meio cinematográfico é desatualizado, amadorístico; não se estuda, por exemplo, o cinema moderno... Cinema não é sentimentalismo."</div><div style="text-align: justify;">"Prefiro até o Jornal Nacional, em que o Cid Moreira é um cara que sabe falar, tem domínio da voz, tem dicção, um problema crônico do nosso cinema."</div><div style="text-align: justify;">"Meu trabalho tem sido elogiado, premiado, e eu não consigo entender o descaso que existe dentro da própria classe cinematográfica. Não deixam um cineasta independente, um agitador cultural, trabalhar livremente."</div><div style="text-align: justify;">"Andrea Tonacci, por exemplo, um grande diretor, não consegue trabalhar. Veja o caso do Anselmo Duarte. Todo ano ele deveria ser contemplado com verbas para o que quisesse fazer ou opinar. Ora, ele ganhou a Palma de Ouro!"</div><div style="text-align: justify;">"Da criação à distribuição. Não pode ser um vale-tudo. Tem que haver um fundamento ético, e isso ficar transparente através de uma estética."</div><div style="text-align: justify;">"Quando eu estava preparando a produção de Nem tudo é verdade, o filme que fala da passagem de Orson Welles pelo Brasil, troquei correspondência com Welles, e havia a possibilidade real de ele vir ao Brasil. Sabe o que me disseram na Embrafilme? Que isso não era arte, não interessava."</div><div style="text-align: justify;">"O cinema brasileiro mudo, o cinema da década dos 1930 e dos 1940 é muito bom. A chanchada foi um grande momento do cinema brasileiro. Tinha público, era popular e de boa qualidade."</div><div style="text-align: justify;">"Fica um acusando o outro de marginal, e veio um brasileiro naturalizado, o Babenco, e fez O beijo da mulher aranha, que tomou conta. Os outros ficaram discutindo, e o Babenco foi e fez."</div><div style="text-align: justify;">"É tudo uma aberração tropical de um bando de parasitas e invejosos. É como o samba na década de 1930: a burocracia sufocou o cinema."</div><div style="text-align: justify;">"O cineasta brasileiro não lê romances, não conhece dramaturgia, acredita mais nos seus próprios limites do que em qualquer janela para o mundo. É uma figura sisuda e melancólica."</div><div style="text-align: justify;">"Fomos muito censurados nesses 20 anos. Primeiro, pela censura policial truculenta, que se transformou na vaidade da censura econômica e depois na crueldade da sabotagem burocrática."</div><div style="text-align: justify;">"Acho que antes do governo Collor era pior, era a época do nem sim, nem não e da perda de tempo."</div><div style="text-align: justify;">"O que é lamentável é dizer, com derisão, que hoje ninguém está mais influenciado, que ninguém mais vive sob a sombra de Glauber Rocha. É uma pena, porque ele é um grande autor, um grande cineasta. Mas não deixou seguidores — e não os deixou, sobretudo, entre aqueles que o cercavam."</div><div style="text-align: justify;">"... é novela das seis, sete, nove, dez. Isso não pode dar certo, sobretudo porque o país já é lento, tem uma formação mental extremamente afásica e colonial."</div><div style="text-align: justify;">"A música brasileira é mais que o cinema. É um tesouro mundial."</div><div style="text-align: justify;">"A presença de Welles [Brasil] repete o que aconteceu com Eisenstein no México."</div><div style="text-align: justify;">"Que a iniciativa privada acredite no cineasta brasileiro. Todo comerciante tem que partir desta confiança, já que o burocrata parte da desconfiança."</div><div style="text-align: justify;">"Queriam um filme de propaganda e Welles não era cineasta que se prestasse a isso. Por isso o renegaram. Orson gostava do país. Tinha laços com ele. Falava português e lia Machado de Assis. Dizia que era seu escritor predileto.... Na verdade, seus únicos amigos aqui foram Grande Otelo e Herivelto Martins."</div><div style="text-align: justify;">"Geralmente o que podia era o coleguinha da classe... Então se tornou o cinema familiar, uma coisa mafiosa..."</div><div style="text-align: justify;">"Não se valorizou a figura do produtor. O Galante, por exemplo, era um excelente produtor. Embora ele não fosse culto, nem erudito, não tivesse uma biblioteca em casa, era um cara muito inteligente, e hábil nas relações... Ele é quem deveria ter ocupado lá um cargo, como foi, numa época, o Roberto Farias: um cara profissional, emergente do meio."</div><div style="text-align: justify;">"É sempre a mesma coisa, uma panelinha, você vê até pelas designações das comissões..."</div><div style="text-align: justify;">"Os jovens não têm acesso a esse tipo de cinema [Sem essa, Aranha] porque os professores são umas toupeiras. Quem aprende errado faz errado. Toda vez que passa, enche."</div><div style="text-align: justify;">"Limite, O cangaceiro, Ganga bruta, O canto da saudade, O descobrimento do Brasil, O anjo nasceu, Deus e o diabo na terra do sol, O pagador de promessas e os filmes de Watson Macedo [respondendo à questão, quais os melhores filmes da história do cinema brasileiro?]. Ultimamente, fora os filmes do Bressane, gostei de A faca de dois gumes, de Murilo Salles."</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">***All quotations from: Roberta Canuto (Org.), Rogério Sganzerla. Encontros (Rio de Janeiro, Azougue, 2007); </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">See also:</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">The House that Jack Built's simple equation</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">du Coen Brothers (plus Tarantino) à française</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/12/le-temps-hors-de-ses-gonds.html">Mommy-Momo (Dolan)</a>; </div><div style="text-align: justify;"><div>- <a href="https://www.blogger.com/#">Sonatine (Takeshi Kitano, 1993)</a>;</div></div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Amat Escalante (& Werner Herzog): Basilisk's Cinema</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">desubicarse (Lucrecia Martel — La Niña Santa, 2007)</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Cinema of Uruguay (Pablo Stoll)</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">El Estudiante: political movie</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/12/bellocchio-eye-of-deadful-beauty.html" target="_blank">Bellochio &/or Eye of (Dreadful) Beauty</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/04/federico-fellinis-satyricon-italy-1969.html" target="_blank">Federico Fellini's Satyricon</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/05/pier-paolo-pasolini-deconstruction-or.html" target="_blank">Pier Paolo Pasolini & Deconstruction</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/12/podem-ficar-com-realidade-leminski.html" target="_blank">Podem ficar com a realidade (Leminski)</a>; </div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Boi Neon (Gabriel Mascaro, 2015): glitter in the void</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Heitor Dhalia (& Lourenço Mutarelli)</a>; </div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Júlio Bressane</a>; </div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Meteorango Kid &/ou O Cabelo de André Luiz Oliveira</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">B4 Cidade de Deus & Tropa de Elite</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Porto das Caixas (Paulo César Saraceni, 1962)</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Elza Gomes in Joaquim Pedro de Andrade's Guerra Conjugal (1976)</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Cinema Novo's Judgment Day</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Brazil on a High</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">And also:</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">ERRATA list</a>;</div><div style="text-align: justify;">- <a href="https://www.blogger.com/#">Bases histórico-conceituais para crítica cinematográfica não representacional</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Fresh Matter: </div><div style="text-align: justify;">"Nas telas de cinema, a morte de Jacaré reverberou em silêncio. Welles afastou-se do seu projeto It’s all true após vários conflitoscom a produtora estadunidense RKO Pictures, que já não se interessava pelas horas e horas de drama social que havia recebido dele diante da encomenda de um filme que incentivasse o turismo. O cineasta ainda tentou seguir o trabalho em homenagem a Jacaré, apesar do orçamento cortado. Não deu. Os rolos de filmes ficaram esquecidos por décadas até serem redescobertos em 1985 por um diretor da Paramount. Foram usados oito anos depois no documentário É<a href="https://brasil.elpais.com/brasil/2015/05/06/cultura/1430940838_944049.html"> tudo verdade – Um filme inacabado de Orson Welles.</a> Recentemente, a passagem de Welles pelo Ceará foi parar de outra forma nas telas: os cineastas Petrus Cariry e Firmino Holanda estrearam no ano passado o longa <a href="https://ecofalante.org.br/filme/a-jangada-de-welles#:~:text=Em%201942%2C%20Orson%20Welles%20filmava,filmagens%20no%20Rio%20de%20Janeiro.">A Jangada de Welles</a>, com detalhes sobre a turbulenta passagem do diretor no Brasil" (<a href="https://brasil.elpais.com/brasil/2021-10-10/a-saga-dos-jangadeiros-que-conquistaram-orson-welles.html" target="_blank">A Saga dos Jangadeiros que Conquistaram Orson Welles, Beatriz Jucá/El País, 10/10/2021</a>); </div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-86119429529676902722020-02-19T12:15:00.026-08:002023-06-23T05:59:10.371-07:00Successes & Miscarriages: Am I going to Disney &/or How Much is a Parasite Worth of in Brazil—a halfpenny matter?! <div class="separator" style="clear: both; text-align: left;"><br /></div>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrkMR8TZC9KfxOE3SHXEpEgEwFP_v0Ih6ONFlTAzvqOFpo0hAUmbIJEV-FtMKPlAQwezOtGtqBP60M3k7MWwde4WKnJuLyPUnO25DZeBnL-UMSoRfcIp3ojoeZi8SIzdeicNh_Jw/s2454/paulo_guedes_maya_clown.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1004" data-original-width="2454" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrkMR8TZC9KfxOE3SHXEpEgEwFP_v0Ih6ONFlTAzvqOFpo0hAUmbIJEV-FtMKPlAQwezOtGtqBP60M3k7MWwde4WKnJuLyPUnO25DZeBnL-UMSoRfcIp3ojoeZi8SIzdeicNh_Jw/w512-h210/paulo_guedes_maya_clown.jpeg" width="512" /></a></div><br /><div><br /></div><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZfoJGRKExF2mU-veF-qvXZLPxzb8nVpXA3iKbM4qPLiI-lPoS5Ilg3WeHDxAD_HpKgsxVSECLIqTaJYPTaMLVCz3g38DE4irQeCFLmozF4zJMjNq_AFVNDoJ3XWSczlWzqkCPuQ/s1600/EUrK4O0UwAAedpY.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1058" data-original-width="1508" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZfoJGRKExF2mU-veF-qvXZLPxzb8nVpXA3iKbM4qPLiI-lPoS5Ilg3WeHDxAD_HpKgsxVSECLIqTaJYPTaMLVCz3g38DE4irQeCFLmozF4zJMjNq_AFVNDoJ3XWSczlWzqkCPuQ/s400/EUrK4O0UwAAedpY.png" width="400" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm6Ehaim_OqLiQbo1HZQHK9Co52fzLmowCGO6MYHiczvQujtw54pri6wSetdG9b_hpyxhZLFBuG9Eo-ur9XCZ0KXH5Mn6NeyjFNGg8BlTRO91VNjAQWrHQHfh_VL2QmSJ7Zn0sDQ/s1600/EUG_mfrWAAAF4bo.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="787" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm6Ehaim_OqLiQbo1HZQHK9Co52fzLmowCGO6MYHiczvQujtw54pri6wSetdG9b_hpyxhZLFBuG9Eo-ur9XCZ0KXH5Mn6NeyjFNGg8BlTRO91VNjAQWrHQHfh_VL2QmSJ7Zn0sDQ/s320/EUG_mfrWAAAF4bo.jpeg" width="320" /></a>
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<br /><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/IuViID_ozuo" width="320" youtube-src-id="IuViID_ozuo"></iframe></div> <div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/KelxO3PYthI" width="320" youtube-src-id="KelxO3PYthI"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-J_2tNIA4cI" width="320" youtube-src-id="-J_2tNIA4cI"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/doVh-n0cF98" width="320" youtube-src-id="doVh-n0cF98"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/0nbvO3poSwc" width="320" youtube-src-id="0nbvO3poSwc"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/utnpOqE6Lk0" width="320" youtube-src-id="utnpOqE6Lk0"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/X6frECZhxJA" width="320" youtube-src-id="X6frECZhxJA"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gebcv74mAU8" width="320" youtube-src-id="gebcv74mAU8"></iframe></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The Delirious Paulo Guedes (thereof) + Late Classic Maya Clown (Mary Miller & Karl Taube, The Gods and Symbols of Ancient Mexico and the Maya) (<a href="https://www.instagram.com/alessandro_zir/" target="_blank">montage A/Z</a>);</div><div>
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The Economist/Kal's cartoon (on Bolsonaro & Covid-19); </div>
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<a href="https://twitter.com/Benett_" target="_blank">Benett's</a> cartoon on Brazilian restaurant chain Grupo Madero (whose owner dismissed Covid-19 related deaths too manifestly, while arguing against quarantine measures);</div>
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Economist Eduardo Moreira & Brazilian politician Ciro Gomes on the paltry and inadequate nature of Bolsonaro (dis)government's economic measures to deal with the Covid-19 crisis in Brazil;</div>
<div class="separator" style="clear: both; text-align: justify;">Oxfam/Douglas Belchior/Mônica de Bolle/ on Covid-19 & Brazilian shameful inequality; </div><div style="text-align: justify;">Brazil Forum UK 2020 (a debate about the future of Brazil's economy: inequality, minimum income & the perversity of Brazilian tax system); </div><div style="text-align: justify;">Crise économique, débats interdits en France? Jean-Paul Fitoussi (Thinkerview/Youtube);</div></div><div style="text-align: justify;">Un prix Nobel face au krach à venir? Joseph Stiglitz (Thinkerview/Youtube); </div><div style="text-align: justify;">Joseph Stiglitz talking about Brazilian Financial System (from an interview by <span style="text-align: left;">Paulo Moreira Leite & Florestan Fernandes Júnior/TV Brasil);</span></div><div style="text-align: justify;">Thomas Piketty, Gaël Giraud: Le Capitalisme est-il réformable? (Institute Rousseau 21/03/2021); </div><div style="text-align: justify;">Interview with economist Thomas Piketty: capital and ideology (Financial Times/Youtube 12/02/2020);</div></div><div><div style="text-align: justify;">Thomas Piketty on Capitalism, Corbyn and why Zuckerberg is getting it wrong (BBC/Youtube 14/12/15);</div><div style="text-align: justify;">Pink Floyd's Corporal Clegg (Youtube); </div>**************************************************************</div><div><h4 style="text-align: left;">Obliquity: </h4><div style="text-align: justify;"><span style="text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="text-align: left;">"Cash makes the world go round</span><br style="text-align: left;" /><span style="text-align: left;">Cash makes yo girl get down..."</span></div><div style="text-align: justify;"><span style="text-align: left;">Tommy Cash</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Então defendia-se da morte por intermédio de um viver de menos, gastando pouco de sua vida para esta não acabar. Essa economia lhe dava alguma segurança pois, quem cai, do chão não passa..."</div><div style="text-align: justify;">Clarice Lispector (A Hora da Estrela)</div><div style="text-align: justify;">"Hoje é essa miséria que se vê. Fizeram da senhora uma bola de bilhar, uma coisa que vai para onde a empurram... A senhora não nasceu assim. Era forte e bonita. Passou de carrapeta a bola de bilhar."</div><div style="text-align: justify;">Graciliano Ramos (Angústia)</div><div style="text-align: justify;">"J'ai un ami qui en mémoire de son père veut vous donner cet argent."</div><div style="text-align: justify;">Maria Jolas to an old derelict (Richard Ellmann)</div><div><br /></div><div style="text-align: justify;">"The way of heaven takes from what has too much to provide for what does not have enough.</div><div style="text-align: justify;">The way of people is, however, not like this: it takes from those who do not have enough to offer to those who have too much."</div><div style="text-align: justify;">Daodejing/77 (Edmund Ryden's translation)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Dans les limites de l'activité proprement économique, la rigueur a un objet clair: la consécration des ressources excédantes à l'aplanissement des difficultés matérielles de la vie et la réduction du temps de travail. C'est le seul usage des richesses qui coïncide avec une adéquation de l'homme à la chose et réserve le caractère négatif de l'action, dont le but pour l'homme demeure la possibilité de disposer entièrement de lui-même."</div><div>Georges Bataille (La Part maudite)</div><div>**************************************************************</div><h4 style="text-align: left;">Little family concernments (matter of business or matter of amusement):</h4><div><br /></div><div><div style="text-align: justify;">"Brazil's Minister of Economy, Paulo Guedes [a person of great deportment], receives assistance of more than R$ 8 thousand per month (about 1,830 USD), adding up to R$ 7,733 (about 1,780 USD), housing assistance and R$ 458 (about 104 UCD) of food aid. In addition to the benefits, he receives a salary of R$ 30,9 thousand a month (about 7,703 UCD). The total amount is paid by public coffers." </div><div style="text-align: justify;">"Another report, published on UOL, shows that a group of employees of the Ministry of Economy earned almost R$ 1 million (about 228,900 USD) with bonuses, the so-called jetons, in 2019. The extra funds were added to the salaries [for the further paying & defraying of all other incidental costs, charges and expenses whatsoever]. With that, most of them received above the constitutional ceiling, today around R$ 39 thousand (about 8,927 USD), reaching R$ 54 thousand (about 12,361 USD) in one month. "</div>
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"The Treasury secretary, Mansueto Almeida, for example, had a paycheck of R$ 54,000 gross last December and R$ 46,000 in October. On average, the jetons boosted the servers' paychecks by 29%, many of them around Minister Paulo Guedes [your worship]."</div>
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[<a href="https://educacao.uol.com.br/noticias/2019/06/22/salario-de-professor-no-brasil-e-horrivel-diz-ex-presidente-do-inep.htm" target="_blank">***Now, please pop upon & do contrast this with the average <b>ANNUAL </b>salary of a teacher in Brazil: R$ 13,900 (about 3,185 USD, with the whole of it)]</a></div>
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"O ministro da economia, Paulo Guedes, recebe auxílio de mais de R$ 8 mil mensais, somando os R$ 7.733, de auxílio moradia e R$ 458 de auxílio-alimentação. Além dos benefícios, ele recebe salário de R$ 30,9 mil por mês. O montante total é pago pelos cofres públicos."</div>
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"Outra reportagem, publicada no UOL, mostra que um grupo de servidores do Ministério da Economia ganhou quase R$ 1 milhão com gratificações, os chamados jetons, em 2019. As verbas extras se somaram aos salários. Com isso, a maioria deles recebeu acima do teto constitucional, hoje em torno de R$ 39 mil, chegando a R$ 54 mil em um mês."</div>
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"O contracheque do secretário do Tesouro, Mansueto Almeida, por exemplo, foi de R$ 54 mil brutos em dezembro passado e de R$ 46 mil em outubro. Em média, os jetons turbinaram em 29% os holerites dos servidores, muitos dos quais no entorno do ministro Paulo Guedes."</div>
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***Source: <a href="https://congressoemfoco.uol.com.br/economia/auxiliares-de-guedes-no-ministerio-recebem-supersalarios/" target="_blank">"Auxiliares de Guedes no ministério recebem supersalários," <i>Congresso em Foco/UOL</i>, (14 fev. 2020)</a>;</div>
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See also (stories to wave in):<br />
- "Dados 158 países, só no Brasil parte do empresariado se opõe à quarentena" [Amidst 158 countries, only in Brazil part of business community is against quarantine measures] <a href="https://noticias.uol.com.br/colunas/reinaldo-azevedo/2020/03/26/dados-158-paises-so-no-brasil-parte-do-empresariado-se-opoe-a-quarentena.htm" target="_blank">(Reinaldo Azevedo/UOL, 03/26/2020)</a>;<br />
- "Economy Minister Paulo Guedes has faced criticism in the past few weeks after comparing public servants to parasites, appearing to back a weak real and sneering at maids who were able to travel to Disney World thanks to the past strength of the Brazilian currency," <a href="https://www.bloomberg.com/news/articles/2020-02-19/brazil-economy-chief-s-cringeworthy-remarks-rekindle-reform-push" style="text-align: justify;" target="_blank">"Brazil Economy Chief’s Cringeworthy Remarks Rekindle Reform Push<span style="text-align: justify;">" (Matha Viotti Beck, Simone Preissler Iglesias/Bloomberg, 02/19/2020);</span></a><br />
<span style="text-align: justify;">- </span><a href="https://www1.folha.uol.com.br/internacional/en/business/2020/02/guedes-comments-spark-outrage-and-threatens-government-reform-agenda.shtml" style="text-align: justify;" target="_blank">"Guedes' Comments Spark Outrage and Threatens Government Reform Agenda" (Julia Chaib, Gustavo Uribe, Eduardo Cucolo/<i>Folha de São Paulo</i>, 02/14/2020)</a><span style="text-align: justify;">; </span><br />
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And also (anecdotes to pick up, inscriptions to make out):</div>
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<span style="text-align: start;">- </span><a href="http://aletche.blogspot.com.br/2016/03/instead-of-revolution-demontage-super.html" style="text-align: start;">Instead of revolution: démontage</a><span style="text-align: start;">;</span></div>
- <a href="http://aletche.blogspot.com.br/2012/04/what-is-most-brilliant-in-this-movie-no.html">Inside Job</a>;<br />
- <a href="http://aletche.blogspot.com.br/2016/09/sonatine-takeshi-kitano-1993.html">Sonatine & the tyranny of evil man</a>;<br />
- <a href="http://aletche.blogspot.com.br/2016/12/godards-sympathy-for-devil-british.html">Godard's Sympathy for the Devil</a>; <br />
- <a href="http://aletche.blogspot.com.br/2014/10/blog-post_11.html">El Estudiante, political movie</a>;<br />
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- <a href="http://aletche.blogspot.com.br/2016/05/pier-paolo-pasolini-deconstruction-or.html">Pier Paolo Pasolini</a>;<br />
- <a href="https://aletche.blogspot.com/2019/12/agamben-lovelock-greta-thunberg-coluna.html" target="_blank">Agamben, Lovelock, Greta Thunberg</a>; </div>
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- <a href="https://aletche.blogspot.com/2019/01/environmental-issue-brazil-novo-porto.html" target="_blank">Environmental Issue (Brazil)</a>;<br />
- <a href="https://aletche.blogspot.com/2018/12/right-truths-to-slay-enemy-snippets.html">right truths to slay the enemy</a>; <br />
- <a href="https://aletche.blogspot.com/2016/10/who-wants-to-be-worlds-5th-largest.html">Who Wants to Be the World's 5th Largest Economy?</a><br />
- <a href="https://aletche.blogspot.com/2016/10/b4-trump-turns-real-banality-of-evil-in.html">Banality of Evil in Brazil</a>;<br />
- <a href="https://aletche.blogspot.com/2016/09/brazil-after-rousseffs-impeachment.html">Brazil after Rousseff's Impeachment</a>;<br />
- <a href="https://aletche.blogspot.com/2015/10/sundays-afterthought-list-of-infamous.html">List of Infamous Brazilian Esquerdofrênicos</a>;<br />
- <a href="https://aletche.blogspot.com/2015/11/brazil-most-recent-contribution-to.html">Humanitarian Rhetoric</a>;</div>
- <a href="http://www.triplov.com/novaserie.revista/numero_60/alessandro_zir/index.html">O galho mais alto de um pau gigante</a>; </div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-47512639436281428782019-12-15T04:19:00.073-08:002023-04-03T05:26:22.730-07:00Agamben, Lovelock, Greta Thunberg, coluna da ANPOF (de 30/12/2019), Planet of the Humans & Covid-19 (worn down to a thread)<div class="separator" style="clear: both; text-align: center;">
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For more potlatch invitations and photography, <a href="https://www.juststructontologin.com/projects--about.html">see here</a>;</div><div>O Mundo de Ricardo Salles (Iotti/El País, 16/04/2021);</div>Intervista a Paul Feyerabend, per Vittorio Hösle;</div><div>Paul Feyerabend interviewed by Rüdiger Safranski; <br /><div style="text-align: justify;">Bruno Latour's A Tale of Seven Plantes: An Exercise in Gaiapolitics (Harvard Univ.); </div><div>Bruno Latour's Inside (Frédérique Ait-Touati/Maison Française, NY Univ.); </div>Isabelle Stengers: "Covid 19 / Le monde de demain" (Atelier des Droits Sociaux Asbl);</div><div>Starhawk and Isabelle Stengers (Archizoom EPFL/Youtube);<div>Climate Leviathan: Interview with Joel Wainwright (Multi-Hazard Podcast); </div>Donna Haraway & Anna Tsing (Plantationocene); </div><div>Mary Robinson & Vandana Shiva: The Injustice of Climate Change (Oxford Climate Society); <br />Vandana Shiva Calls War On Bill Gates: Valhalla Movement Network;<br />Vandana Shiva: Political Economy of the Corona Crisis (Cusanus Hochschule);</div><div>Earth Talk: New Directions (Rupert Sheldrake/Schumacher College);</div><div>Rupert Sheldrake's The Rebirth of Nature (online talk, 05/11/2020); <br /><div>Saving the System of Life (Fritjof Capra/Lourenço Bustani);</div><div>Earth Day with Fritjof Capra and Sam Crowell (Earth Charter International); <br /><div>Nature-Based Solutions (Thomas Crowther TEDx talk); <br /><div style="text-align: justify;">Natural Climate Solutions (Greta Thunberg & George Monbiot);<br />
Greta Thunberg SOS Amazonia; </div><div>Video of Defund Bolsonaro's Campaign (https://www.defundbolsonaro.org) (Poder 360);</div><div style="text-align: justify;"><span style="text-align: start;">Ozzie Zehner, Michael Moore & Jeff Gibbs interview (The Planet of Humans/The Hill); </span></div><div style="text-align: justify;"><span style="text-align: left;">Half a million flee Oregon as wildfires rage through US west coast</span><span style="text-align: left;"> (Ben Santer/Channel 4); </span></div><div style="text-align: justify;"><span style="text-align: left;">Michael E. Mann on Race to Save the World From Climate Change (Bloomberg); </span></div><div style="text-align: justify;"><span style="text-align: left;">Michael Mann: How Bad is the Climate Crisis? (Post Carbon Institute); </span></div><div style="text-align: justify;">"O Dia dos Namorados de Bolsonaro" [Does science have a side or doesn't it?! this is a vital video, of private interpretation, offered as seasonable a kindness to the whole parish, by the Brazilian philosopher Paulo Ghiraldelli (a person of decent carriage & great deportment): he talks, with all his fraternity, for good and all, about the intricacies of a debate involving science, politics and freedom in the Brazil of Jair Bolsonaro, the culprit; Paulette (as I call him) touches a point nobody does, with the utmost propriety!];</div><div style="text-align: justify;">Covid vaccine complications dwarfed by virus risks (BBC, August 2021); </div><div style="text-align: justify;">Novak Djokovic breaks silence over Covid vaccine refusal (BBC, February 2022); </div><div style="text-align: justify;">Time for a boost? [much more critical and honest news coverage on post-vaccine syndrome than usually available, this DW coverage considers also traditional medicine perspectives on long Covid infection] (DW, September 2022); </div><div style="text-align: justify;"><span style="text-align: left;">"La crise écologique crée la crise sanitaire" </span><a href="https://www.facebook.com/france5/videos/980952782299982/" style="text-align: left;">(Hugo Clément, Serge Morand/France 5)</a><span style="text-align: left;">;</span></div><div><br /></div><div style="text-align: justify;">"... there are now scientists saying we should change the patterns or the colours of the clouds to reflect the sunlight back and engineer the climate, but they have no idea what else it would do because they never look at these things as a system. Sadly Bill Gates is a very big promoter of geoengineering. Second is genetic engineering. You can't genetically engineering your way out of the climate crises. Those salt-tolerant and flood-tolerant rices that we sale in our resource seed banks have helped farmers get back after every cycle. This has been evolved by nature and farmers over millennia. They aren't genetically engineered, they are pirated, their genome might be mapped. But the complexity of environmental resilient traces are in the plant that I use, not in the one gene that is extracted or the genome that is mapped... [And] even with the discourse on nature based solutions, there is the disease of offsetting... in a way, these false solutions are indulgences of the polluting corporate world, and if you look during the Kyoto protocol, emissions increased 15% and the polluters became much richer. That is of course a totally failed solution, carbon offsets... we can only address these foundational injustices by removing the colonisation paradigm and decolonising, getting rid of the fossil poor paradigm, including all the categories it creates, the category of productivity so fraudulent, because my work in agriculture has shown that when we work with nature, when we work with biodiversity, we can produce far more nutrition and food. We measured nutrition and health per acre, we could feed two times India by conserving the earth. We can heal the broken carbon and nitrogen cycles... so we do need to go deeper into science, but a science of ecology, a science of relationship. And through that we realize that when we do honest calculations everyone can live better. The people who live well today don't have to be called primitive and their economy destroyed. The people who have been trapped into the fossil age don't have to continue to be trapped... 100% of the lands should have gardens, pavements should have gardens, balconies should have gardens, schools should have gardens, and they'll give us more food, they'll regenerate biodiversity, they'll bring back the disappearing insects, but most importantly: many, many, many millions of gardens there together will have the capacity to drawn down nature's excess carbon and nitrogen and heal the cycles" (<a href="https://youtu.be/TU0j3O_n_Ns" target="_blank">Vandana Shiva—person of no small note and consequence, debates with Mary Robinson for Oxford Climate Society, see the video above</a>).</div><div><br /></div><a href="https://www.blogger.com/#">#NatureNow</a><br /><a href="https://www.blogger.com/#">#TrillionTreeCampgaign</a><br /><a href="https://www.blogger.com/">#DefundBolsonaro<br /></a> #ActForTheAmazon<br /> #ExtinctionRebellion<br /> #GretaThunberg<br /> #GreenNewDeal</div>#Plagued&Pestered<br />#AeraFixed<br />#DameNature<br /><div>
<div style="text-align: justify;">**************************************************************</div><h4 style="text-align: left;">Commentary, scholium, illustration and key:</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">
"Choqué, à ce qu'il disait, du mauvais goût des anciens édifices, du peu de largeur et de l'irrégularité des rues, il fit metre le feu à la ville, e si ouvertement, que plusieurs consulaires, surprenant dans leurs propriétés des esclaves de sa chambre, avec des étoupes et des flambeaux, n'osèrent pas les arrêter..."</div>
<div style="text-align: justify;">
Suétone (traduction Théophile Baudement)</div><div style="text-align: justify;">"In Foro Scientiae, there is no such thing as Murder—'tis only Death, brother."</div><div style="text-align: justify;">Tristram Shandy</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"Faire partager le bien-être aux ouvriers qui l'on produit? — bien sûr, mais le vrai bien-être ce serait peut-être autre chose qu'une salle de bains, une auto ou un briquet à ressort — ce serait peut-être de fabriquer moins d'objets inutiles et affreux."</div><div>André Masson (Letre a Charles Bataille, 6 octobre 1935)</div><div><div>"... comment ne pas voir que les seuls esclaves ce sont les adorateurs du progrès matériel. Qu'ils soient riches ou pauvres, communistes ou fascistes; qu'ils s'appellent Monsieur de Wendel ou Madame ta concierge, Monsieur Marx ou Madame Mussolini, mais mon vieux! ils aiment tous la même merde."</div><div>André Masson (Lettre à Georges Bataille, 8 novembre 1935)</div></div><div><br /></div><div>"... malgré la sécurité, et malgré les principes infaillibles, on peut trouver une peur cachée, une confusion, un doute, une insécurité, comparables aux sentiments qui naissent dans la tête des passagers d'un grand et solide transatlantique, lorsqu'en haute mer, la terre ferme ayant disparu dans le brouillard, des nuages sombres s'amassent et que le vent, sinistre, soulève la mer en noires montagnes."</div><div>Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)</div><br /></div><div style="text-align: justify;">
"Et je trouvai les Tarahumaras désespérés, au moment où j'arrivai dans la montagne, de la destruction récente d'un champ de Peyotl par les soldats de Mexico."<br />
"Je lui dis aussi que je n'étais pas venu chez les Tarahumaras en curieux mais pour retrouver une Vérité qui échappe au monde de l'Europe et que sa Race avait conservée."<br />
A. Artaud (Le Rite du Peyotl chez les Tarahumaras)<br />
"Et tout cela, pourquoi? Pour une danse, pour un rite d'Indiens perdus qui ne savent même plus qui ils sont, ni d'où ils viennent et qui, lorsqu'on les interroge, nous répondent par des contes dont ils ont égaré la liaison et le secret... Certes, je verrai les sorciers exécuter leur rite; mais en quoi ce rite me profiterait-il? ... La danse du Peyotl est dans une râpe, dans ce bois trempé de temps, et qui a profité des sels secrets de la terre. C'est dans cette baguette tendue et repliée que repose l'action curative de ce rite tellement complexe, tellement reculé, et qu'il faut poursuivre comme un bête dans la forêt."<br />
A. Artaud (D'un voyage au pays des Tarahumaras)<br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">
"I always feel myself very much indebted to your Indians. Without the study of their civilization, I never would have been able to find a larger basis for the Psychology of the Renaissance."<br />
Letter from Aby Warburg to James Mooney (May 17, 1907, written in English)<br />
"Vocês por acaso sabem o que significa a palavra Ibirapuera em guarani? Ibirá = árvore, puera = lugar onde havia. Ou seja: lugar onde havia árvore. Os índios previram essa catástrofe e vocês foram lá aplaudir."<br />
Charles Fenley Jones</div><div style="text-align: justify;">"There they were, the silent egg and the crazy Dutchman, and the hookgun that linked them forever, framed, brilliantly, motionless as any Vermeer."</div><div style="text-align: justify;">Thomas Pynchon (Gravity's Rainbow)<br />"... si l'on n'arrêtait pas les projets de Tord-Chêne et de ses compagnons, les forêts trop éclaircies n'arrêteraient plus les vapeurs qui produisent les pluies et qui fournissent l'eau aux ruisseaux, aux rivières et aux étangs; que les sources elles-mêmes seraient taries et ne feraient plus jaillir l'eau nécessaire à alimenter les rivières..."</div><div style="text-align: justify;">Gérard de Nerval (La Reine des Poissons, 1850)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"... ces hommes cherchent une aide dans les périodes presque oubliées et leurs méthodes. Ces méthodes sont cependant encore vivantes chez certains peuples que nous avions coutume de regarder avec mépris et pitié du haut de nos connaissances. À ces peuples appartiennent par exemple ceux des Indes qui soumettent de temps à autre à nos savants de faits inexplicables, soit passés inaperçus, soit expliqués en quelques phrases ou quelques mots superficiels, comme on chasse une mouche importune. On sert volontiers dans ces cas-là du terme d'hypnose cette même hypnose que, dans la forme primitive du mesmérisme, diverses Académies ont traitée avec tant de dédain."</div><div>Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"En pays andin, on parle beaucoup de l'immobilisme de l'Indien. C'est lui qu'on accuse de la stagnation économique et de la lenteur du progrès matériel. Il y a dans de tels jugements une profonde injustice. Tout d'abord, on oublie que les ancêtres de ces mêmes Indiens ont créé une des civilisations les plus originales que le monde ai connues, et rendu habitable un milieu que naturellement ne l'était guère. En outre, on ne pense pas assez au traitement brutal, sinon féroce, dont les fils des Incas ont été l'objet jusqu'à une date très récente, pour ne pas dire jusqu'à nos jours... On doit abandonner toute espèce de politique paternaliste qui considère les communautés indigènes comme des 'réductions' de type colonial, ou 'associations' ou 'coopératives' de type occidental, ou qui considère les Indiens comme des enfants, objets d'exploitation, de folklore, d'instruments pour se servir de leur cause et de leurs personnes à certaines fins électorales ou doctrinaires."</div><div style="text-align: justify;">Alfred Métraux (Les Incas, 1983)</div><div style="text-align: justify;">
**************************************************************</div><div style="text-align: justify;"><h4>For the Edification of the World: </h4></div>
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">
A crítica que saiu ao texto "Sulla Fine del Mondo" do Agamben em coluna <a href="http://anpof.org/portal/index.php/en/comunidade/coluna-anpof/2393-o-ecocidio-e-um-problema-filosofico-uma-resposta-a-giorgio-agamben">da ANPOF de 3 de dezembro (por Jelson Oliveira e Tiago Vasconcelos)</a>, apesar de ter o mérito de chamar atenção para questões importantes e levantar corajosamente uma discussão tempestiva, é trucada por dois motivos: </div>
<div style="text-align: justify;">
(1) primeiro, Agamben não nega a base real das previsões de catástrofes climáticas (em nenhum nível, nem quanto ao alcance nem quanto à causa antropológica): 'Deve essere chiaro che queste considerazioni non intendono prendere posizione quanto alla realtà del problema dell’inquinamento e delle trasformazioni deleterie che le rivoluzioni industriali hanno prodotto nelle condizioni materiali e spirituali dei viventi. Al contrario...'</div>
<div style="text-align: justify;">
(2) segundo, Agamben é MAIS (e não menos) crítico com relação ao estado de coisas atuais, porque ele chama à sua crítica a responsabilidade que a própria ciência tem quanto à situação atual catastrófica de deterioração do meio ambiente (alguém pode, de sã consciência, negar isso?): 'Il fenomeno è tanto più inquietante, in quanto la scienza non ha mai annoverato l’escatologia fra i propri compiti ed è possibile che l’assunzione del nuovo ruolo profetico tradisca la consapevolezza della propria innegabile responsabilità nelle catastrofi di cui predice l’avvento.' </div>
<div style="text-align: justify;">
O que o texto do Agamben exige é uma reflexão mais atenta sobre a situação e um posicionamento político que implique no reconhecimento da responsabilidade histórica da própria ciência, em conluio com o monopólio do dinheiro, na depredação do planeta (remonta a Feyerabend a ideia de que a ciência precisa sim de freio político tanto quanto a religião, visto que ambas estão sujeitas ao dogmatismo e podem conduzir a catástrofes). Essa exigência faz todo o sentido e é completamente legítima. Agamben está colocando sim sob suspeita a figura da Greta Thunberg, mas isso não significa que esteja desautorizando-a totalmente. O ponto que ele toca diz respeito aos limites do próprio saber científico (que diante da própria desmedida agora assume uma dimensão profética, num momento em que deveria, antes de mais nada, reconhecer o que tem de precário e dogmaticamente perigoso). E esse ponto vale ainda mais pra crítica, muito acertada, feita por Agamben, a Lovelock, que defende como antídoto pros problemas gerados pelo tecnicismo exacerbado não menos, mas mais tecnicismo!</div>
<div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><b>***Agamben's own text (transplanted from Italy, to give proper vent to his opinions)</b>: </div><div style="text-align: justify;">"Sulla fine del mondo </div><div style="text-align: justify;">Il tema della fine del mondo è apparso più volte nella storia della cristianità e in ogni tempo sono comparsi profeti che annunciavano come prossimo l’ultimo giorno. È singolare che oggi questa funzione escatologica, che la chiesa ha lasciato cadere, sia stata assunta dagli scienziati, che si presentano sempre più spesso come profeti, che predicono e descrivono con assoluta certezza le catastrofi climatiche che porteranno alla fine della vita sulla terra. Singolare, ma non sorprendente, se si considera che nella modernità la scienza si è sostituita alla fede e ha assunto una funzione propriamente religiosa – è, anzi, in ogni senso la religione del nostro tempo, ciò in cui gli uomini credono (o, almeno, credono di credere). </div></div>
<div style="text-align: justify;">
Come ogni religione, anche la religione della scienza non poteva mancare di un’escatologia, cioè di un dispositivo che, mantenendo i fedeli nella paura, rafforza la loro fede e, insieme, assicura il dominio della classe sacerdotale. Apparizioni come Greta sono, in questo senso, sintomatiche: Greta crede ciecamente in quel che gli scienziati profetizzano e aspetta la fine del mondo nel 2030, esattamente come i millenaristi nel medioevo credevano nell’imminente ritorno del messia a giudicare il mondo. Non meno sintomatica è una figura come quella dell’inventore di Gaia, uno scienziato che, concentrando le sue diagnosi apocalittiche su un unico fattore – la percentuale di CO2 nell’atmosfera – dichiara con stupefacente candore che la salvezza dell’umanità sta nell’energia nucleare. Che, in entrambi i casi, la posta in gioco abbia carattere religioso e non scientifico, si tradisce nella funzione centrale che vi svolge un vocabolo – la salvezza – tratto dalla filosofia cristiana della storia.</div>
<div style="text-align: justify;">
Il fenomeno è tanto più inquietante, in quanto la scienza non ha mai annoverato l’escatologia fra i propri compiti ed è possibile che l’assunzione del nuovo ruolo profetico tradisca la consapevolezza della propria innegabile responsabilità nelle catastrofi di cui predice l’avvento. Naturalmente, come in ogni religione, anche la religione della scienza ha i suoi increduli e i suoi avversari, cioè gli adepti dell’altra grande religione della modernità: la religione del denaro. Ma le due religioni, in apparenza divise, sono segretamente solidali. Poiché è stata certamente l’alleanza sempre più stretta fra scienza, tecnologia e capitale che ha determinato la situazione catastrofica che gli scienziati oggi denunciano.</div>
<div style="text-align: justify;">
Deve essere chiaro che queste considerazioni non intendono prendere posizione quanto alla realtà del problema dell’inquinamento e delle trasformazioni deleterie che le rivoluzioni industriali hanno prodotto nelle condizioni materiali e spirituali dei viventi. Al contrario, mettendo in guardia contro la confusione fra religione e verità scientifica e fra profezia e lucidità, si tratta di non farsi dettare acriticamente da parti interessate le proprie scelte e le proprie ragioni, che in ultima analisi non possono essere che politiche.</div>
<div style="text-align: justify;">
18 novembre 2019"<br />
<br />
["Concerning the end of the world<br />
<div style="text-align: justify;">
The idea of the end of the world has emerged several times along the History of Christianity, and in all its periods there were prophets announcing the imminence of the last day. It is curious how this eschatological vocation finally surrendered by the church has now been assumed by scientists, which increasingly present themselves as prophets, who foretell and describe with absolute certainty the climatic catastrophes leading to the end of life on earth. Curious but not surprising, if one takes into account that science replaced faith in modernity, assuming truly a religious role: it is, indeed and in every aspect, the religion of our time—what people believe in (or at least what they think they believe in). </div>
<div style="text-align: justify;">
As any religion, the religion of science wouldn't be bereft of an eschatology, that is, of a device through which to keep the faithful in fear while, at the same time, securing the domination of the priestly class. Apparitions like Greta are, in this sense, symptomatic: she blindly believes in what scientists prophesy and awaits the end of the world to 2030, exactly as medieval millennialists believed in the imminent return of the messiah and the following last judgement. No less symptomatic is the figure of the inventor of Gaia, a scientist who reduces his apocalyptic diagnose to a single factor (CO2's percentage in the atmosphere) and declares<b><i>—with the utmost candor—that the salvation of humanity lies in nuclear energy</i></b>. That in both cases what is at stake is rather religious than scientific is betrayed by the central role played by the word salvation, taken from the Christian philosophy of history. </div>
<div style="text-align: justify;">
The phenomenon is all the more disturbing because science has never included eschatology among its proper subjects, and it is possible that this assumption of a new prophetic task betrays <b><i>the awareness of science's own responsibility in the catastrophes whose advent it predicts</i></b>. Undoubtedly, as with any religion, the religion of science has its own unbelievers and adversaries, that is, the partisans of the other great religion of modernity: the religion of money. <b><i>But the two religions, apparently in disaccord, are secretly united. For it was certainly the increasingly intimate alliance among science, technology and capital that determined the catastrophic situation that scientists today denounce.</i></b> </div>
<div style="text-align: justify;">
<b><i>It must be clear that through these few paragraphs one is not committed to any stand concerning the reality of the problem of pollution and the deleterious transformations that industrial revolutions brought to the material and spiritual fate of living beings.</i></b> Much on the contrary, by warning against the confusion between religion and scientific truth, prophecy and lucidity, the point is to avoid that the very interested parties now keep uncritically dictating what are our choices and reasons, which in the final analysis can only be political. November <span style="text-align: start;">18, 2019 (translation with great candor, modesty & emphasis on the pure and sentimental parts by A/Z).]</span></div>
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<h4>
FRESH MATTER (01/17/2020): Piaraçu Manifest </h4>
<div>
<br />
<div style="text-align: justify;">
"Nós, representantes de 45 povos indígenas do Brasil, somando mais de 600 participantes, fomos convocados pelo cacique Raoni, para nos reunirmos entre os dias 14 e 17 de janeiro de 2020 na aldeia Piaraçu (Terra Indígena Capoto Jarina), com o objetivo de juntar as nossas forças e denunciar que está em curso um projeto político do governo brasileiro de genocídio, etnocídio e ecocídio."</div>
</div>
<div>
<div style="text-align: justify;">
"O Estado brasileiro tem de entender que tem uma dívida histórica com os povos indígenas. Nós somos os primeiros habitantes de nosso país. Não apenas defendemos o meio ambiente: somos a própria Natureza. Se matar o meio ambiente está matado [a] nós. Sempre queremos floresta em pé, não porque a floresta é bonita, mas porque todos esses seres que habitam a floresta fazem parte de nós e correm no nosso sangue..."</div>
</div>
<div>
<div>
["Representing 45 different indigenous people of Brazil and totalling more than 600 participants, we were summoned here in the village Piaraçu (indigenous land Capoto Jarina), from January 14 through 17, 2020, by chief Raoni, so as to gather our forces and denounce that the Brazilian government is carrying out at the present a political program of genocide, ethnocide and ecocide./ The Brazilian State should understand it has a historical obligation towards indigenous people. We are the first inhabitants of our country. It is not merely that we defend the environment: we are Nature itself. By killing the environment one kills us. We want the forest bustling, not because the forest is beautiful, but because all these beings that inhabit a forest are part of us and run inside our veins..." (translation by A/Z at his own proper costs and charges)] (<a href="https://midianinja.org/files/2020/01/“Manifesto-do-Piaraçu-das-lideranças-ind%C3%ADgenas-e-caciques-do-Brasil.pdf" target="_blank">see here the entire document in Portuguese, signed by Raoni—person of no small note and consequence, and other indigenous leaderships)</a>; </div>
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<h4>
The Planet of the Humans villainous affair &/or train of vexatious disappointments:</h4>
<br />
<div style="text-align: justify;">
- "Jeff Gibbs said in a statement: “This attempt to take down our film and prevent the public from seeing it is a blatant act of censorship by political critics of Planet of the Humans. It is a misuse of copyright law to shut down a film that has opened a serious conversation about how parts of the environmental movement have gotten into bed with Wall Street and so-called “green capitalists”" (<a href="https://www.theguardian.com/film/2020/may/26/michael-moore-film-planet-of-the-humans-removed-from-youtube" target="_blank">Michael Moore film Planet of the Humans removed from Youtube, <i>The Guardian</i></a>, 26/05/2020);</div>
</div>
<div style="text-align: justify;">
- "Occasionally, the film lands a punch on the right nose. It is right to attack the burning of trees to make electricity. But when the film’s presenter and director, Jeff Gibbs, claims, “I found only one environmental leader willing to reject biomass and biofuels”, he can’t have been looking very far. Some people have been speaking out against them ever since they became a serious proposition (since 2004, <a href="https://www.monbiot.com/2004/11/23/feeding-cars-not-people/">in my case</a>). Almost every environmental leader I know opposes the burning of fresh materials to generate power... But this is by no means the worst of it. The film offers only one concrete solution to our predicament: the most toxic of all possible answers. “We really have got to start dealing with the issue of population … without seeing some sort of major die-off in population, there’s no turning back.” Yes, population growth does contribute to the pressures on the natural world. But while the global population is rising by <a href="https://ourworldindata.org/world-population-growth#all-charts-preview">1% a year</a>, consumption, until the pandemic, was rising at a <a href="https://www.imf.org/en/Publications/WEO/Issues/2020/01/20/weo-update-january2020">steady 3%</a>. High consumption is concentrated in countries where population growth is low. Where population growth is highest, consumption tends to be <a href="https://ourworldindata.org/co2-by-income-region">extremely low</a>. Almost all the growth in numbers is in poor countries largely inhabited by <a href="https://www.un.org/en/sections/issues-depth/population/">black and brown people</a>. When wealthy people, such as Moore and Gibbs, point to this issue without the necessary caveats, they are saying, in effect, “it’s not Us consuming, it’s Them breeding.” It’s not hard to see why the <a href="https://www.breitbart.com/entertainment/2020/04/23/delingpole-michael-moore-is-now-the-green-new-deals-worst-enemy/">far right</a> loves this film.<span style="text-align: justify;">" (George Monbiot, </span><a href="https://www.theguardian.com/commentisfree/2020/may/07/michael-moore-far-right-climate-crisis-deniers-film-environment-falsehoods" style="text-align: justify;" target="_blank">How did Michael Moore become a hero to climate deniers and the far-right? <i style="text-align: justify;">The Guardian</i></a>, <span style="text-align: justify;">07/05/2020);</span></div>
<div style="text-align: justify;">
- "“One of the most dangerous things right now is the illusion that alternative technologies, like wind and solar, are somehow different from fossil fuels,” Ozzie Zehner, one of the film’s producers, tells the camera. When visiting a solar facility, he insists: “You use more fossil fuels to do this than you’re getting benefit from it. You would have been better off just burning the fossil fuels.” That’s not true, not in the least — the time it takes for a solar panel to pay back the energy used to build it is well under four years. Since it lasts three decades, it means 90 percent of the power it produces is pollution-free, compared with zero percent of the power from burning fossil fuels. It turns out that pretty much everything else about the movie was wrong..." (Bill McKibben, <a href="https://www.rollingstone.com/politics/political-commentary/bill-mckibben-climate-movement-michael-moore-993073/" target="_blank">A Bomb in the Center of the Climate Movement</a>, <i>Rolling Stones</i>, 01/05/2020);</div>
</div>
<div style="text-align: justify;">
- "Michael Mann, a climate scientist and signatory to Fox’s letter, said the film includes “various distortions, half-truths and lies” and that the filmmakers “have done a grave disservice to us and the planet by promoting climate change inactivist tropes and talking points.” The film’s makers did not respond to questions over whether it will be pulled down" (<a href="https://www.theguardian.com/environment/2020/apr/28/climate-dangerous-documentary-planet-of-the-humans-michael-moore-taken-down" target="_blank">Climate experts call for 'dangerous' Michael Moore film to be taken down</a>, <i>The Guardian</i>, 28/04/2020);</div>
<div style="text-align: justify;">
<div>
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<h4>
Corona Virus, Politics & Environmental Issues (in this scurvy and disasterous world of ours): </h4>
<div>
<br />
"... s'il faut un fléau majeur pour faire apparaître cette gratuité frénétique et si ce fléau s'appelle la peste..."<br />
A. Artaud</div><div>- "Dressen had never had COVID-19. But that November, she’d received a dose of AstraZeneca’s vaccine as a volunteer in a clinical trial. By that evening, her vision blurred and sound became distorted—“I felt like I had two seashells on my ears,” she says. Her symptoms rapidly worsened and multiplied, ultimately including heart rate fluctuations, severe muscle weakness, and what she describes as debilitating internal electric shocks. A doctor diagnosed her with anxiety. Her husband, Brian Dressen, a chemist, began to comb the scientific literature, desperate to help his wife, a former rock climber who now spent most of her time in a darkened room, unable to brush her teeth or tolerate her young children’s touch. As time passed, the Dressens found other people who had experienced serious, long-lasting health problems after a COVID-19 vaccine, regardless of the manufacturer," (Jennifer Couzin-Frankel & Gretchen Vogel, <a href="https://www.science.org/content/article/rare-cases-coronavirus-vaccines-may-cause-long-covid-symptoms">"In rare cases, coronavirus vaccines may cause Long Covid-like symtoms," Science Insider, 20/01/2022</a>);</div><div>- "Rappelons que du côté de la recherche pharmaceutique, pour ne mentionner que cet exemple, les questions ayant trait aux conflits d’intérêts, et même à la « corruption institutionnelle », sont abondamment documentées. Il ne s’agit pas d’affirmer que les scientifiques seraient des individus corrompus, stupides ou naïfs. Il s’agit plutôt de reconnaître, nous dit Stengers, que leur liberté de penser et de créer peut faire l’objet d’une usurpation, ou d’une « capture » si on n’y prend garde."<br />"Dans"Cette capacité peut amener les experts à faire preuve de retenue quant à leur prétention d’avoir toutes les réponses aux questions qu’on leur pose. À l’opposé des discours triomphants sur la capacité de la science à trancher de délicates questions de santé physique et mentale, de problèmes culturels, économiques et sociaux, une telle attitude demande d’« exclure l’idée de “la” bonne solution, et d’imposer des choix souvent difficiles, exigeant un processus d’hésitation, de concertation et de veille attentive »," (Jean-Nicolas Carrier, <a href="https://www.ledevoir.com/societe/le-devoir-de-philo-histoire/594718/devoir-de-philo-pour-une-intelligence-publique-des-sciences" target="_blank">"Pour une intelligence publique des sciences," Le Devoir de philo, 06/02/2021</a>); </div><div>- "... la mort, cette limite ultime de l’expérience humaine, se trouve occultée dans nos sociétés sécularisées... cette déferlante virale que nous venons de vivre, nous a révélé la vulnérabilité inerrante à la condition humaine, par-delà le grand âge. Je parle ici de la vulnérabilité qui est en nous, qui nous habite et que notre idéologie de la performance, et du gagnant/gagnant s’avère incapable d’assumer... Cette crise sanitaire fait basculer, dit-on, le néocapitalisme libéral dans un capitalisme numérique, ce qui voudrait dire qu’il faudrait organiser le soutient budgétaire direct de l’Etat et trouver des outils numériques capables de faire du « sur mesure » pour baisser les coûts, tout en revalorisant les rémunérations de certaines professions sous-estimées, notamment dans la santé, l’éducation ou la sécurité. Etc… Mais le désastre humain qu’entraine la pandémie me semble tel, qu’il ne pourra pas se résoudre avec les seules mesures politiques, économiques et sanitaires aussi indispensables soient-elles. Nous devons de façon urgente changer de paradigme et mettre la personne au centre de notre logiciel. Aux niveaux essentiels du pacte social : éthique, éducatif, cultuel, politique... Evoquant les limites, nous nous rendons compte aujourd’hui combien l’acharnement technologique, consumériste et sans limite a mis notre planète à mal," (<a href="http://www.kristeva.fr/l-arche-05-2020.html" target="_blank">"C'est le for intérieur qu'il s'impose de sauver dans l'état de guerre en cours," L'Arche, Mai/Juin 2020</a>);</div>
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- "What I find especially annoying is how, when our media announce some closure or cancellation, they as a rule add a fixed temporal limitation: the “schools will be closed till April 4” formula. The big expectation is that, after the peak which should arrive fast, things would return to normal. In this sense, I was already informed that a university symposium is just postponed to September… The catch is that, even when life eventually returns to normal, it will not be the same normal we were used to before the outbreak: things we were used to as part of our daily life will no longer be taken for granted; we’ll have to learn to live a much more fragile life with constant threats lurking just behind the corner" (Žižek, <a href="http://thephilosophicalsalon.com/monitor-and-punish-yes-please/">Monitor and Punish? Yes, please/The Philosophical Salon</a>, 03/29/2020);</div>
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- "Ce qui autorise l’enchaînement des deux crises, c’est la réalisation soudaine et douloureuse que la définition classique de la société – les humains entre eux – n’a aucun sens. L’état du social dépend à chaque instant des associations entre beaucoup d’acteurs dont la plupart n’ont pas forme humaine. Cela est vrai des microbes – on le sait depuis Pasteur –, mais aussi d’Internet, du droit, de l’organisation des hôpitaux, des capacités de l’Etat, aussi bien que du climat. Et bien sûr, malgré le barouf autour d’un « état de guerre » contre le virus, celui-ci n’est que l’un des maillons d’une chaîne où la gestion des stocks de masques ou de tests, la réglementation du droit de propriété, les habitudes civiques, les gestes de solidarité, comptent exactement autant pour définir le degré de virulence de l’agent infectieux" (Bruno Latour, <a href="https://www.lemonde.fr/idees/article/2020/03/25/la-crise-sanitaire-incite-a-se-preparer-a-la-mutation-climatique_6034312_3232.html" target="_blank">La crise sanitaire incite à se préparer à la mutation climatique/Le Monde</a> [<a href="http://www.ihu.unisinos.br/597499-a-crise-sanitaria-incita-a-nos-preparar-para-as-mudancas-climaticas-artigo-de-bruno-latour" target="_blank">a Portuguese translation of this text is available in the site of Instituto Humanistas</a>] 03/25/2020);</div>
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Stories to wave in:</h4><div><br /></div><div style="text-align: justify;">"A ação, apoiada por várias ONGs internacionais, se baseia na lei de “diligência devida”, aprovada na França em 2017. A norma —usada agora pela primeira vez contra uma rede de supermercados— obriga as empresas com mais de 5.000 funcionários a garantir que “tanto suas filiais quanto empresas subcontratadas” não causam “violações graves contra os direitos humanos e as liberdades fundamentais, contra a saúde e a segurança das pessoas, bem como contra o meio ambiente em toda a sua esfera de influência”... Segundo os demandantes, o Grupo Casino, cujas filiais sul-americanas Pão de Açúcar no Brasil e o Grupo Éxito na Colômbia respondem por 47% de sua receita anual, “falhou na hora de revisar suas políticas de vigilância e atuação para garantir que em toda a sua cadeia de fornecimento não haja nenhuma violação dos direitos humanos ou ambientais”," "<a href="https://brasil.elpais.com/economia/2021-03-03/indigenas-da-colombia-e-do-brasil-processam-rede-de-supermercados-casino-por-desmatar-amazonia.html" target="_blank">Indígenas da Colômbia e do Brasil processam rede de supermercados Casino por desmatar a Amazônia (El País)</a>";</div><div><div style="text-align: justify;">"It is fossil fuel interests, climate change deniers, conservative media tycoons, working together with petrostate actors like Saudi Arabia and Russia. I call this the coalition of the unwilling... In the 1970s, Coca Cola and the beverage industry did this very effectively to convince us we don’t need regulations on waste disposal. Because of that we now have a global plastic crisis. The same tactics are evident in the gun lobby’s motto, “guns don’t kill people, people kill people”, which is classic deflection. For a UK example look at BP, which gave us the world’s first individual carbon footprint calculator. Why did they do that? Because BP wanted us looking at our carbon footprint not theirs... I want to thank [Bill Gates] for using his platform to raise awareness of the climate crisis. That said, I disagree with him quite sharply on the prescription. His view is overly technocratic and premised on an underestimate of the role that renewable energy can play in decarbonising our civilisation. If you understate that potential, you are forced to make other risky choices, such as geoengineering and carbon capture and sequestration. Investment in those unproven options would crowd out investment in better solutions," <a href="https://www.theguardian.com/environment/2021/feb/27/climatologist-michael-e-mann-doomism-climate-crisis-interview" target="_blank">"Climatologist Michael E. Mann interviewed by Jonathan Watts" (The Guardian)</a>; </div></div><div style="text-align: justify;">"Brazil’s government on Monday fired an official at the national space agency Inpe whose department is responsible for satellite monitoring of the Amazon rainforest, just three days after the release of June deforestation data reflected a continued increase in degradation... Bolsonaro also put the Army in charge of efforts to curb deforestation in May after last year’s fires pushed destruction to the highest level in 11 years. Yet data from Inpe show that it kept climbing... Suely Vaz, former head of environment regulator IBAMA, said before the release of the June data that the army isn’t using the technical planning and intelligence required, nor are they trained in such methods to stop deforestation. She added that it costs more than $10 million per month for the army to operate in the Amazon -- more than half what IBAMA spends on oversight in a year... “Control of deforestation isn’t done by sending a lot of inexperienced people to the field,” Vaz said. “They can help, but the operations need to be conducted by environmental authorities,”" <a href="https://www.nytimes.com/aponline/2020/07/13/world/americas/ap-lt-brazil-deforestation-firing.html" target="_blank">"Brazil Sacks Official After Soaring June Deforestation Data" (The New York Times)</a>; </div></div><div><div style="text-align: justify;">"Farmers associations and environmental groups in Germany are increasingly warning of a new strategy pursued with increasing transparency by the country’s new right: to use the enduring popularity of organic lifestyles and a burgeoning green movement as a step into the mainstream... “We discovered a significant number of environmental groups who had contact with far-right ideologues,” said Daniela Gottschlich, one of the political scientists who conducted the survey for the Diversu thinktank. “We discovered many felt unable to cope with the challenge and ask for support.” As such, attempts to use green issues to smuggle far-right ideas into respectable society are not new, said Yannick Passeick, a spokesperson for Farn, a government-sponsored body against radicalisation among environmentalist groups," <a href="https://www.blogger.com/#">"German far-right infiltrates green groups with call to protect the land" (Philip Oltermann/The Guardian</a>);</div><div style="text-align: justify;">"As Brazil’s confirmed overall death toll from Covid-19 passes 50,000, the virus is scything through the country’s indigenous communities, killing chiefs, elders and traditional healers – and raising fears that alongside the toll of human lives, the pandemic may inflict irreparable damage on tribal knowledge of history, culture and natural medicine," <a href="https://www.theguardian.com/global-development/2020/jun/21/brazil-losing-generation-indigenous-leaders-covid-19" target="_blank">"'We are facing extermination': Brazil loosing a generation of Indigenous leaders to Covid-19" (Dom Phillips/The Guardian)</a>; </div></div><div><div style="text-align: justify;">
"For the last three decades, the amount of carbon absorbed by the world’s intact tropical forests has fallen, according to the study from nearly 100 scientific institutions. They are now taking up a third less carbon than they did in the 1990s, owing to the impacts of higher temperatures, droughts and deforestation. That downward trend is likely to continue, as forests come under increasing threat from climate change and exploitation," <a href="https://www.theguardian.com/environment/2020/mar/04/tropical-forests-losing-their-ability-to-absorb-carbon-study-finds" target="_blank">"Tropical forests losing their ability to absorb carbon, study finds" (Fiona Harvey/The Guardian)</a>;</div>
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"Bolsonaro has frequently made racist remarks about the country’s indigenous people, recently commenting that they were “increasingly becoming human beings just like us”. Critics say he is bargaining indigenous lives for political support from the powerful evangelical lobby, just as his attacks on environmental agencies have appeased wildcat miners and farmers in the Amazon," <a href="https://www.theguardian.com/world/2020/feb/05/brazil-indigenous-tribes-missionary-agency-ricardo-lopes-dias-christianity-disease" target="_blank">"'Genocide' fears for isolated tribes as ex-missionary named to head Brazil agency" (The Guardian)</a>;</div>
<div style="text-align: justify;">
"<span style="text-align: justify;">“This is a big step forward, but it will face pressure from environmentalists,” Bolsonaro said in a speech. Bolsonaro has long alleged that Brazil’s indigenous people occupy too much land – 13% of the country – and hinder economic development of untold mineral resources, from gold and diamonds to niobium and rare earths. But leaders of most of Brazil’s 300 tribes oppose mining on their reservations and say that allowing commercial mining would undermine their communities and wipe out their cultures, which are already threatened by increasing invasions by illegal loggers and wildcat miners," </span><a href="https://www.theguardian.com/world/2020/feb/06/brazil-bolsonaro-commercial-mining-indigenous-land-bill" style="text-align: justify;" target="_blank">"Brazil's Bolsonaro unveils bill to allow commercial mining on indigenous land"(The Guardian)</a><span style="text-align: justify;">;</span></div>
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<div style="text-align: justify;">
"A panel of experts advising Japan's government on a disposal method for radioactive water from the destroyed Fukushima nuclear plant has recommended releasing it into the ocean, a move likely to alarm neighbouring countries. The panel, under the industry ministry, came to the conclusion after narrowing the choice to either releasing the contaminated water into the Pacific Ocean or letting it evaporate – and opted for the former. Based on past practice, it is likely the government will accept the recommendation," <a href="https://www.theguardian.com/world/2020/feb/01/fukushima-radioactive-water-should-be-released-into-ocean-say-japan-experts" target="_blank">"Fukushima radioactive water should be released into ocean, say Japan experts" (The Guardian)</a>;</div>
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"“I now put all my efforts into the activism, into addressing Brazil’s political situation,” Andujar says as she prepares a retrospective at the Fondation Cartier in Paris, which shows a selection from a personal collection that runs to several thousand photographs. “I no longer take photographs, but use my archive to show how I saw the Yanomami. This present government has no respect for them. They have no understanding of who they are as people”... despite legal protections, Kopenawa estimates 20,000 illegal gold miners are operating in the Yanomami Park with the tactic permission of Brazil’s government," <a href="https://www.theguardian.com/artanddesign/2020/jan/29/claudia-andujar-photography-yanomami-brazil-jair-bolsonaro" target="_blank">"Shamans, Spirits, Survival: how Claudia Andujar fought for the Yanomami tribe" (Oliver Basciano/The Guardian)</a>;</div>
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"... the tornadoes made of fire lifting up fire trucks weighing tonnes, of nightmarish dashcam footage of flames coursing through a fire truck with people in it, of vast fire fronts meeting up that are too big too fight (and the forests, lit up at night, look like when you’re on a plane, flying low over a metropolis)... Transformation is recognising the facts: Australia is a climate vandal, led by wreckers. We are ranked the worst of 57 countries on climate policy," "This apocalyptic Australian summer is our Sandy Hook moment – if we don't take climate action now we never will" <a href="https://www.theguardian.com/commentisfree/2020/jan/07/this-apocalyptic-australian-summer-is-our-sandy-hook-moment-if-we-dont-take-climate-action-now-we-never-will" target="_blank">(Brigid Delanay/ The Guardian)</a>; </div>
<div style="text-align: justify;">
"'If 800 million sounds a lot, it’s not all the animals in the firing line,' he added.That figure excluded animals including bats, frogs and invertebrates. With these numbers included, Dickman said, it was 'without any doubt at all' that the losses exceeded 1 billion. 'Over a billion would be a very conservative figure,' he said... Critically endangered species, including the southern corroboree frog and mountain pygmy-possum, could be wiped out as fires ravage crucial habitat in Victoria’s Alpine National Park and New South Wales’s neighboring Kosciuszko National Park," <a href="https://www.huffpostbrasil.com/entry/billion-animals-australia-fires_n_5e13be43e4b0843d361778a6" target="_blank">"Number of Animals Feared Dead in Australia's Wildfires Soars To Over 1 Billion" (Josephine Harvey/ <i>Huff Post</i>)</a>;</div>
<div style="text-align: justify;">
"Tout d’un coup, l’électricité et les réseaux téléphoniques ont été coupés. Puis le ciel est devenu totalement noir. Et il y a eu ces bruits épouvantables : le rugissement du feu, le sifflement du vent, les hélicoptères. C’était une atmosphère surréaliste, terrifiante," <a href="https://www.lemonde.fr/international/article/2020/01/05/ce-n-est-pas-un-feu-de-brousse-mais-une-bombe-atomique-en-australie-des-milliers-de-gens-fuient-les-incendies-devastateurs_6024835_3210.html" target="_blank">"Ce n’est pas un feu de brousse mais une bombe atomique" (Isabelle Dellerba/<i>Le Monde</i>, 1/4/2020)</a>; </div>
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<div style="text-align: justify;">
"There are real concerns entire species of plants and animals have been wiped out by bushfires following revelations almost 500 million animals have died since the crisis began... Harrowing scenes of kangaroos fleeing walls of fire, charred bodies of koalas and cockatoos falling dead out of trees have horrified the world as it tries to take in the scale of the unfolding disaster," <a href="https://www.news.com.au/technology/science/animals/half-a-billion-animals-perish-in-bushfires/news-story/b316adb4f3af7b1c8464cf186ab9f52c" target="_blank">"Huge loss of animal and plant life expected due to bushfires" (Marnie O'Neill/<i>News Corp Australia</i>)</a>; </div>
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<div style="text-align: justify;">
"Australia today is ground zero for the climate catastrophe. Its glorious Great Barrier Reef is dying, its world-heritage rain forests are burning, its giant kelp forests have largely vanished, numerous towns have run out of water or are about to, and now the vast continent is burning on a scale never before seen... Flames leaping 200 feet into the air. Fire tornadoes. Terrified children at the helm of dinghies, piloting away from the flames, refugees in their own country... The prime minister, the conservative Scott Morrison, went on vacation to Hawaii," <a href="https://www.nytimes.com/2020/01/03/opinion/australia-fires-climate-change.html" target="_blank">"Australia is Committing Climate Suicide" (Richard Flanagan/ <i>The New York Times</i>)</a>;</div>
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"He told me the temperatures they were facing near the blazes in Celsius, and I couldn’t quite compute, but I remember thinking, 'Wow, that’s 10 degrees hotter than Midnight Oil said The western desert lives and breathes.' Fifty-five degrees Celsius is 131 degrees Fahrenheit... during the night, the fires surrounding us had heaped so much smoke into the air that the sun was not visible in the sky. In fact, nothing was visible beyond 50 meters," <a href="https://theintercept.com/2020/01/01/banality-apocalypse-australian-fire/" target="_blank">"The Banality of Apocalypse: Escaping From the Australian Fires" (Eric Byler/ <i>The Intercept</i>)</a>; <br />
<br /><div style="text-align: justify;">See also:</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2021/02/stop-leveling-down-lifes-multiple.html">Stop Leveling Down Live's Multiple Diversity</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception & the learned foolery of research</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/11/allan-ginsberg-burroughs-ney-matogrosso.html">Allan Ginsberg, Burroughs & Ney Matogrosso sobre Ayahuasca</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/05/what-is-meaning-of-sacer-in-homo-sacer.html">What is the meaning of sacer in Homo Sacer? (lacération de la deésse)</a>;</div><div style="text-align: justify;">- <a href="http://aletche.blogspot.com.br/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/10/amat-escalante.html">Amat Escalante (& Werner Herzog): Basilisk's Cinema</a>;</div><div style="text-align: justify;">And also (with the whole of it):</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html">5G?! internet of things & the crap...</a> </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/environmental-issue-brazil-novo-porto.html">Environmental Issue (Brazil): A new harbour in Torres</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/blue-crab-siri-azul-torres-brazil-jan.html">Blue Crab/ Siri Azul (Torres, Brazil, Jan 2019) & the World Food Club</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/10/who-wants-to-be-worlds-5th-largest.html">Who Wants to Be the World's 5th Largest Economy? </a></div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/03/instead-of-revolution-demontage-super.html">Instead of revolution: démontage</a>;</div><div style="text-align: justify;"><a href="https://www.academia.edu/31233486/Sloterdijk_Rules_for_the_Human_Park">***Peter Sloterdijk's Rules for the Human Park</a>;</div><div style="text-align: justify;"><a href="https://doi.org/10.1007/s13347-023-00617-8">***Ecomodernism and the Libidinal Economy: Towards a Critical Conception of Technology in the Bio‐Based Economy (Roel Veraart, Vincent Block, Pieter Lemmens, Philosophy & Technology/2023);</a></div><div style="text-align: justify;"><a href="https://www.ihu.unisinos.br/images/stories/cadernos/ideias/326cadernosihuideias.pdf">***Técnica e Ética no Contexto Atual (Oswaldo Giacoia, IHU)</a>; </div><div style="text-align: justify;"><a href="https://dra.revistas.csic.es/index.php/dra/article/view/538">***La Chute du ciel: un pas-de-deux entre un chamán y un antropólogo [excellent critical review that questions the apologetics of Viveiros de Castro, Bruce Albert and, to a certain extent, Davi Kopenawa himself around "A Queda do Céu"]</a>;</div><div style="text-align: justify;"><a href="https://center-yanomami.publicanthropology.org/docs/4-c9%20Le-Monde29Jan11.pdf">***Le Sang Volé des Yanomami (Catherine Vincent/Le Monde)</a>; </div><div style="text-align: justify;"><a href="https://seer.ufrgs.br/EspacoAmerindio/article/view/61133">***Paisagens, Territórios e Pressão Colonial (Ailton Krenak/Espaço Ameríndio)</a>;</div><div style="text-align: justify;"><a href="https://www.ufmg.br/revistaufmg/downloads/22/11-Artigo-11-p142-159.pdf"></a><a href="https://www.ufmg.br/revistaufmg/downloads/22/11-Artigo-11-p142-159.pdf">***O Cosmo Segundo os Yanomami (Davi Kopenawa)</a>;</div></div>
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</div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-62596220381035505852019-12-10T05:58:00.109-08:002023-09-19T06:31:01.527-07:00Modern Literature and Esotericism: Charles Baudelaire, Arthur Rimbaud, Stéphane Mallarmé, Poe & others to fancy<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_4rd-LnGlQ6l4Hz7zIqLzHZO0mEhlshbPFz2-p3yrMjgcywYs_11XFIHx6FHLFFimM78t9gipi4dbCXZ8B7oJz2qeykAMBjeVXRaWxuePADQ4P_0J90iPPda9uf1SqJa8t8mQ0g/s2615/goya_delacroix_redon_baudelaire_logo.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="924" data-original-width="2615" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_4rd-LnGlQ6l4Hz7zIqLzHZO0mEhlshbPFz2-p3yrMjgcywYs_11XFIHx6FHLFFimM78t9gipi4dbCXZ8B7oJz2qeykAMBjeVXRaWxuePADQ4P_0J90iPPda9uf1SqJa8t8mQ0g/w500-h176/goya_delacroix_redon_baudelaire_logo.jpeg" width="500" /></a></div>
<div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/wMazVlimyPc" width="320" youtube-src-id="wMazVlimyPc"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QuJhglNXyR8" width="320" youtube-src-id="QuJhglNXyR8"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/F3S3JntO53w" width="320" youtube-src-id="F3S3JntO53w"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/SsD9rG9BOGs" width="320" youtube-src-id="SsD9rG9BOGs"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Wbc2qQ5Z75w" width="320" youtube-src-id="Wbc2qQ5Z75w"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WNqFLpYxM0k" width="320" youtube-src-id="WNqFLpYxM0k"></iframe></div><br /><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: justify;">Goya's Hasta su Abuelo, photographed with great candor and modesty by A/Z at the MNBA, Delacroix's Chasse aux lions (esquisse) & Odilon Redon autoportrait, photographed out of his own proper monies by A/Z at the Orsay (<a href="https://www.juststructontologin.com/projects--about.html" target="_blank">for more see here</a>); </div><div style="text-align: justify;">Paul Feyerabend (person of no small note and consequence) interviewed by Rüdiger Safranski (1993);</div><div style="text-align: justify;">Le Dieu de Baudelaire (Pierre Emmanuel, Stanislas Fumet, Max Pol Fouchet et Max Milne/France Culture, 1967);</div><div>Victor Hugo pour Henri Guillemin [the video isn't available at Youtube anymore];<br /><div style="text-align: justify;">Paracelse ("La vie des grands mystiques", Dominique Debray/Youtube, émission française de 1984 [?]);</div><div style="text-align: justify;">Giacinto Scelsi's Four illustrations: IV, Krishna-Avatara;</div><div style="text-align: justify;">Giacinto Scelsi's Okanagon (1968, Youtube); </div><div style="text-align: justify;">Code Morel & One Hundred Forty Nine Inches (montage A/Z, for more <a href="https://www.juststructontologin.com/video.html" target="_blank">see here</a>);</div><div class="separator" style="clear: both; text-align: justify;">************************************************************</div><h4 style="text-align: justify;">Vestibule &/or Foundation (with the whole of it): </h4><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: justify;">"Even a farting becomes important if only it is multiplied by a few hundreds."</div><div style="text-align: justify;">Silvanus P. Thompson (Calculus Made Easy)</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">"... for that wit and judgement in this world go together... so are farting and hickuping, say I."</div><div class="separator" style="clear: both; text-align: justify;">"How it came to pass, that our men of least wit are reported to be men of most judgement?"</div><div class="separator" style="clear: both; text-align: justify;">Tristram Shandy</div><div class="separator" style="clear: both; text-align: justify;">"... ce qui fait que des géomètres ne sont pas fins, c'est qu'ils ne voient pas ce qui est devant eux et qu'étant accoutumés aux principes nets et grossiers de géométrie, et à ne raisonner qu'après avoir bien vu et manié leurs principes, ils se perdent dans les choses de finesse où les principes ne se laissent pas ainsi manier... Les géomètres qui ne sont que géomètres ont donc l'esprit droit, mais pourvu qu'on leurs explique bien toutes choses par définition et principes; autrement ils sont faux et insupportables..."</div><div class="separator" style="clear: both; text-align: justify;">Pascal (<i>Différence entre l'esprit de géométrie et l'esprit de finesse)</i></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><div>"I mean, we didn't go to church or anything, but Patti Smith would read stuff from the Bible. People talk about <i>Jesus died for somebody's sins but not mine</i>, but to me she was always Christian... I mean, I love the rituals of Catholicism. I hate the fucking politics, and the pope and shit, but the rituals of it are magic. I mean, the mass is a magic ritual for God's sake, it's a transubstantiation, and the stations of the cross—I mean a crown of thorns? Getting whipped? It's punk rock. I remember saying that on the Ton Snyder show one night and he said, 'Some people would—not me, but some people might think that's a blasphemous statement...'"</div><div>Jim Carroll (Please Kill Me)</div><div>"En 1559, l'Inquisition met à l'Index de nombreux livres spirituels et des romans de chevalerie en castillan dont sa mère lui avait transmis le goût..."</div><div>Sylvia Leclercq</div></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: justify;">"Encore inconnu, sauf de quelques poètes très symbolistes, il s'appelle Stéphane..."<br />Sophie Chauveau (Manet Le secret)<br />"Or c'est un homme de foi, Mallarmé. Frigide, mais de foi."<br />Dan (Les Samouraïs)</div><div style="text-align: justify;">"... la poesia es, por naturaleza, extemporánea..."</div><div style="text-align: justify;">Octavio Paz (Las trampas de la fé)</div><div style="text-align: justify;">"On ne peut pas dire que le sentiment religieux soutenait la figuration dans la peinture ancienne: au contraire il rendait possible une libération des Figures, un surgissement des Figures hors de toute figuration [about El Greco and others]."</div><div style="text-align: justify;">Deleuze (Logique de la sensation)</div><div style="text-align: justify;"><br />
"... et je dirai même que leur grandeur poétique, leur efficacité concrète sur nous, vient de ce qu'elles sont métaphysiques, et que leur profondeur spirituelle est inséparable de l'harmonie formelle et extérieure du tableau."<br />
"... la vraie poésie est métaphysique... et c'est même, dirai-je, sa portée métaphysique, son degré d'efficacité métaphysique qui en fait tout le véritable prix."<br />
A. Artaud</div><div style="text-align: justify;">"L'art, cependant, devrait permettre de regarder au-delà des choses et le visible n'être que le support de l'invisible, l'émanation du secret divin. Clément d'Alexandrie pensait que le diable instillait lui-même la beauté dans les sculptures païennes..."</div><div style="text-align: justify;">Anselm Kiefer (L'art survivra à ses ruines)<br /><br /></div><div style="text-align: justify;"><div class="separator" style="clear: both;">"... nous nous différencions de nos aînés, qui, même fréquentant les meilleurs poëtes de leur génération avaient une peur folle d'être traités par la critique de 'peintres littéraires'... La critique française à nos débuts, sauf rares exceptions, leur verdict était celui-ci: 'Ce ne sont pas de peintres mais des poëtes ratés', quand nous n'étions pas aimablement conseillés d'aller nous faire soigner. Notre intérêt proclamé pour l'art des fous et des médiums n'était pas fait pour arranger les choses!"</div><div class="separator" style="clear: both;">André Masson (A Joan Mirò pour son anniversaire/Écrits, anthologie établie par Françoise Levaillant)</div><div class="separator" style="clear: both;">"L'important dans ce propos de Matisse c'est qu'à l'origine ce tableau 'd'après nature' passe à un second mouvement de l'esprit, vire vers la métaphore. Disons la poésie, tout court."</div><div class="separator" style="clear: both;">André Masson (Conversations avec Henri Matisse/Écrits, anthologie établie par Françoise Levaillant) </div><div class="separator" style="clear: both;">"Avec Titien... Delacroix est conscient... l'exigence de concevoir l'homme et les objets de référence comme points de condensation des forces mouvantes du Cosmos. Le 'détail historique', plaie de la peinture ancienne, est comme aboli par une vision panique. Le résultat fait penser à une sorte d'impressionnisme grandiose. Un impressionnisme magique."</div><div class="separator" style="clear: both;">André Masson (Le peintre et la culture/Écrits, anthologie établie par Françoise Levaillant)</div><div class="separator" style="clear: both;">"Il y avait un sens de l'espace neuf et imprévu dans l'oeuvre de Redon, des rapports de couleurs intéressants, une fantaisie biologique des plus personnelles. Nous pourrions au moins reconnaître ces mérites."</div><div class="separator" style="clear: both;">André Masson (Odilon Redon/Écrits, anthologie établie par Françoise Levaillant) </div><div class="separator" style="clear: both;">"Je disais un jour à Pierre Klossowski: votre oeuvre graphique est inclassable — comme celle de Füssli — elle ne peut se réclamer d'aucun pavillon. Le rapport est d'abord de l'ordre des profondeurs, chez tous deux, visionnaires, la pensée est à l'origine de l'image — des phantasmes... Lumière spectrale et irradiante."</div><div class="separator" style="clear: both;">André Masson (Pierre Klossowski/Écrits, anthologie établie par Françoise Levaillant) </div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"La littérature est-elle ce pardon demandé pour la désacralisation, d'autres diraient religieusement la sécularisation d'une sainte révélation?"</div><div style="text-align: justify;">"... et qui niera que la littérature reste un reste de religion, un lien et un relais de sacro-sainteté dans une société sans Dieu?"</div><div style="text-align: justify;">Jacques Derrida (Donner la mort)</div><div style="text-align: justify;">"Pour y arriver, il faudrait... quoi? Personne ne sait, pas même moi. Des missionnaires? Des croyants? Des éducateurs? Des hommes et des femmes qui fondent des espaces de lecture et d'écriture?"</div><div style="text-align: justify;">"Le christianisme s'achevant en religion esthétique? Au contraire..."</div><div style="text-align: justify;">Sylvia Leclercq</div><div style="text-align: justify;">"Dans le cas des figures, au contraire, le pré-philosophique montre que le plan d'immanence lui-même n'avait pas pour destination inévitable une création de concept ou une formation philosophique, mais pouvait se déployer dans des sagesses et des religions suivant une bifurcation qui conjurait d'avance la philosophie du point de vue de sa possibilité même."</div><div style="text-align: justify;">Deleuze & Guattari (Qu'est-ce que la philosophie?)</div><div style="text-align: justify;">"What's all this talk about Ulysses? Finnegans Wake is the important book."</div><div style="text-align: justify;">Nora Barnacle J.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Ce n’est qu’après le temps de Planck de 10−43 sec que les lois de la physique commencèrent à se créer. Les quatre forces fondamentales (éléctromagnetisme, force faible, force forte, gravitation) se 'condensèrent' après 10−12 sec. Un milliard d’années après surgirent les galaxies, et ensuite les éléments chimiques lourds tel que le fer. Notre terre naquit il y a seulement 4,6 milliards d’années, suivie par les protistes 800 millions d’années plus tard. Malgré le succès dû à sa puissance explicatrice et prédicative des phénomènes de la nature inanimée, la physique ne concerne qu’un segment limité de la réalité. L’ontologie de la physique ne pourrait se libérer de celle des mathématiques, c’est-à-dire d’une ontologie de nature parfaitement spirituelle. Ce fait prend une portée dramatique en particulier au moment planckien de la naissance des lois de la physique: c’est un processus qui ne peut exister qu’au sein de la réalité des mathématiques, non humaines, mais bien 'divines', si l’on y tient. Le lieu de naissance des lois de la physique touche à une réalité non physique. Ce type de recours inevitable à la base mathématique est d’ailleurs une des obstructions les plus dures à la réduction de l’activité intelligente de l’esprit humain aux purs processus neuronaux de la substance cérébrale dont les neuro-scientifiques voudraient nous persuader. En particulier, ce plaidoyer est une mise en relief des autres strates de la réalité: de la biologie et de la culture, de la logique du vivant et surtout de la dynamique mentale qui nous élèvent au-dessus de la matière animée ou non. Le succès de la physique s’avère être le succès de son immersion fondamentale au sein de la réalité spirituelle des mathématiques."</div><div style="text-align: justify;">"Le Big Bang biologique créa des lois de l’évolution biologique dont la logique est loin d’être comprise. Elles semblent se situer loin au-delà des lois de la physique, qui elle ne sait rien de la vie, de sa dynamique selective, des jeux chaotiques et catastrophiques dont la téléologie de la survie échappe à la causalité, même brisée par les lois de la mécanique quantique, et dont l’organisation circulaire requiert des mathématiques fort différentes de celles de la physique, par exemple les fractales, les réseaux neuronaux, la théorie du chaos, des catastrophes, des automates cellulaires, ou alors des ensembles non bien fondés. Mais encore, comme en physique, la réalité biologique ne pourrait fonctionner comme base réductrice pour la réalité spirituelle, car toute description précise de ses phénomènes recourt aux mathématiques et aucune mathématique ne pourrait être expliquée en termes purement biologiques. C’est ici un point bien délicat qui semble échapper à quelques représentants des sciences cognitives: l’analyse cognitive reste totalement impuissante si l’on en exclut la contribution des mathématiques dont elle fait usage."</div><div style="text-align: justify;"><div><span style="text-align: left;"><div style="text-align: justify;">Guerino Mazzola (La vérité du beau dans la musique) </div></span></div></div><div style="text-align: justify;"><br /></div><div><div><div style="text-align: justify;">"Mais l'expérience est là qui désigne en Dieu le moyen d'échapper à ce délire qu'atteint rarement l'amour de Dieu, qui désigne en Dieu le 'Bon Dieu', le garant de l'ordre social et de la vie discontinue. Ce qu'atteint au sommet l'amour de Dieu est en vérité la mort de Dieu. Mais nous ne pouvons de ce côté rien connaître, sinon la limite de la connaissance. Cela ne signifie pas que l'expérience de l'amour de Dieu ne nous donne pas les indications les plus vraies. Nous ne devons pas nous étonner que les données théoriques ne faussent pas l'expérience possible. La recherche est toujours celle de la continuité, qu'atteint l'état theopathique. Jamais les voies de cette recherche ne sont droites."</div><div style="text-align: justify;">Georges Bataille ("La Béauté", <i>L'Érotisme</i>)</div></div><div style="text-align: justify;">"Quoi qu'il en soit (et je reconnais volontiers que sur un point assez obscur, il est possible d'hésiter), il apparaît qu'au moins en partie Hegel tira de ses connaissances théologiques, de même que de la connaissance de maître Eckart et de Jacob Noehme, le mouvement de dialectique qui lui est propre. Mais si j'ai parlé maintenant de Hegel, ce n'est pas avec l'intention d'insister sur la valeur de sa philosophie."</div><div style="text-align: justify;">"Il me semble même que la réaction contre cet aspect glacé de la philosophie caractérise la philosophie moderne dans son ensemble, mettons, sans parler de Kierkegaard, de Nietzsche à Heidegger. Naturellement la philosophie, me semble-t-il, est profondément malade. Elle est inconciliable avec une possibilité bohême, une possibilité débraillée de la pensée, que je représente peut-être aux yeux de certains d'entre vous."</div><div><div style="text-align: justify;">"Si nous suivons la voie indiquée par le christianisme, il est vrai, nous pouvons non seulement sortir de la solitude, mais accéder à une sorte d'équilibre, qui échappe au déséquilibre premier, dont je pars, qui nous empêche de concilier la discipline et le travail avec l'expérience de l'extrême."</div></div><div style="text-align: justify;">Georges Bataille ("La Sainteté", <i>L'Érotisme</i>)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"On peut dire sans doute de la critique protestante des oeuvres saintes qu'elle abandonna le monde aux oeuvres profanes, que l'exigence de la pureté divine ne sut qu'exiler le divin, et achever d'en séparer l'homme. On peut dire enfin qu'à partir de là, la chose a dominé l'homme, dans la mesure où il vécut pour l'entreprise et de moins en moins dans le temps présent. Mais la domination de la chose n'est jamais entière, et n'est au sens profond qu'une comédie: elle n'abuse jamais qu'à moitié tandis que, dans l'obscurité propice, une vérité nouvelle tourne à l'orage."</div><div style="text-align: justify;">"... la science limite la conscience aux objets, elle ne mène pas à la conscience de soi (elle ne peut connaître le sujet qu'en le prenant pour un objet, pour une chose); mais elle contribue à l'éveil en habituant à la précision et en décevant: car elle admet elle-même ses limites, elle avoue l'impuissance où elle est de parvenir à la conscience de soi."</div><div style="text-align: justify;">Georges Bataille (La Part maudite)</div></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"Les normes mêmes de la démonologie non seulement décrivent l'existence d'un point de vue différent de celui de la croyance en général; elles forment de surcroît une méthode, telle qu'elle est conçue à l'origine par les néo-platoniciens, en dernier lieu par l'herméneutique scolastique — prônant une traduction spectaculaire des puissances avec lesquelles on compose — en fin de compte analysant jusqu'aux procédures de la pensée même —, et qui concourt, contre toute 'pathogénie' critique, à figurer plutôt une 'pathophanie': soit à considérer en nous l'insidieuse présence des esprits, mais aussi toute façon de penser et de sentir comme une expression indissociable de leur dissimulation. De là vient, dirai-je à la suite de Varron, le caractère théâtrique de la théologie, dont le théâtre occidental, strindbergien et shakespearien, à son tour dérive indirectement."</div><div style="text-align: justify;">"Parce que l'affabulation, dans La Vocation suspendue, est en réalité plus autobiographique que l'autobiographie n'eût semblé le permettre, même si en fin de compte cette affabulation se retourne contre elle-même — et de fait aujourd'hui à vos yeux, je me comporterais comme un athée, quoique je ne cache point mon non-athéisme. Kierkegaard indique bien que tous les chrétiens ne peuvent que se comporter comme des athées. D'avoir abandonné l'habit ne me rend pas moins sensibles aux motifs particuliers dont s'est servi mon propre mouvement ver la foi. Bien au contraire — et ainsi que, lors de mon expérience conventuelle, je découvris que de fuir les 'ténèbre'au-dehors, celles-ci n'en paraissaient que plus présentes à l'esprit sou la persécution des âmes où le Vatican menait une parti de l'Eglise, — de même, j'ai voulu prouver à l'inverse, dans le style de cette confession, que la réduction à l'état laïc fasait encore dépendre cet état d'une conception religieuse de la vie profane."</div><div style="text-align: justify;">Pierre Klossowski (entretiens avec Jean-Maurice Monnoyer)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"C'est là ce dont témoignent les forces supra-historiques par excellence, l'art et la religion qui, détournant le regard du devenir, le portent sur tout ce qui confère à l'existence le caractère de éternel et d'une signification identique. La science, qui ne voit nulle part de l'éternel ni de l'existant, mais rien que du devenu, de l'historique, ne peut que détester ces forces éternisantes..."</div><div style="text-align: justify;">"La Gaya Scienza, fruit de la plus grande solitude imaginable, parle essentiellement à des esprits qui, eux, sauront retrouver cette solitude, donc à ces natures qu'un fond de noblesse dispose à refuser autant la distraction à tout prix que le travail à tout prix, donc à supporter l'ennui: nous touchons là aux ressources de la solitude, lesquelles, en dépit de son extrême isolement, lui donnaient le sentiment d'être toujours 'entre nous'... Quant aux états d'élévation, il lui semble, dit-il, que la plupart des gens ne croient guère à la réalité de pareils états d'âme, excepté ceux qui connaissent par expérience un état d'elévation de longue durée."</div><div style="text-align: justify;"><div>"... la doctrine de l'éternel retour se conçoit encore une fois comme un simulacre de doctrine dont le caractère parodique même rend compte de l'hilarité comme attribut de l'existence se suffisant à elle-même lorsque le rire éclate au fond de l'entière vérité, soit que la vérité explose dans le rire des dieux, soit que les dieux eux-mêmes meurent de fou rire..." </div><div>"... car si les dieux meurent de ce rire, c'est aussi de ce rire qui éclate du fond de l'entière vérité que les dieux renaissent."</div><div>''Zarathoutra, dès lors qu'il a voulu l'éternel retour de toutes choses, a d'avance choisi de voir tourner en dérision sa propre doctrine... Quel autre sens, si ce n'est celui-là, attribuerait-on à l'extraordinaire parodie de la Cène où le meurtrier de Dieu est aussi celui qui offre le calice à l'âne — figure sacrilège du Dieu chrétien du temps de la réaction païenne, mais plus spécifiquement animal sacré des mystères antiques, l'âne d'or de l'initiation isiaque, animal digne par son infatigable Ia (ita est!) — son infatigable oui donné au retour de toutes choses — digne de représenter la longanimité divine, digne donc aussi d'incarner une antique divinité, Dionysos, le dieu de la vigne, ressuscité dans l'ivresse générale. Et en effet, comme Voyageur le déclare à Zarathoustra: la mort, chez les dieux, n'est jamais qu'un préjugé."</div></div><div style="text-align: justify;">Pierre Klossowski (Un si funeste désir)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"Indem nämlich die Vielheit unverbundener Einzeltriebe sich in zwei einander gleichsam gegenüber stehende Wesenheiten zerspaltet, von denen die Eine herrscht, die Andere dient, — wird es dem Menschen ermöglicht, zu sich selber nicht nur wie zu einem anderen, sondern auch wie zu einem höhern Wesen zu empfinden. Indem er einen Theil seiner selbst sich selber zum Opfer bringt, ist er einer religiösen Exaltation nahe gekommen. In den Erschütterungen seines Geistes, in denen er das heroische Ideal eigener Preisgebung und Hingebung zu verwirklichen wähnt, bringt er an sich selbst einen religiösen Affect zum Ausbruch." </div><div>"Von allen grossen Geistesanlagen Nietzsches gibt es keine, die tiefer und unerbittlicher mit seinem geistigen Gesammtorganismus verbunden gewesen wäre, als sein religiöses Genie. Zu einer anderen Zeit, in einer andern Culturperiode würde dasselbe diesem Predigerssohn sicherlich nicht gestattet haben, zum Denker zu werden. Unter den Einflüssen unserer Zeit erhielt jedoch sein religiöser Geist die Richtung aufs Erkennen und vermochte dasjenige, wonach es ihn instinctiv am drängendsten verlangte, wie nach dem natürlichen Ausdruck seiner Gesundheit, nur in krankhafter Weise zu befriedigen, — das heisst, er vermochte es nur vermittelst einer Rückbeziehung auf sich selbst anstatt auf eine ihn mit umfassende, ausser ihm liegende Lebensmacht."</div><div>"So erreichte er das gerade Gegentheil des Angestrebten: nicht eine höhere Einheit seines Wesens, sondern dessen innerste Zweitheilung, nicht den Zusammenschluss aller Regungen und Triebe zu einem einheitlichen Individuum, sondern ihre Spaltung zum »Dividuum«. Es war immerhin eine Gesundheit erreicht, — doch mit den Mitteln der Krankheit; eine wirkliche Anbetung, doch mit den Mitteln der Täuschung; eine wirkliche Selbstbehauptung und Selbsterhebung, doch mit den Mitteln der Selbstverwundung."</div><div>Lous Salomé</div></div><div style="text-align: justify;"><div><br /></div><div>"Von allem Wunderbaren — so erzählte mir Paracelsus — was ich je sah und hörte, ist Eins das Erstaunlichste, und ich muß nicht nur ein muthiges Herz wie ein Löwe, sondern auch die unschuldige Geduld eines Lammes dazu haben, es gerade so zu berichten, wie es sich zugetragen hat. Denn gesetzt, es wäre das Blendwerk eines mir übel wollenden Geistes gewesen, so gab es nie für mich eine ärgere Versuchung: und sprach das, was mir erschien, die Wahrheit..."</div><div>Nietzsche (Nachgelassene Fragmente, 1881)</div><div><div>"Sie unterrichtet weiter darüber, was unter diesen Massen eigentlich zu denken ist. Von keiner Klasse, von keinem irgendwie strukturierten Kollektivum kann die Rede sein. Es handelt sich um nichts anderes als um die amorphe Menge der Passanten, um Straßenpublikum... Dieser Menge eine Seele zu leihen, ist das eigenste Anliegen des Flaneurs. Die Begegnungen mit ihr sind ihm das Erlebnis, das er unermüdlich zum Besten gibt. Au. Baudelaires Werk sind gewisse Reflexe dieser Illusion nicht hinwegzudenken."</div><div>Walter Benjamin (Über einige Motive bei Baudelaire)</div></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Salvo che, in questa ultima epifania del modo simbolico, il testo come simbolo non viene piú letto per cercare una verità che stia altrove: la verità sta nel gioco stesso della decostruzione, nel riconoscere il testo come tessuto di differenze e di varchi. 'Ma le cose stanno cosí, che anche il bianco, gli spazi vuoti nel rotolo della Torah sono costituiti di lettere, solo che noi non siamo capaci di leggerle allo stesso modo che leggiamo il nero. Ma nell'età messianica Dio rivelerà anche le parti bianche della Torah, quelle lettere che per noi, ora, sono diventate invisibili, ed è questo che s'intende quando si parla della nuova Torah' [rabbi Lewi Yishaq/Scholem]... Il riconoscimento lacaniano dell'ordine simbolico come catena significante, ispirando le nuove pratiche di decostruzione e di deriva, ha portato le piú recenti ermeneutiche secolari a riscrivere di continuo, in ogni lettura, la Nuova Torah."</div><div style="text-align: justify;">Umberto Eco (Semiotica e filosofia del lenguaggio)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div class="separator" style="clear: both;">"Le devoir et la tâche d'un écrivain sont ceux d'un traducteur."</div><div class="separator" style="clear: both;">Marcel Proust (le narrateur, Le Temps retrouvé)</div></div><div style="text-align: justify;">"Cette beauté nouvelle et terrible d'une maison, cette beauté nouvelle et mixte d'un visage de femme, voilà ce que Dostoïevski a apporté d'unique au monde, et les rapprochements que des critiques littéraires peuvent faire entre lui et Gogol, ou entre lui et Paul de Kock, n'ont aucun intérêt, étant extérieurs à cette beauté secrète... Il est arrivé que Mme de Sévigné, comme Elstir, comme Dostoïevski, au lieu de présenter les choses dans l'ordre logique, c'est-à-dire en commençant par la cause, nous montre d'abord l'effet, l'illusion qui nous frappe. C'est ainsi que Dostoïevski présente ses personnages. Leurs actions nous apparaissent aussi trompeuses que ces effets d'Elstir où la mer a l'air d'être dans le ciel."</div><div>Marcel Proust (le narrateur, La Prisonnière)<br /><div style="text-align: justify;">"Das Schöne in seinem Verhältnis zur Natur kann als das bestimmt werden, was wesenhaft sich selbst gleich nur unter der Verhüllung bleibt. Die correspondances geben Auskunft darüber, was unter solcher Verhüllung zu denken sei. Man darf diese letztere, mit einer freilich gewagten Abbreviatur als das Abbildende am Kunstwerk ansprechen. Die correspondances stellen die Instanz dar, vor der der Gegenstand der Kunst als ein treulich abzubildender, dadurch allerdings durch und durch aporetischer, vorgefunden wird."</div><div style="text-align: justify;">Walter Benjamin (Über einige Motive bei Baudelaire)</div></div><div style="text-align: justify;">"... analysis is itself a form in its own right, like translation, criticism and commentary, as one of those media through which the very work unfolds. Works need analysis for their true content to be revealed... also of the momentum which pushes beyond the individual work... hidden relationships... analysis has not yet really begun to grapple with its own problems..."</div><div style="text-align: justify;">Adorno ("On the Problems of Music Analysis", translated by Max Paddison)</div><div style="text-align: justify;">"Or, la littérature, nous le savons, existe précisément en tant qu'effort de dire ce que le langage ordinaire ne dit pas et ne peut pas dire. Pour cette raison, la critique (la meilleure) tend toujours à devenir elle-même littérature: on ne peut parler de ce que fait la littérature qu'en faisant de la littérature."</div><div style="text-align: justify;">Tzvetan Todorov (Introduction à la littérature fantastique)</div><div style="text-align: justify;">"... tu purpurejas uma palavra..."</div><div style="text-align: justify;">Haroldo de Campos (A Palavra Vermelha de Hoelderlin)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"This very faculty for amalgamation is a part of their [major poets] genius, and it is, in a way, a sort of modesty, a sort of unselfishness. They have not wished for property..."</div><div>"We might come to believe that the thing that matters in art is a sort of energy, something more or less like electricity or radioactivity, a force transfusing, welding, and unifying. A force rather like water when it spurts up through very bright sand and sets in swift motion."</div><div>Ezra Pound (The Serious Artist)</div><div><div>"The vorticist maintains that the 'organising' or creative-inventive faculty is the thing that matters." </div><div>Ezra Pound (Affirmations)</div></div><div><div>"China has produced just as many bad poets as England, just as many dull and plodding moralizers, just as many flaccid and over-ornate versifiers. By fairly general consent, their greatest poet is Rihaku or 'Li Po,' who flourished in the eighth century A.D. He was the head of the court office of poetry, and a great 'compiler.' But this last title must not mislead you. In China a 'compiler' is a very different person from a commentator. A compiler does not merely gather together, his chief honour consists in weeding out, and even in revising."</div><div>Ezra Pound (Chinese Poetry)</div></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Ou você quer fazer uma coisa bem-feitinha pra ser lançada com salgadinhos e uísque suspeito numa tarde amena na Cultura, com todo mundo conhecido fazendo a maior festa? Eu acho que não."</div><div style="text-align: justify;"><div>Caio Fernando Abreu (carta a José Márcio Penido/Zézim)</div><div>"Na verdade, o que diferencia o artista moderno do acadêmico é, simplesmente, o fato de ele ser ou não inofensivo."</div><div>Rogério Sganzerla (Encontros/Roberta Canuto Org.)<br />"Goethe und Leopardi solche Erscheinungen sind. Hinter ihnen pflügen die reinen Philologen-Gelehrten nach."<br />Nietzsche (Nachgelassene Fragmente Frühling–Sommer 1875)</div></div>
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"A life passed among pictures makes not a painter."</div>
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"If Art be rare today, it was seldom heretofore.</div>
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It is false, this teaching of decay."</div>
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James Whistler</div><div class="separator" style="clear: both; text-align: justify;">"Pour le Chinois, ou son émule japonais — pour Mou-ki comme pour Sesshû — il s'agit d'une manière d'exister — au sens profond — et non comme pour nous d'une manière de faire."</div><div class="separator" style="clear: both; text-align: justify;">André Masson (Une peinture de l'essentiel/Écrits, anthologie établie par Françoise Levaillant)</div><div class="separator" style="clear: both; text-align: justify;"><br /></div>
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"Je fermai donc le journal des Goncourt. Prestige de la littérature!"</div>
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"... ils n'avaient pas, ou plus, de génie, c'est-à-dire d'instinct."</div>
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Marcel Proust (le narrateur, Le Temps retrouvé)</div><div class="separator" style="clear: both; text-align: justify;">"... somebody here said of me 'They call him a poet. He appears to be interested chiefly in mattresses.'"</div><div class="separator" style="clear: both; text-align: justify;">Herr Satan/Dear Cuckold (letter to Miss Weaver, June 24, 1921)</div><div class="separator" style="clear: both; text-align: justify;">"Numa época de superespecialização, em que os críticos literários tendem, cada vez mais, a emitir seus atos de inteligência para outros críticos-receptores, em circuito fechado, os poetas se tornaram críticos, eles próprios. E nesse sentido, a melhor crítica de poesia que se fez no século XX não foi feita por críticos, mas por poetas..."</div><div class="separator" style="clear: both; text-align: justify;">Augusto de Campos (Da Antiode à Antilira)</div><div style="text-align: justify;">"J'ai, quant à moi, si peu de goût pour le monde vivant, que, pareil à ces femmes sensibles et désoeuvrées qui envoient, dit-on, par la poste leurs confidences à des amis imaginaires, volontiers je n'écrirais que pour les morts."</div><div style="text-align: justify;">Charles Baudelaire (Les Paradis Artificiels)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"I came to London with £3 knowing no one... I wanted to meet certain men whose work I admired. I have done this... Besides knowing living artists I have come in touch with the tradition of the dead."</div><div>"I was resolved that... I would know what part of poetry was 'indestructible,' what part could not be lost by translation, and,—scarcely less important what effects were obtainable in one language only and were utterly incapable of being translated. In this search I learned more or less of nine foreign languages, I read Oriental stuff in translations, I fought every University regulation and every professor who tried to make me learn anything except this, or who bothered me with 'requirements for degrees.'"</div><div>Ezra Pound (How I Began)</div><div>"The only really vicious criticism is the academic criticism of those who make the grand abnegation, who refuse to say what they think, if they do think, and who quote accepted opinion; these men are the vermin, their treachery to the great work of the past is as great as that of the false artist to the present... Every critic should give indication of the sources and limits of his knowledge. The criticism of English poetry by men who knew no language but English, or who knew little but English and school-classics, has been a marasmus."</div><div>"The stupid or provincial judgment of art bases itself on the belief that great art must be lieke the art that it has been reared to respect."</div><div>Ezra Pound (The Serious Artist)</div></div><div class="separator" style="clear: both; text-align: justify;"><br /></div>"... la indiferencia. Es una censura más efectiva que la del índice eclesiástico."<br />Octavio Paz (Las trampas de la fé)<div class="separator" style="clear: both; text-align: justify;">"The people, high and low alike, read books, but they do not strictly observe their conduct; both noble and humble say 'yes,' but their intentions and behaviour are unlike their words... Various high government officials occupy offices despite the fact that they are, as it were, living corpses, yet their greediness is utterly enormous; they receive their stipends for nothing and disgrace their offices."</div><div class="separator" style="clear: both; text-align: justify;">Kukai (The Precious Key to the Secret Treasury, Yoshito Hakeda's translation)</div><div class="separator" style="clear: both; text-align: justify;">"When people do not stand in awe of the awesome then great terror will soon come to pass."</div><div class="separator" style="clear: both; text-align: justify;">Daodejing/72 (Edmund Ryden's translation)</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: justify;">"Ja, man giebt zu, Philister zu sein, aber Barbar! Um keinen Preis. Der arme Hölderlin hat leider nicht so fein unterscheiden können. Wenn man freilich bei dem Worte Barbarei an den Gegensatz der Civilisation und vielleicht gar an Seeräuberei und Menschenfresser denkt, so ist jene Unterscheidung mit Recht gemacht: aber ersichtlich will der Aesthetiker uns sagen: man kann Philister sein und doch Kulturmensch — darin liegt der Humor, der dem armen Hölderlin fehlte, an dessen Mangel er zu Grunde ging." </div><div style="text-align: justify;">Nietzsche (David Strauss)</div><div style="text-align: justify;">"Die Barbaren um uns her zerreissen unsre besten Kräfte, ehe sie zur Bildung kommen können, und nur die feste tiefe Einsicht dieses Schicksals kann uns retten, dass wir wenigstens nicht in Unwürdigkeit vergehen. Wir müssen das Treffliche aufsuchen, zusammenhalten mit ihm, so viel wir können, uns im Gefühle desselben stärken und heilen und so Kraft gewinnen; das Rohe, Schiefe, Ungestalte nicht nur im Schmerz, sondern als das, was es ist, was seinen Character, seinen eigenthümlichen Mangel ausmacht, zu erkennen."</div><div style="text-align: justify;">Hölderlin (as quoted by Nietzsche in his Nachgelassene Fragmente, 1873)</div><div style="text-align: justify;">************************************************************</div><h4 style="text-align: left;">Main Hall (upon the continent, to hit upon):</h4><div class="separator" style="clear: both; text-align: justify;"><br /></div>
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The following text is an excerpt from my thesis on the <i><a href="https://www.academia.edu/35518313/Thesis_THE_SIXTEENTH-CENTURY_CORPUS_OF_THE_PORTUGUESE_COLONIZERS_OF_BRAZIL_AN_APPROACH_IN_TERMS_OF_STYLES_OF_THINKING_" target="_blank">Luso-Brazilian Encounters of the Sixteenth-Century</a> </i>(later published as <a href="https://books.google.com.br/books?id=V75KBAAAQBAJ&lpg=PP1&hl=pt-BR&pg=PP1#v=onepage&q&f=false" target="_blank">a book by Fairleigh Dickinson University Press</a>), which deals too manifestly, besides the misleading (<a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html" target="_blank">in times of 5G!</a>) stringency of the topic, but still in the accredited confined context (closely pent up in the social chimney corner), with many all heart munificent issues related to <i><a href="https://aletche.blogspot.com/2015/07/ecritureviolence-it-is-important-to.html" target="_blank">écriture</a></i>, fictional writing & "mystical-" or esoteric-literary traditions typical of the (post-tremendous-bigbang) Renaissance (I'm positive). </div>
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The excerpt extrapolates some of the thesis main arguments to a more contemporary panorama. It puzzled very much the national epic committee (as I call it), from which a hereafter Heideggerian radical feminist (person of great deportment, not to any man's rule), in the first transport of a presumed honest impatience, had already frantically dropped (she deserted Dalhousie itself in the same flair, not unfitly), calling (in that soft and irresistible piano of a voice) the whole matter "unintelligible" (which otherwise was preposterously unfair, which the following section puts beyond all possibility of doubt). Ouch! As world-widely known (and now made public, which I own), what enabled the miraculous defense and approval of the rumbling (together with all its rights, members, and appurtenances), was mad Ian Hacking's <a href="https://www.academia.edu/35506332/Ian_Hackings_report_about_my_thesis_2009_" target="_blank">unequivocal & providential support</a>, although he himself had already also many finally in particular unexpurgated qualms <i>with</i> the fateful excerpt (I sustained), considered by him (celebrated Canadian inheritor of Feyerabend's ominous legacy), a "<i>rapid tour" </i>(a blurb, not to say an obnoxious FART, perhaps too literally in the face of the academy—royalties & signories, advowson, rectory & parsonage included) on the "inevitable masters" (hateful literary nuisances too much flattered by persistent no matter how pestered packs)—which was probably just as totally unfair and freaked-out as the aforesaid lady's otherwise thereof specified seizure and his own chronicled hostile reactive report on Lyotard's <i>La condition postmoderne</i> ("I was wrong: of course the book needed to be published in English," <i>Why is There Philosophy of Mathematics at all</i>, p. 259).</div><div style="text-align: justify;">In spite of all gentlemen reviewers in Great Britain (& the Continent), my excerpt has been published in the Fairleigh Dickinson's book, but in a somewhat more "resumed" version. Part of it has also been published (after another set of misadventures and cross accidents, scrapes & difficulties) in <a href="https://www.academia.edu/5934526/A_persist%C3%AAncia_de_quest%C3%B5es_de_ordem_ontol%C3%B3gica_na_Literatura_Moderna" target="_blank">a paper I for good and all wrote now also in Portuguese, for the Brazilian Association of Comparative Literature/ABRALIC</a> (there is such a body still in the world). But who other than the malignant spirit sang Te Deum?</div>
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The Fateful Excerpt (persuasion hung upon his lips):</h4>
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Indeed, many authors have as well remarked that literature is a modern enterprise in which are reenacted several of the strange elements typical of certain discourses of the sixteenth century. This is a common idea to French literary criticism of the twentieth century... Michel Foucault asserted the existence of a decisive similarity between modern literature and a sixteenth-century conception of language in terms of analogical signs, both being opposed to an understanding of language in terms of conventional and representational signs (<i>Les mots et les choses</i>: 58-59). In his monumental study of the theory of the four senses of the Scripture, Henry de Lubac gives a quotation from Charles Baudelaire in order to explain the sense of Scotus Eriugena’s symbolical understanding of the world (<i>Éxegèse Médiévale</i>: 124). And in a famous essay about <i>Les Chants de Maldoror</i> of Isidore Lucien Ducasse, the nineteenth-century French poet born in South America (Uruguay), the celebrated literary critic Maurice Blanchot connected pictorial elements in literature to domains traditionally put also under the competency of religion and myth. He says that the Ducasse’s imagination “<i>ne semble passer par les livres que pour rejoindre les grandes constellations dont les oeuvres gardent l’influence, faisceaux d’imagination impersonnelle que nul volume d’auteur ne peut immobiliser ni confisquer à son profit... les rêves vagues des religions et des mythologies sans mémoire</i>” (<i>Lautréamont et Sade</i>: 261).</div>
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At least in the case of the French symbolists, or immediately previous authors, such as Charles Baudelaire, Stephanie Mallarmé and Arthur Rimbaud, there is considerable evidence of their concern, for instance, with works and figures of the revival of esotericism in the Europe of the end of the nineteenth century, what would historically connect them with early-modern traditions (Mercier, <i>Les Sources Ésotériques et Occultes de la Poésie Symboliste</i>: 26, 29-30, 123-45, 156-172; Surette, <i>The Birth of Modernism</i>: 79; Petitfils, <i>Rimbaud</i>: 114-19). In the English literature of around the same period, the two most outstanding examples who actually outshine the French symbolists in terms of a commitment to mysticism and esotericism are Willian Blake and the Irish William Butler Yeats. What is at issue here is not, however, the direct involvement of these authors with esotericism and mysticism <i>per se</i>, but how they concretely recreated in their literary practices strategies that were typical of esoteric and mystical traditions. An engagement with esotericism, and especially with the manifestation of the so-called psychic phenomena, was peculiar not only to literary but to scientific figures of the period as well: John Tyndall, William Fletcher Barrett, Willian Crookes, for instance. But the physicist Barrett eventually concluded that psychic phenomena demanded a kind of “sympathetic” conditions that made them unsuitable for physical investigation (Noakes, "The Bridge which is between Physical and Psychical Research...": 420, 450-55). It is remarkable, on the other hand, that in the concrete process of writing of certain modern literary authors, one finds an employment of discursive techniques through which one is believed to be made visionary in a genuine sense, and which directly recalls much older traditions. According to Alain Mercier, in Rimbaud’s <i>Illuminations</i>, for instance, “<i>le principe d’analogie y est appliqué par une imagination libérée jusqu’à romper les cadres habituels du langage… l’écriture des Illuminations rappelle, par-là, celle du Zohar — L’univers des correspondances entrevu par Baudelaire est conçu ici de manière radicale et absolue</i>” (Mercier: 172).</div>
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In an author such as Edgar Allan Poe, who also influenced both Baudelaire and Mallarmé, one finds a theory about poetry that helps one to understand a necessarily transcendental dimension of the aesthetic conceptions of these authors independently of their commitment to any specific religious system (Delfel, <span style="text-align: start;"><i>L’esthétique de Stéphane Mallarmé</i></span>: 23-4). According to the critic Wilbur S. Scott, for Poe, a good poem must cast “a spell, and through the artist’s manipulation of echo and rhythm, becomes an incantation which will transport the reader to an ideal realm” (Introduction to Poe's <i>Complete Tales & Poems</i>, Castle Books: vii). [1] It should be noted, on the other hand, that, in his famous essay “The Philosophy of Composition”, Poe polemically derided the idea that it is by means of intuition, in a state of “frenzy”, that good poems are produced (<i>Selection from the Critical Writings</i>: 151). The essay shows, however, that this conception, remindful of Plato’s <i>Phaedrus</i>, was still very alive in the literary circles at the time, for him to engage in a criticism the polemical character of which is so exaggerated that his later admirers (for instance, Baudelaire and T. S. Elliot) have considered it to be satirical. And in the lecture written in the end of his life, “The Poetic principle”, Poe overtly defends the idea of an inspiration by the “Beauty from above”, the “supernatural Beauty”, in terms of “ecstatic prescience” (Polonsky, "Poe's Aesthetic Theory<i>"</i>: 43-46; cf. Poe, <i>Selection from the Critical Writings</i>: 235-37). In such analyses Poe is certainly engaging with ideas he inherited from English Romanticism, and he refers both to Samuel Taylor Coleridge and Percy Bysshe Shelley. These authors were themselves influenced by the Italian Renaissance humanists, such as Boccaccio, Ficino and Tasso, whom they read and studied extensively (Zuccato, <i>Coleridge in Italy</i>: 5-6, 20, 98-100, 118-9; Weinberg, <i>Shelley's Italian Experience</i>: 167-8). A more contemporary main figure of literature in English language who also expressed an almost transcendental conception of beauty was James Joyce. Both in <i>A Portrait of the Artist as a Young Man</i> and in his notes about aesthetic, he says that the feelings excited by proper works of art are “static”, they “hold us in rest, as it were, by fascination”. “… this rest is necessary for the apprehension of the beautiful” (Joyce, <i>Occasional, Critic and Political Writing</i>, Oxford: 102-103). The source of Joyce here is Thomas Aquinas, to whom he directly refers in order to defend the idea that both “the true and the beautiful are spiritually possessed” (105; cf. Joyce, <i>A Portrait</i>, Penguin [2000]: 222-233). </div>
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Joyce was directly influenced also both by the French symbolists and by William Blake, about whom he wrote an essay, acknowledging that “elementary beings and the spirits of deceased great men would often enter [Blake]’s room at night to speak to him about art and the imagination” (<i>Occasional, Critic and Political Writing</i>: 177). He then asks, not without the irony that is recognized as peculiar to the writer of Ulysses: “Ought we to be amazed that the symbolic beings Los, Urizen, Vala, Tiriel, and Enitharmon, and the shades of Homer and Milton should come from their ideal world into a poor room in London, or that the incense that greeted their coming was the smell of Indian tea and eggs fried in lard?” (179). <i>Ulysses</i> itself retains much of the literary practices of visionary authors such as Blake and the French symbolists, although Joyce is believed to justify these practices in that work in terms of philosophical relativism and perspectivism “rather than on the esoteric grounds of ineffability” (Surette, <i>The Birth of Modernism</i>: 81). His “mythical method” would be “an adaptation and secularization of the mystical symbolism” of the French symbolists (217). Another landmark of the literature of the twentieth century that has been characterized in terms of the same kind of secularized perspectivism is Marcel Proust’s <i>A la Recherche du Temps Perdu</i>. As says the celebrated dramatist Samuel Beckett, Proust’s masterpiece exposes how reality stabilizes to different individuals in “a constant process of decantation, decantation from the vessel containing the fluid of future time, sluggish, pale and monochrome, to the vessel containing the fluid of past time, agitated and multicoloured by the phenomena of its hours” (Beckett, <i>Poems, Short Fiction, Criticism</i>, Grove: 513-514). In this process, individuals would loose contact with a more essential and ideal dimension of things, which gets hidden in the mechanical way ordinary experience is structured by habit (517). A way out of this boredom is granted by “involuntary memory”, triggered by unexpected associations (522-523, 543-45). </div>
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A single passage of the second tome of Proust’s A la Recherche (<i>A l’Ombre des Jeunes Filles en Fleurs</i>) could in fact be taken as the model of engagement in the kind of discursive strategies that would be common to the sixteenth-century Portuguese colonizers and modern avant-garde writers. While in the restaurant Riverbelle, Proust’s narrator dabbles in a culinary kind of “histoire naturelle” that would not be entirely out of keeping with the corpus analyzed in this thesis. The natural history in question is nothing but an exercise of imagination through the use of unexpected (not to say strange and bordering a bad taste) analogies, stimulated by some over drinking of Porto (!) wine. Proust’s narrator compares, for instance, the restaurant glass gallery frequented by elegant ladies to a “réservoir, une nasse où le pêcheur a entassé les éclatants poissons qu’il a pris” (Proust, <i>A l'Ombre, </i>Gallimard<i> </i>[1919]: 68-69). More to the matter discussed here are the following daydreams: </div>
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"<i>Je regardais les tables rondes, dont l’assemblée innombrable emplissait le restaurant, comme autant de planètes, telles que celles-ci sont figurées dans les tableaux allégoriques d’autre-fois... Assises derrière un massif de fleurs, deux horribles caissières, occupées à des calculs sans fins semblaient deux magiciennes occupées à prévoir par des calculs astrologiques les bouleversements qui pouvaient parfois se produire dans cette voûte céleste conçue selon la science du moyen âge./ Et je plaignais un peu tous les dîneurs parce que je sentais que pour eux les tables rondes n’étaient pas des planètes et qu’ils n’avaient pas pratiqué dans les choses un sectionnement qui nous débarasse de leur apparence coutumière et nous permet d’appercevoir des analogies</i>" (65-66).</div>
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A few pages forward, the narrator describes the paintings of the character Elstir as consisting of “<i>une sorte de métamorphose des choses représentées, analogue à celle qu’en poésie on nomme métaphore</i>” (98). And the same character will himself make enthusiastic praise of a “gigantesque poème théologique et symbolique” represented in the (fictioned) porch of Proust’s medieval church of Balbec. Proust will make use as well of books such as the Orphic Hymns in important passages of his novel, such as in a paragraph giving a characterization of the desires of the narrator in terms of perfumes (<i>Sodome et Gomorrhe</i>, Gallimard [1989]: 233-4).</div>
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Not only literature, but aesthetic experience in general has been characterized in more or less visionary terms, as “negation of automatic understanding”, by authors such as Henri Bergson and the author who is perhaps the most important aesthete of the twentieth century, the Jewish-German Theodor Adorno (Menke, <i>The Sovereign of Art</i>: 31, 65). Adorno was not unaware of the existence of fundamental connections between modern art and early-modern conceptions of nature and language. In discussing the pertinence of the concept of natural beauty in modern art, he wrote the following: “The more that art is thoroughly organized as an object by the subject and divested of the subject’s intentions, the more articulately does it speak according to the model of a nonconceptual, nonrigidified significative language; this would perhaps be the same language that is inscribed in what the sentimental age gave the beautiful if threadbare name, ‘The Book of Nature’” (<i>Aesthetic Theory</i>, Univ. of Minnesota: 67). That is, the more art (rationally) works towards a deconstruction of language as a system that would represent more or less stably the world (and consequently the more it subjectively works towards the disappearing of the very subject who produces it), the better it repays its old alliance with non-conceptual, that is, for Adorno, non-mediated and even irrational forms of thought, such as magic. In this sense, as much as art is for him something that emancipated from magic, it preserves magic in itself somewhat more than any other enlightened human activity (because it is the most mimetic of them; 110-111), and magic can thus returns with revenge when the dialectic of art is developed to the most, that is, in modern art. The idea of a book of nature is a residue of magical traditions as they survived in Renaissance and early-modern period, and it is to harass modern art since its emancipation (with modern science) from these traditions.</div>
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Adorno is here engaging with old traditional issues recurrent in European modern culture as a whole, distinguishable not only in the literary trends already mentioned here, but also, for instance, in the music of Richard Wagner, with its colossal mythological works recovering medieval motives. Wagner was actually rather another direct influence over Baudelaire and Mallarmé (Surette, <i>The Birth of the Modern</i>: 199; Mercier, <i>Les Sources Ésotériques</i>: 82, 89; Delfel, <i>L'éstetique</i>: 25, 125). Thomas Mann’s <i>Doktor Faustus</i> (to the elaboration of which Adorno directly contributed) is a twenty-century German amalgamation of all these influences. The hero (or antihero) of the novel, Thomas Leverkühn, can be viewed as a complex allegory of multiple faces: he is, among other things, Germany, German provincialism, Nietzsche, Schoenberg, and ultimately Faustus (a sixteenth-century legend). He is, moreover, paradoxically presented to the reader by another character who would apparently be his intellectual antithesis, the humanist that assumes the function of the narrator of the book, Serenus Zeitblom, also a representative of Latin, Italian culture. As the story goes on, the antithesis between the two characters is sustained in the utmost tension, sometimes inverted and even deconstructed, for Serenus, notwithstanding his alleged bashfulness, reveals himself as perfectly capable of writing down to the reader the most horrifying revelations concerning the life of the sublime Leverkühn. In many passages of the book, dichotomies are continually proposed, sustained, inverted and dismantled, as between “animate” and “inanimate nature” (<i>Doktor Faustus, </i>translation by John E Woods: 21), “subjectivity” and “objectivity” (in Beethoven’s late compositional period) (57), “abstraction” and “genitalia” (76), “rigor” and “laughter” (94), “the offensively blasphemous” and the “divine” (109), “faith” and “apostasy” (140), “love” and “sensuality” (201), “chastity” and “impurity” (236), “finite” and “infinite” (288), “tragedy” and “comedy” (322), “health” and “illness” (374). Leverkühn is a composer, and music for him is “ambiguity as a system” (51). It is also connected to “the dogged pursuit and laboratory work of the alchemist and sorcerer of ages past, which likewise stood under the sign of theology” (140). Leverkühn’s ideal music would “be a matter of developing all dimensions simultaneously and of generating them separately so that they then converge… it would mean the abrogation of the antitheses between the style of the polyphonic fugue and the essence of the homophonic sonata” (205). It would “resolve reason into magic” (208), and have an eschatological dimension (376-7) — in the end, it is “transfiguration” (398). All these features are, at the same time, ironical, since much of Leverkühn’s music is presented as well as artificial and a parody. <a href="applewebdata://5CBCB412-6898-4A48-8D54-35449A7912AF#_ftn6">[2]</a></div>
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The literature of the twentieth century in Portuguese language, produced both in Portugal and Brazil, has among its key figures authors who appropriate and transform with the utmost virtuosity many of the literary techniques that date back at least to the French symbolists, and were radicalized by modern writers. The works of the Portuguese poet Fernando Pessoa are said to imply an extreme kind of abstraction and despersonalization. Fernando Pessoa wrote and signed his books through a peculiar heteronomy of other authors, what demanded the concrete creation of ideally different mentalities, personalities and sensibilities. His works have, accordingly, a unity and a plurality, being written by himself through the mask of his fictional authors: Alberto Caeiro, Álvaro de Campos, Ricardo Reis, Bernardo Soares. Parallel to these authors, there is the poetry that is attributed to Pessoa himself, which should be considered part of the heteronomical chain (Ordoñez, <i>Um Místico Sem Fé</i>: 5). Andrés Ordoñes connects Pessoa’s heteronomy to the twelfth-century Portuguese poetry of feminine love, actually written by male bards, as well as to Rimbaud’s famous dictum <i>Je c’est un autre</i> (6, 21). Independently of heteronomy, inside each of Pessoa’s works there is a constant mix between fiction and sincerity, which produces an irony that has an esoteric and Gnostic flavor (7). Reality would exist through literature and the act of feigning would provide access to what is beyond merely empirical experiences (25, 87). Oxymoron is a figure of speech conspicuous in Pessoa’s poetry, which Ordoñez compares to Medieval negative theology (43, 65-68). </div>
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Clarice Lispector and João Guimarães Rosa are twentieth-century Brazilian writers whose literary radicalism would put them side by side with authors such as Joyce. In her romance <i>A Cidade Sitiada</i> [The Besieged City], Lispector creates, between Lucrecia Neves (the main character) and her town, a world that is not a world, presented and deconstructed, shown and hidden at the same time. Lispector boldly blurs many ordinary distinctions, such as between subject and object, in a writing that reveals the singular moment when persons and things are reciprocally constituted independently of their own understanding: “the [town’s] square was nude. So unrecognizable under the moonlight that the girl did not recognize herself” (<i>A Cidade Sitiada</i>, Editora A Noite [1949]: 9); “this was São Geraldo’s [that is, the town’s] night: the flanks of a horse traversed in quick contraction” (24); “without being aware the girl took the form that the man perceived in her” (46); “Lucrécia Neves looked at it, and made with her face, imperceptibly, the expression of the chair” (102). Infinite time explodes the limits of space, as in the following passage: “during the initial silences, a mare crazed its eyes as if surrounded by eternity” (24). Animate and inanimate states conflate in what would be an ante-room of life itself: “the girl shivered with <i>a fear of being alive</i>” (10, my emphasis) — that is, she is not yet alive, but already shivers. An empty room has eyes and calmly watch: “the room, getting ready for the long night, remained with tranquil, open eyes” (80). This is perhaps because “in nights without wind… silver flowers are cruel and murderers” (162). Many things might assume, suddenly, a dreadful aspect, which defies categorization and even imagination: “dreadful and delicate things lied in the floor: the perfect screw” (52); “she feared seeing in a singular look a train and a bird” (61); “and at her side, the porcelain boy playing a flute: something sober, dead, as fortunately we could never imagine” (68); “oh! the infinite positions in the room… one could suffer a vertigo at the edge of a bibelot” (100). Even the words with which the book itself is written, instigated in their own materiality, independently of their meaning, might unexpectedly jump out into the eyes of the reader, as sorcery: “Then the lad said what was lustrous as a beetle: ‘Pelagic beings reproduce in extraordinary profusion’” (30); “and suddenly, there were the bibelots — almost the word: bibelots” (101).</div>
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João Guimarães Rosa almost recreated the Portuguese language itself in the process of writing his master piece, <i>Grande Sertão: Veredas</i>. As says the scholar Jon S. Vincent, in his introduction of the works of Rosa for the English-speaking public, “the Portuguese in which they are written is so dense and convoluted that the prose presents serious problems of comprehension even to many Brazilians” (<i>João Guimarães Rosa</i>: 9). Because of this feature, the book has been compared to Joyce’s <i>Ulysses</i>, and both novels are believed to stay in the same position in relation to their respective original language-speaking worlds (64). In both cases there is a radically critical and peculiarly original engagement with previous mythical and epic topics. Besides, traditional narrative techniques are appropriated and transformed in a way to enable a maze of possible readings and interpretations. <i>Grande Sertão: Veredas</i> is a long massive flux of text, which could be characterized only equivocally as a monologue, since it has implicit but decisive dialogical features (67). It is written as if uttered (orally) by the main character, an ex-gunslinger, who tells the story of his adventures to a mysterious interlocutor. Only in the course of the narrative, the main character is named “Riobaldo”, but also “Tatarana” [Fire Caterpillar], and “Urutu Branco” [White Rattlesnake] — all names to which might be given different connotations, related, for instance, to watercourses (in the case of the first) and to the character’s celebrated skills with fire arms. This complexity and richness in the process of naming is a distinguishing quality in respect to all the other characters and elements in the story. The devil, for instance, is referred, in a single paragraph, by twenty-five different names, such as “o Tal” [the That-One], “o Indivíduo” [the Person], “o Pé-de-Pato” [the Webbed-Feet], “o Coisa-Ruim” [the Bad-Stuff], “o Pé-Preto” [the Black-Foot], “o Não-sei-que-diga” [the I-Don’t-Know-What], “o Outro” [the Other], etc. (Rosa, <i>Grande Sertão Veredas</i>, Nova Fronteira [1988]: 29-30). </div>
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In the process of reading the book, it is impossible, even for a Brazilian, to know whether words and expressions are genuine regionalisms of the Brazilian central backlands in which the action is set, or inventions. The same is true concerning the conspicuous syntactic inversions, and morphological deformations grounded on analogical extrapolations of Portuguese inflections. The way Riobaldo speaks does not correspond to the way of speaking of any actual Brazilian. It has nonetheless a coherency, and emerges as an autonomous language in its apparent illogicalness and the unreality of the diction (Vincent, <i>João Guimarães Rosa</i>: 67-70). On the other hand, the very subjects conveyed in this language, Riobaldo’s adventures, the world in which he lived, the sertão, are things that permanently oscillate. As the past is recovered to the present, Riobaldo is always questioning not only its meaning, but its real occurrence, and even its possibility. Oxymoron here is determinant, as when Riobaldo asks: “The devil exists and does not exist?” And he answers evasively: “I take as they say. Exorcism. These melancholies” (Rosa, <i>Grande Sertão</i>: 3). In other passage, after giving to his interlocutor the name of a crossroad, Veredas Tortas [Crooked Paths], he says: “I said, and you did not hear. Neither you talk about this name again, no. This is what I ask you. A place in the not there” (81). More to the end of the narrative, there are the following reflections: “fear my this is, sir: then, the soul, we sell it, alone, without any buyer…” (428); “for to-learn-to-live is what is to live, indeed. The backland produces me, then it swallowed me, then it spitted me from the warmth of the mouth… Do you believe [in] my story?” (518).</div>
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These and the other examples analyzed here suggest that modern literature, including the one produced in Brazil, might remain in vital relation with pre-modern ontological and metaphysical issues such as the ones this thesis identified in the corpus of the sixteenth-century Portuguese. These issues and the styles of thinking capable of articulating them, such as the one identified in this thesis, might, accordingly, still be alive to a certain extent. This is true no matter the amount of secularism and relativism that has been more and more embedded in literary works towards the twentieth century and later. The most radical literary works of the modernism of the twentieth century take up, develop and transform discursive techniques inherited from movements such as French Symbolism, which had an undeniable connection with older visionary-mystical traditions, the same traditions that helps one to understand the strange elements in the sixteenth-century corpus of the Portuguese colonizers about Brazil. Independently of the personal interests of authors such as James Joyce and José Guimarães Rosa, and even if it were impossible to attribute to them any kind of the religious concerns that are still explicit in the works of authors such as William Blake and William Butler Yeats, it remains that their works preserve in the very way they are produced, in their texture, old ontological and metaphysical yearnings, if in a critical and even skeptical perspective. <a href="applewebdata://5CBCB412-6898-4A48-8D54-35449A7912AF#_ftn26">[3]</a> This fact suggests the existence of a genuine connection between the early-modern style of thinking investigated in this thesis and certain modern undertakings, being itself perhaps the main reason why one can still make sense of certain elements of the corpus of the Portuguese in the very outlandishness for which they are famous.<br />
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[1] The poet would have a duty “to dream, to provide a place, a verbal habitat, for the goddesses, the dryads, the naiads, the Elfin, and thereby to conduct the reader to a realm of Beauty… For Poe, this was, one might say, a religion: he felt that there is a realm of being beyond the worldly domain in which we prosaically live; and that poetry is the means by which we can momentarily reach it” (Scott, Introduction: xiii).</div>
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<a href="applewebdata://5CBCB412-6898-4A48-8D54-35449A7912AF#_ftnref6">[2]</a> This transfigured convergence between parody and eschatology reminds of another main figure who wrote literature in the German language: Franz Kafka, whose work has been characterized in terms of “the well-balanced coexistence of detached humor and deep-seated horror” (see the introductory note by Stanley Appelbaum in Kafka, <i>Best Short Stories</i>: iii). Adorno considered that in Kafka’s fables “the animal realm is the human world as it would appear from the standpoint of redemption” (Claussen, <i>One Last Genius</i>: 258). </div>
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<a href="applewebdata://5CBCB412-6898-4A48-8D54-35449A7912AF#_ftnref26">[3]</a> One should not forget another key twenty-century figure who wrote literature in English language: Virginia Woolf. The celebrated <i>Orlando</i> is frequently compared to <i>Ulysses</i> (<span style="text-align: left;"><i>Orlando</i>, Annotated and with an introduction by Maria DiBattista Harcourt: xxxv). </span>But the work which is considered to have pushed Woolf’s literary innovations to its limits is <i>The Waves</i>, whose mystical implications have also been widely acknowledged (<span style="text-align: left;"><i>Orlando</i>, Annotated and with an introduction by Maria DiBattista, xvi</span><span style="text-align: left;">; Woolf, </span><i style="text-align: left;">The Waves</i><span style="text-align: left;">, Kate Flint [2006]: xii, xvi). In this novel, the five main characters, whose permanent fluidity and essential incompleteness challenge to the core ordinary conceptions of identity, group together around a mythical Percival, a namesake of the central figure in Arthurian legend, explicitly referred by Woolf in earlier drafts as a “pagan knight” and “Crusader” (</span><i style="text-align: left;">The Waves</i><span style="text-align: left;">: 88-110, 230 n.7). In her unpublished autobiographical writings, Woolf admits receiving, as a writer, “sudden shocks” and “blows” that “will become a revelation of some order; it is a token of some real thing behind appearances”. There would be a “hidden pattern” behind the “cotton wool” of daily life, that the writer is compelled to reveal (</span><i style="text-align: left;">Moments of Being</i><span style="text-align: left;">, Harcourt [1976]: 72).</span></div>
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<h4 style="text-align: justify;">Selection from Baudelaire's essays & Les Fleurs du Mal:</h4><div style="text-align: justify;">
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Being now much suffered to go on quietly, I propose the translations below as illustrations of the arguments defended in the excerpt above—that is, accounts to reconcile, inscriptions to make out, traditions to sift. An interesting paper that refers more generally to some of the texts translated below, whose author also defends the importance for Baudelaire of certain esoteric traditions (besides Christian classical notions such as that of original sin) was written by professor Reginald McGinnis (University of Arizona) and published in 2007 by the journal <i>Alea: Estudos Neolatinos</i>, <a href="http://ref.scielo.org/jtrq3q">"Modernité et sorcellerie: Baudelaire lecteur du XVIIIe siècle"</a>, which I once pop upon and stand indebted for.</div>
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"In works that are outcomes of unfathomable personalities, there is something which is reminiscent of these periodic, chronic dreams that assail systematically our sleep... In Goya, the sewing thread, the stitch conjoining the real and the phantasmagorical is undecipherable; it is a nebulous frontier that even the most subtle analyst will never be able to draw, so much is his art, at the same time, transcendent and natural."<br />
"In the incredible works of Brueghel The Elder, hallucination is sovereign. How an artist could produce such monstrously paradoxical works if not under the influence of some unknown force? Our century, to which nothing is difficult to explain, thanks to its double character made of incredulity and ignorance, dismisses as fantasy and whim what in Brueghel I find <i>mysterious</i>. The late works of certain physicians who at last recognised the urgency of explaining an horde of historic and miraculous facts without the handy expedients of the Voltarian school (whose blindness reduces everything to the craftiness of imposture), have not as yet unravel all psychical arcana. I thus defy anyone to explain the diabolic and peculiar shambles of Brueghel The Elder without invoking some special and satanic kind of grace."<br />
[Quelques caricaturistes étrangers]<br />
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"To paint is to evoque, it is a magical operation, we should learn that from the soul of children! Ask any French good citizen what he understands by progress. The answer will be steam, electricity, and gas lighting... The poor one is so americanised by those zoocratic and industrial philosophers, that he has lost even the most basic notion that there are differences between the material and the moral, the natural and the supernatural world..."<br />
"We feel inclined to say that, like a witch or a magnetiser, by painting, Delacroix projects his thought in the distance. This singular phenomenon comes from his ability as a colourist... Edgar Allan Poe says that the effect of opium upon the senses is to invest nature with a supernatural interest, deepening the meaning of every object, increasing the object's autonomy and sovereignty... As nature perceived by ultra-sensible nerves, Delacroix's paintings unveils the supernatural."<br />
[Exposition universelle]<br />
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"Yesterday night, after sending the last pages of the letter in which I wrote, with a certain diffidence, 'as the imagination creates the world, it rules it,' I leafed through Catherine Crowe's <i>The Night Side of Nature, or Ghost and Ghost Seers </i>and stumbled across the following lines: 'By imagination, I do not simply mean to convey the common notion implied by that much abused word, which is only fancy, but the constructive imagination, which is a much higher function, and which, in as much as man is made in the likeness of God, bears a distant relation to that sublime power by which the Creator projects, creates, and upholds his universe.' I'm in no way ashamed, on the contrary, I'm quite thrilled that I've met this excellent woman, Miss Crowe, whose assurance I admired and envied, since it is so much developed in her as mistrust is in others."<br />
"What an imagination! Delacroix was never afraid of climbing to the difficult heights of religion; heaven belongs to him, as much as hell, war, the Olympus, voluptuousness. He is truly a painter-poet! Among the rare true callings, the domain of his spirit extends towards religion. His imagination, burning as burning chapels, shines with all flames and purples. All the pain there is in the Passion passionates him; all the splendour there is in the Church illuminates him."</div>
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[Salon 1859]<br />
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"The rich, idle man, who even if blasé has no other occupation than to run on the track of elation; the man brought up in luxury and familiar, since youth, with the acquiescence of others—in a word: the man whose specialty is nothing but elegance, he will always, at all times, be blessed with unmistakable, unique features. Dandyism is a vague institution, no less bizarre than duelling; age-old, since Cesar, Catilina, Alcibiades are staggering specimens of it; very disseminated, since Chateaubriand was able to find it in the forests and lakes of the New World... Those creatures own time and money to their liking and abundantly, without which their fantasy, degraded into the state of fleeting reveries, cannot be turned into action... <a href="https://aletche.blogspot.com/2016/03/instead-of-revolution-demontage-super.html" target="_blank">I referred to money because it is indispensable to people worshiping their own passions; but a dandy does not seek money as something essential; an unspecific amount of credit might be enough to him; he surrenders the rude passion for money to the vulgar mortals.</a> Dandyism is not even what many unadvised people seems to think of it, some immoderate craze for dressing and material elegance. For the consummate dandy, those things are nothing but symbols of the aristocratic superiority of his spirit. Moreover, to his eyes, charmed by distinction rather than by anything else, perfection in dressing consists in absolute simplicity, which is, certainly, the best road to distinctiveness. What is then this passion that, turned into a doctrine, has won such a commanding enthusiasts, this unwritten institution that fostered such a lofty caste? It is above all the passionate urgency of being original within the limits of conventions... We see that, in some respects, dandyism border on spiritualism and stoicism. This earnestness in frivolity should not give way to scandal. The reader must recall that there is greatness in every madness, strength in every excess. What a fantastic kind of spiritualism! To those that are at the same time the priests and the victims, all the intricate material conditions with which they comply (from the impeccable dressing at every hour of day and night to the dangerous sports), are nothing but gymnastics likely to strengthen the will and to improve the soul. I was not on the wrong when I thought that dandyism is a kind of religion." <br />
"Fashion must accordingly be considered a symptom of the taste for the ideal floating over all that is coarse, earthly and filthy, and which is accumulated in the human brain by natural life. It is a sublime distortion of nature, or rather a permanent and ongoing endeavour to reform nature... all fashions are charming, that is, relatively charming, each one being a new, more or less fortunate effort towards the beautiful, the approximation to an ideal whose yearning titillates endlessly the unfulfilled human soul... A woman has a right, it is even her duty, to struggle to look bewitching and supernatural; she must astound, enthral; idole, she must shine like gold. She must borrow from every art the means to rise over nature so as to subjugate the hearts and strike the souls."</div>
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[Le Peintre de la vie moderne]<br />
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"No musician excels Wagner in the painting of material and spiritual space, material and spiritual deepness. Several souls, the best of them, had to admit that in several occasions. Wagner knows how to translate through the means of subtle gradations all that is excessive, immense, ambitious in spiritual and natural men. It seems as if, by hearing this passionate and despotic music, one is put into contact with opium's vertiginous visions—painted over a background of darkness, teared up by reveries... I was obsessed with the idea of exploring the intelligence of these singular works. I felt like I was under some spiritual operation, witnessing a revelation."</div>
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"From the first measures of <i>Tannhäuser </i>on, our nerves felt in unison the melody; all flesh trembles in recollection. Every well-shaped brain carries in itself two infinites, heaven and hell, and in each image of one of these infinites the brain recognises immediately its own half..."<br />
"... myth is like a tree that grows everywhere, in every climate, under whatever sun, spontaneously and without cutting. The religion and poetry of the four corners of the earth provide us with abundant proof of this. As sin is everywhere, redemption is everywhere, myth is everywhere."<br />
"I love these excesses of health, these overflowings of the will, which inscribe themselves in artistic works as ignited bitumen in the ground of a volcano, and which, in ordinary life, usually sign the blissful period following a great moral or physical crisis."<br />
[Richard Wagner et <i>Tannhäuser</i> à Paris]<br />
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"The poet has no party, otherwise it would be a mere mortal... it is more difficult to love God than to believe in him. Differently, for people in this century it is more difficult to believe in the Devil than to love him."</div>
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[Projets de Préface pour Les Fleurs du Mal, I]</div>
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"No human respect, no false modesty, no coalition, no universal suffrage shall contrive me neither to speak the dreadful patois of this century nor to confound the ink with virtue."</div>
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[Projets de Préface pour Les Fleurs du Mal, II]</div>
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"Poetry touches music through a prosody whose roots in the human soul extend much further than any classic theory could ever convey." </div>
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[Projets de Préface pour Les Fleurs du Mal, III]</div>
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"Chaste as a paper, sober as water, inclined to devotion as a communicant, harmless as a victim, why should I bother to look like a debauchee, an alcoholic, an impious person and a murderer? Are we to explain to the public how, in the work's amalgam, much instinct and sincerity are mixed with stereotypes and the unavoidable charlatanism? I have my nerves, my vapors. I yearn for absolute rest and uninterrupted night. I sing religiously the mad voluptuousness of wine and opium, I'm thirsty of nothing but a liqueur unknown on earth and not available even from the celestial pharmacy... Nevertheless, since versed in superior sensibility we fear not our own contradictions, I gathered, at the end of this abominable book, favourable testimonies of, on my account, honourable men, so that the dispassionate reader might infer by himself I'm in no way worthy of excommunication..."</div>
<div style="text-align: justify;">
[Projets de Préface pour Les Fleurs du Mal, IV]</div>
<div style="text-align: justify;">
<br /></div>
"—Blessed be the God, who provides torment<br />
As a divine medicine to our impurities<br />
As the very best and the purest element<br />
Which strengthens all for the saintly lecheries!<br />
<br />
I know you hold a place for the Poet<br />
In the blissful ranks of saintly Legions,<br />
And that you invite him for the eternal banquet<br />
Of Thrones, Virtues and Dominations."<br />
[Benediction]<br />
<div style="text-align: justify;">
<br /></div>
<br />
"ASCENDING [III]<br />
<br />
Above the ponds, above the gorges,<br />
Oceans, clouds, woods, forests<br />
Beyond the sun, beyond the ethers<br />
Beyond the starry spheres' fringes,<br />
<br />
My spirit, you move with the swiftness <br />
Of a good swimmer, swooning in the swell,<br />
The epic immensity with zest criss-crossing,<br />
Lustful, ineffable, and virile.<br />
<br />
Fly faraway from these morbid miasmas;<br />
Purifying yourself in the air superior,<br />
And drink, as a pure and divine liqueur <br />
The clear fire that fills the limpid spaces. <br />
<br />
Behind the boredoms and grief overwhelming<br />
That heavily load the hazy existence,<br />
Happy is the one who could with vigorous wing<br />
Dash towards the luminous and peaceful fields;<br />
<br />
He whose thoughts, as do the larks,<br />
Fly off freely towards the morning heavens,<br />
—who planes over life, and easily discerns<br />
The language of flowers and benumbed things."</div>
<div>
<br /></div>
<br />
"CORRESPONDENCES [IV]<br />
<br />
Nature is a temple where living pillars<br />
Let once escape words indistinct—, <br />
Man goes through it, among forests of symbols<br />
Which observe him with eyes familiar.<br />
<br />
As lingering echoes blending in the distance<br />
In deep and obscure unity,<br />
Vast as night and clarity,<br />
Parfums, colors and sounds converse.<br />
<br />
There are parfums as fresh as the flesh of infants,<br />
Sweet as the oboe, green as meadows,<br />
—And other, rotten, rich and triumphant,<br />
<br />
Expanding as things infinite, <br />
As the amber, the musk, benzoin and incense<br />
Which sing the transports of the spirit and senses."<br />
<br />
<br />
"THE SICK MUSE [VII]<br />
<br />
My poor Muse, alas! what caught you this morning?<br />
Your empty eyes are crowded with nocturnal visions<br />
And I see reflected upon your eddy complexion, <br />
Madness and horror, as cold as aloof. <br />
<br />
Have the greeny succubus and the rose evil cherub<br />
Poured over you the love and fear of their urns?<br />
Have nightmare's mischievous and despotic fist<br />
Drowned you in the depths of a fabulous Minturno?<br />
<br />
I wish that your breast, exhaling a healthy odor,<br />
Was, by strong thoughts, always visited,<br />
And your Christian blood flew streaming<br />
<br />
As the numerous sounds of ancient syllables<br />
Where reign in turn the father of songs,<br />
Phoebus, and the great Pan, lord of the harvest."<br />
<div>
<br /></div>
<br />
"HYMN TO BEAUTY [XXI]<br />
<br />
Do you, Beauty, come from the heaven profound <br />
Or out of the abysm? Charity and crime, <br />
Your divine and infernal eye pours indistinctly,<br />
For which we can compare you to wine.<br />
<br />
You hold in your sight the sunset and daybreak;<br />
As a stormy night, you shed perfumes;<br />
Your kisses are a filter, your mouth, an amphora<br />
That make the hero weary and audacious the child.<br />
<br />
Come you out of the black gulf, or down from the stars?<br />
Enchanted, destiny follows your petticoats as a dog;<br />
As haphazardly you sow happiness and disasters,<br />
Governing everything and answering for no one. <br />
<br />
You march over the dead: Beauty, why should you care?<br />
Horror, of your jewels is not the less charming,<br />
And murder, among your dearest fetishes,<br />
Alluringly—on your noble belly button dances! <br />
<br />
The dazzled ephemeral moth flies off to you, candle,<br />
Crackles, blazes up and says: blessed be this flame!<br />
The panting lover inclined over his dearest<br />
Looks like a terminal caressing his terminal tomb.<br />
<br />
If you come from heaven or hell, whatever <br />
Oh, Beauty! Colossal monster, dreadful, guileless!<br />
If your eye, your smile, your feet, open to me the way<br />
Through an infinite that I love and have never gain?<br />
<br />
Of Satan and God, whatever? Angel or Siren,<br />
Whatever, if you render—fair of velvet eyes,<br />
Rhythm, parfum, moonshine, oh matchless queen!—<br />
The universe less hideous and less tedious the moments."<br />
<div>
<br /></div>
<br />
"THE VAMPIRE [XXXI]<br />
<br />
You who, as a knife's blow,<br />
In my sorrowful heart has entered; <br />
You who, tenacious as a herd of demons<br />
Came, mad and adorned,<br />
<br />
To make your bed and domain, <br />
Of my humiliated spirit; <br />
—Infamous to whom I'm attached<br />
as to the fetters a convict, <br />
<br />
As to the gamble a gamester,<br />
As to the bottle a drunkard,<br />
As to the maggots a carcass<br />
—Damned, damned be you!<br />
<br />
I prayed to the expeditious sword<br />
So that to win my liberty,<br />
And I already said to the treacherous poison<br />
So that to help my cowardice.<br />
<br />
Alas! the poison and the sword<br />
Despised me saying: <br />
'You are not worthy of being extricated<br />
from your shameful bondage,<br />
<br />
Moron!—if of his yoke<br />
We acquitted you by our efforts,<br />
Your own kisses should resurrect<br />
<div>
Of your vampire, the corpse!'"</div>
<br />
<br />
"THE CAT [XXXIV]<br />
<br />
Come, beautiful cat, over my passionate heart;<br />
The claws of your paw hold back,<br />
And let me sink in your eyes delightful,<br />
Infused with metal and agate.<br />
<br />
As soon as my fingertips freely caress<br />
Your head and elastic spine,<br />
And my hand is enraptured,<br />
By feeling your electric body,<br />
<br />
I see the spirit of my wife. Her glance,<br />
Like yours, dear beast,<br />
Profound and cold, cut and split like a stinger,<br />
<br />
And from head to tail, <br />
An exquisite atmosphere, a dangerous parfum,<br />
That around her dark body swims." <br />
<br />
<br />
"THE POSSESSED [XXXVII]<br />
<br />
The sun is covered up in crêpe. As him,<br />
Oh, Moon of my life! Wrap yourself in shadows;<br />
Sleep or smoke as it pleases you; be dumb, be shady,<br />
And sink thoroughly in the boredom's abyss;<br />
<br />
I love you that way! If you want, however, today,<br />
As an eclipsed star coming out of the darkness,<br />
Swagger to the places overloaded by Madness, <br />
It is alright! Alluring dagger, flood out of your sheath!<br />
<br />
Light your pupil with the chandelier's flame!<br />
Light your desire in the eyes of the boors!<br />
I enjoy in anything yours, morbid or sassy; <br />
<br />
Be whatever you like, black night, flaming aurora;<br />
There is no fiber in all my trembling body<br />
That won't screech, oh dear, beloved: Beel-ze-bub!" <br />
<div>
<br /></div>
<div>
<br /></div>
"SEMPER EADEM [XL]<br />
<br />
'From where does it come? This strange sadness,<br />
Rising like the ocean over the dark, naked rock?'<br />
—Once the grapes of our heart have been harvested,<br />
To live is evil. A secret known to all,<br />
<br />
A neat and simple pain, enfolding no enigma,<br />
And, like your joy, to everyone astonishing. <br />
Stop thus searching, inquisitive beauty!<br />
And, sweet as is your voice, do shut up!<br />
<br />
Shut up, ignorant! Always radiant soul!<br />
Childish smiling mouth! Even more than Life,<br />
Through ingenious ties, Death often holds us.<br />
<br />
Let, let my heart be entranced by a lie,<br />
To sink in your dazzling eyes as in a dazzling dream<br />
And to doze indefinitely under the shadow of your lashes!"<br />
<div>
<br /></div>
<br />
"THE LIVING TORCH [XLIII]<br />
<br />
They march in front of me, those Eyes full of light,<br />
That an artful Angel, no doubt, magnetized;<br />
They march, those divine brothers who are my brothers,<br />
Shaking up in my eyes their diamond fires.<br />
<br />
Saving me from every trap and every grave sin,<br />
They guide my steps through the path of the Beautiful;<br />
They are my servants and I'm their captive;<br />
All my being obeys to this living torch. <br />
<br />
Charming Eyes, you shine the mystical clarity<br />
Of candles burning in daylight—fantastic flames<br />
That the sun reddens without extinguishing;<br />
<br />
Celebrating Death, as you celebrate Awakening; <br />
The awakening of my soul, which you march singing<br />
—Stars whose flame no sun can wither!"<br />
<div>
<br /></div>
<br />
"HARMONY OF THE NIGHT [XLVII]<br />
<br />
Here is the time when vibrating on its stem<br />
Each flower evaporates as if in a censer; <br />
Sounds and perfumes revolve in the nightly air;<br />
Waltz melancholic and languorous vertigo!<br />
<br />
Each flower evaporates as if in a censer; <br />
The violin shivers as a tormented heart;<br />
Waltz melancholic and languorous vertigo!<br />
The sky is stern and splendid as an altar of repose.<br />
<br />
The violin shivers as a tormented heart,<br />
A tender heart that hates vast and dark nothingness!<br />
The sky is stern and splendid as an altar of repose; <br />
The sun drowned in its blood that freezes.<br />
<br />
A tender heart that hates vast and dark nothingness,<br />
Of the luminous past collects all traces!<br />
The sun drowned in his blood that freezes...<br />
Your memory in me shimmers as an altar of repose!"<br />
<br />
<br />
"THE FLASK [XLVIII]<br />
<br />
There are strong perfumes for which all matter<br />
Is porous. It seems they would through glass pass.<br />
As while opening a casket, coming from the Orient<br />
Whose seal creaks and balks, screeching,<br />
<br />
Or in a deserted home, some cupboard<br />
Dusty and dark, full of the acrid odor of times,<br />
Sometimes we find an old bottle with memories,<br />
From which bursts out alive a revenant soul. <br />
<br />
A thousand thoughts slumber, funeral chrysalides,<br />
Quivering sweetly in the heavy darkness, <br />
—they release their wings and fly off,<br />
Tinged of blue, glazed of rose, plated of gold. <br />
<br />
Fluttering about, in the troubled air, here it is<br />
The intoxicating memory, eyes closed: Vertigo <br />
That seizes the defeated soul, pushing her with both hands<br />
Towards the abyss darkened by human miasmas;<br />
<br />
It lies her down on the edge of a secular abyss,<br />
Where, while odorous Lazarus tears up his shroud,<br />
The spectral corpse of an old, rancid, charming <br />
And sepulchral love, moves waking up. <br />
<br />
Thus, when I become erased from the memory<br />
Of men, in the corner of a sinister cupboard, <br />
When they throw me away, old, desolate, decrepit,<br />
Dusty, dirty, abject, viscous, cracked bottle,<br />
<br />
I will be your coffin, dear pestilence!<br />
The witness of your strength and virulence, <br />
Dear poison concocted by angels! Liqueur <br />
That gnaw me, oh life and death of my heart!"<br />
<div>
<br /></div>
<br />
"THE POISON [XLIX]<br />
<br />
Wine knows how to cover the most sordid dive<br />
With a miraculous opulence,<br />
And it makes appear more than one fabulous portico<br />
In the gold of its red vapours,<br />
Like a sun setting in a cloudy sky.<br />
<br />
Opium expands what has no boarders,<br />
It enlarges the unlimited. <br />
It deepens time, hollows out voluptuousness,<br />
And of obscure and dismal pleasures<br />
Overfills the soul beyond its capacity. <br />
<br />
Nothing of this is worthy the poison coming<br />
From your eyes, from your green eyes,<br />
Lakes where my soul trembles and sees itself capsized...<br />
My dreams show up in hordes<br />
To quench these bitter gulfs.<br />
<br />
Nothing of this is worthy the dreadful wonder<br />
Of your biting saliva,<br />
That sinks unwavering my soul in oblivion,<br />
And, pulling along with vertigo,<br />
Rolls it fainting through the rivers of death!"<br />
<div>
<br /></div>
<br />
"THE CAT [LI]<br />
<br />
I<br />
Walks through my brain,<br />
As though in its apartment,<br />
A beautiful, strong, sweet and charming cat.<br />
When he meows, we hardly hear him,<br />
<br />
So gentle and discrete is his timbre;<br />
But whether his voice calms down or he growls,<br />
It is always rich and profound.<br />
There lies his spell, his secret. <br />
<br />
This voice, filters and oozes,<br />
In my most dreadful background,<br />
It fills me with sumptuous verses<br />
And pleases me like a love potion.<br />
<br />
It deadens the cruelest torments<br />
And contains all ecstasies;<br />
To utter the longest phrases, <br />
It needs no words.<br />
<br />
No, there is no bow that bites<br />
On my heart, perfect instrument,<br />
And makes more royally<br />
Its most vibrant chord to sing,<br />
<br />
Than your voice, mysterious cat,<br />
Seraphic cat, strange cat,<br />
In which everything is, as in an angel,<br />
As much subtle as concordant!<br />
<br />
II<br />
His golden and dark fur<br />
Emanates a parfum so sweet, <br />
That one night, I was embalmed,<br />
For caressing it just once. <br />
<br />
He is the familiar spirit of the place; <br />
He judges, inspires, presides over<br />
All things in its empire; <br />
Maybe he is a fairy, is he a god?<br />
<br />
When, drawn to this cat<br />
That I love, as to a magnet,<br />
My eyes turn sweetly, so<br />
That I look at myself,<br />
<br />
Then I see, how amazing!<br />
The fire of his pale pupils <br />
Bright lanterns, lively opals, <br />
That contemplate me fixedly."<br />
<div>
<br /></div>
<br />
"THE REVENANT [LXIII]<br />
<br />
As angels with fawn eyes,<br />
I shall come back to your alcove<br />
And towards you I shall silently glide<br />
With the shadows of the night;<br />
<br />
And I shall give you, my brunette<br />
Kisses as cold as the moon<br />
And serpent-like caresses<br />
Around a creeping catacomb. <br />
<br />
Soon as the livid morning be broken, <br />
My place you shall find vacant, <br />
Just where until night shall chill.<br />
<br />
Over your life and over your youth, <br />
—As others do by tenderness,<br />
It is through dread I wish to reign."<br />
<br />
<br />
"SADNESS OF THE MOON [LXV]<br />
<br />
Tonight, the moon slumbers more lazily;<br />
Like a beauty, over countless cushions, <br />
Caressing with an airy and oblivious hand<br />
The contour of her breasts, prior to dreaming.<br />
<br />
Over the satiny back of soft avalanches,<br />
Dying, she swoons deeply,<br />
And, over white visions, strolls her sight<br />
That rise to the blue just as flowers burgeoning.<br />
<br />
When sometimes over this globe, in her idle languor<br />
She allows a furtive tear to trickle,<br />
A pious poet, enemy of sleep,<br />
<br />
Takes, in the hollow of his hand, this pale tear, <br />
With iridescent reflexes like a fragment of opal,<br />
Hiding it in his heart, away from the sun."<br />
<br />
<br />
"CATS [LXVI]<br />
<br />
Passionate lovers and scholars stern, <br />
Treasure equally, in their mature season, <br />
Cats, mighty and sweet, pride of the house,<br />
Who, just like them, fear the cold and are idle.<br />
<br />
Friends of science and voluptuousness, <br />
They search the silence and darkness horrific;<br />
Erebus would've taken them as burial steeds,<br />
Could they bow to serfdom their lofty pride. <br />
<br />
Dreaming they assume the noble demeanor,<br />
Of great sphinxes, behind solitudes stretched,<br />
Who seem to slumber a bondless bubble.<br />
<br />
Of magic sparks, their rich kingdoms are full,<br />
And grains of gold as much as dainty sand, <br />
Scatter their mystic pupils vaguely as stars."<br />
<div>
<div>
<br /></div>
<div>
<br /></div>
</div>
"THE OWLS [LXVII]<br />
<br />
Under the black yews' shelter<br />
Stand the owls aligned,<br />
Darting, like foreign gods,<br />
Their red eyes. Meditating.<br />
<br />
Without moving, they keep quiet<br />
Till the melancholic hour<br />
When, pushing the sun askew, <br />
The darkness settles down.<br />
<br />
Their attitude teaches the wise<br />
What in this world to worry:<br />
—Commotion and movement; <br />
<br />
For by a passing shadow intoxicated,<br />
Men bear, always, the punishment<br />
For wishing to change places."<br />
<br />
<br />
"SEPULTURE [LXX]<br />
<br />
If through a heavy and shadowy night<br />
A good, charitable Christian,<br />
Behind some old rubble<br />
Buries your flattered body,<br />
<br />
At the time when chaste stars<br />
Close their weighty eyes, <br />
The spider there shall lay its webbing<br />
And the viper its progeny;<br />
<br />
And you, all over the year, <br />
Over your doomed head, shall hear<br />
The appalling wailing of the loups<br />
<br />
And of emaciated witches,<br />
The frolicking of lecherous old men<br />
And, of black swindlers, the hoaxes."<br />
<div>
<br /></div>
<br />
"A FANTASTIC ENGRAVING [LXXI]<br />
<br />
This singular specter has for outfit,<br />
Grotesquely installed over his skeletal front,<br />
Nothing but a dreadful carnivalian coronet. <br />
A horse he exhausts, without spur, no whip, <br />
Apocalyptic nag, like him a phantom, <br />
That dribbles from the nose as an epileptic. <br />
Breaking with him through open space,<br />
Trading in the infinite venturesome.<br />
The rider carries a sabre that blazes up<br />
Over the nameless crowd that his mount crushes,<br />
And runs, like a prince inspecting his house, <br />
Where ancient and modern people all stretch out,<br />
— Vast and cold, boundless cemetery."<br />
<br />
<br />
"THE HAPPY DEATH [LXXII]<br />
<br />
In a fat ground, full of escargots<br />
I want to dig myself a deep pit,<br />
Where I could stretch my old bones leisurely<br />
And, like a shark in the wave, sleep. <br />
<br />
I hate the wills and I hate the tombs,<br />
And rather than beg the world a tear,<br />
Alive, I'd prefer the crows invite<br />
To bleed, of my filthy carcass, all ends.<br />
<br />
Oh, worms: dark companions, eyes & ears lacking!<br />
Welcome the arrival of a free and festive defunct;<br />
Epicurean philosophers, fruits of decay,<br />
<br />
Wander through my ruin with no remorse,<br />
And tell me if there isn't still some torture<br />
For this old soulless body, dead among the dead!"<br />
<div>
<br /></div>
<div>
<br /></div>
"SPLEEN [LXXV]<br />
<br />
Rainy, annoyed against the entire town, <br />
Out of its urn, in floods, a dreadful cold<br />
Pours over the pale dwellers of the cemetery nearby,<br />
As mortality upon the hazy suburbs. <br />
<br />
My cat over the tile, searching a blanket,<br />
Shakes boisterously its thin and mangy corpse;<br />
The soul of an old poet wanders through the gutter,<br />
With the bereaved voice of a shivering ghost. <br />
<br />
The bumblebee moans, and the smoky pinelog<br />
Accompanies, in falsetto, the runny pendulum, <br />
While in a tournament full of filthy parfums,<br />
<br />
The fatal inheritance of a hydropic granny,<br />
Handsome jack of hearts and queen of spades<br />
Blather sinisterly about their dearests defunct."<br />
<br />
<br />
"SPLEEN [LXXVI]<br />
<br />
More than a thousand-year memories I have.<br />
<br />
A large cabinet cluttered with proceedings,<br />
Balance-sheets, love letters, romances, verses,<br />
With heavy hairs rolled up in receipts, <br />
Hides less secretes than my bitter brain. <br />
It is a pyramid, an immense vault,<br />
Containing more corpses than a common grave. <br />
—I am a cemetery by the moon abhorred, <br />
Along which long worms, like remorses, drag,<br />
Furiously assailing my most dear dead. <br />
I am an old boudoir full of faded roses,<br />
Where lies a mayhem of obsolete vogues, <br />
Where plaintive pastels and pales Bouchers,<br />
Lonely, breath the odor of an uncorked flask. <br />
<br />
Nothing is longer than the shaky daytimes, <br />
When under the heavy flakes of the snowy years<br />
Boredom, fruit of dismal incuriosity, <br />
Assumes the proportions of immortality. <br />
—From now on, living matter, you are no more!<br />
Than a granite surrounded by a vague terror, <br />
Dozing in the bottom of a hazy Sahara; <br />
An old sphinx forgotten by the impassive world, <br />
A location in the map no one knows, and whose wild<br />
Temper, only, at the rays of the setting sun, sings."<br />
<div>
<br /></div>
<br />
"DESTRUCTION [CIX]<br />
<br />
Tirelessly by my side, the Demon tosses and turns;<br />
He swims around me like an intangible air; <br />
I swallow and sense it burning my lungs,<br />
Filling it with a desire eternal and contrite. <br />
<br />
Sometimes, knowing how much I love art, <br />
He assumes the form of the most seductive woman, <br />
And under specious pretexts of a hypocrite, <br />
Initiates my lips to infamous philters.<br />
<br />
He maneuvers me so, away from God's eye, <br />
Panting and shattered, in the middle of<br />
The plains of boredom, bottomless and barren, <br />
<br />
While into my bewildered eyes he hurls<br />
Muddied garments, lacerated wounds, <br />
And the bleeding machinery of Destruction!"<br />
<div>
<br /></div>
<div>
<br /></div>
"ALLEGORY [CXIV]<br />
<br />
It is a stylish woman with a stately neck, <br />
Who lets her hair tresses trail into her wine.<br />
The claws of love, the poisons of the gambling den, <br />
Everything glide and get dull on the granite of her skin. <br />
She laughs at Death and taunts Debauchery, <br />
These monsters whose hand, always scrapping and mowing <br />
In their destructive games, even so respected,<br />
Of this firm and straight body, the rude majesty. <br />
She parades like a goddess and reposes like a sultana; <br />
In pleasure she believes with a Mohammedan faith, <br />
And in her open arms that fill up her breasts, <br />
She captivates with her eyes the race of the humans. <br />
She believes and knows, this infertile virgin,<br />
Necessary though to the turning of the world, <br />
That the beauty of a body is a sublime gift<br />
That from all infamies forgiveness pulls out.<br />
She ignores Hell as much as Purgatory, <br />
And when the hour to enter the dark Night comes,<br />
She will glance at the face of Death, <br />
As a newborn baby—with neither hatred nor remorse."<br />
<div>
<br /></div>
<br />
"THE LOVERS DEATH [CXXI]<br />
<br />
We shall have beds full of faint fragrances,<br />
Divans as deep as deep-seated tombs. <br />
Terraces with unfamiliar flowers, <br />
Under splendid heavens, open to us.<br />
<br />
Vying with their utmost heats, <br />
Our hearts shall be vast torches<br />
In both of our spirits reflecting<br />
Their double mirrored, twin lights. <br />
<br />
In a night made of rose and mystic azure, <br />
We shall exchange, as a long sob,<br />
A singular flash, overwhelmed with farewell;<br />
<br />
And later on, opening the doors ajar, <br />
A faithful and joyous angel shall reanimate <br />
The dulled mirrors and the dead, extinct torches."<br />
<br />
<br />
"THE DREAM OF A CURIOUS FELLOW [CXXV]<br />
<br />
<i>To Félix Nadar</i><br />
Do you know, as I know, the tasty pain,<br />
And willingly hear of yourself: 'Oh! Singular one!'<br />
—I'm going to die. It was to my lovely soul,<br />
Desire mixed up with horror, a peculiar evil; <br />
<br />
Anguish and lively hope, with no agitator temper.<br />
The emptier the hourglass fatally became, <br />
More sour and delicious became my torture; <br />
My whole heart pulled out from the familiar world. <br />
<br />
I was like a child eager to see the show, <br />
Hating the curtain as we hate an obstacle...<br />
Finally, the icy truth revealed: <br />
<br />
I was boringly dead, and the dreadful aurora<br />
Shrouded me. —Then what! Is this all?<br />
The curtain raised, I waited still." <br />
<div>
<br /></div>
<div>
<br /></div>
"THE SETTING OF THE ROMANTIC SUN [<i>Les Épaves</i>, I]<br />
<br />
That the sun is beautiful when it rises all fresh<br />
Throwing us its good day, as an explosion!<br />
—Happy the one who can, with love,<br />
Greet its setting more glorious than a dream!<br />
<br />
I remember!... Flower, spring, furrow, I saw everything<br />
Swooning under its eye, as a palpitating heart...<br />
—Let's run towards the horizon, its late, let's run fast, <br />
So that to catch, at last, an oblique ray!<br />
<br />
But it is in vain that the retiring God I pursue; <br />
Night irresistible, its dark, humid and fateful, <br />
full of shivers empire—establishes;<br />
<br />
An odor of tomb bathes in the darkness, <br />
And my fearful foot bruises, on the edge of the swamp,<br />
Toads unforeseen, and chilly snails."<br />
<div>
<br /></div>
<br />
"THE METAMORPHOSES OF THE VAMPIRE [VII]<br />
<br />
The female, however, from her strawberry mouth, <br />
Twisting like a serpent over the embers, <br />
And kneading her breasts against the iron of her corset, <br />
Let run the following words all saturated with musk:<br />
—'I have humid lips, and I know the science<br />
Of losing at the bottom of a bed the calcified conscience.<br />
I wipe all tears over my triumphant breasts, <br />
And make the old to smile with the smile of infants. <br />
I replace, for whomever sees me naked and without veils, <br />
Sun, heaven and the stars, the moon!<br />
I am, my dear doctor, so well-versed in voluptuousness<br />
When I drown a man in my dreaded arms, <br />
Or when I abandon my breasts to bites, <br />
Timorous and libertine, fragile and robust, <br />
That over these mattresses that swoon in agitation, <br />
Helpless angels would damn themselves for me!'<br />
<br />
As soon as from my bones she sucked the marrow all out,<br />
And, to kiss her back in love, <br />
Towards her I turned languidly, <br />
The sticky sides of another, all covered up with pus! <br />
Was the only thing I saw—eyes both closed cold, in terror. <br />
And when them I reopened to the living clarity, <br />
Around me, instead of a mighty dummy<br />
That seemed to have stocked blood, <br />
Trembled confusedly the debris of a skeleton, <br />
That themselves gave back the cry of a weathercock,<br />
Or of a sign on the top of an iron rusty triangle, <br />
That swings with the wind in winter windy nights."<br />
<div>
<br /></div>
<div>
<br /></div>
"THE HYMN [X]<br />
<br />
To the very dear, and very beautiful <br />
Who fills my heart with the utmost clarity, <br />
To the angel, to the immortal idol, <br />
A toast in immortality!<br />
<br />
She spreads through my life<br />
Like an air suffused with salt, <br />
And in my unfulfilled soul<br />
Pours the taste of the eternal. <br />
<br />
An always fresh sachet that parfums,<br />
Of a dear recess, the atmosphere,<br />
Forgotten censer that smokes <br />
Secretly, through the night.<br />
<br />
How, incorruptible love, <br />
Could one truly express you? <br />
Grain of musk that is lying, invisible, <br />
In eternity's hollow back!<br />
<br />
To the very good, to the very beautiful, <br />
Who makes my joy and so my health, <br />
To the angel, to the immortal idol, <br />
A toast in immortality!"<br />
<br />
<br />
"THE RANSON [XIX]<br />
<br />
To pay his ransom, man has<br />
Two fields of deep and rich tuff,<br />
That he must stir and clear<br />
With the iron of reason; <br />
<br />
To obtain a small rose<br />
To extort some wheat ears, <br />
With salted tears from his grey brow<br />
Tirelessly, he shall them water. <br />
<br />
One is Art, the other Love. <br />
—To make the judge favorable, <br />
When severe justice<br />
Shows up the dreadful day,<br />
<br />
One shall have to show him the barns<br />
Full of cropping, and flowers<br />
Whose forms and colors<br />
Earn the esteem of angels."<br />
<div>
<br /></div>
<div>
<br /></div>
"LAMENTS OF AN ICARUS [<i>Troisième édition</i>, XII]<br />
<br />
Lovers of prostitutes<br />
Are happy, sprightly and appeased; <br />
As for me, my arms are worn out<br />
For having embraced the clouds. <br />
<br />
It is thanks to singular stars<br />
That blaze behind heaven<br />
That my consumed eyes don't see<br />
But solar reminiscences.<br />
<br />
In vain I wanted of space<br />
To find the end and the middle; <br />
Under whatsoever eye of fire<br />
I feel my broken wrecked wing;<br />
<br />
And burned by the love of beauty, <br />
I won't have the sublime honor<br />
Of giving my name to the abysm<br />
That shall provide me a tomb."<br />
<div>
<br /></div>
<br />
"MEDITATION [XIII]<br />
<br />
Be wise, Woe of mine, and hold yourself together. <br />
For smoothly descends the Night, which you claimed, <br />
And it is here: an obscure air that the town encloses, <br />
To ones bringing peace, care to others. <br />
<br />
While the vile multitude of the mortals<br />
Under the whip of Pleasure, this pitiless executioner, <br />
Gathers to assemble remorse in the servile celebration, <br />
<br />
Woe of mine, give me your hand; come this way, faraway <br />
From them. See the stretching out of deceased years, <br />
Over the balconies of heaven, clad in outmoded robes; <br />
The rising of smiling Regret from the bottom of the sea;<br />
<br />
The moribund sun slumbering over an arc, <br />
And, as a long shroud dragging towards the Orient, <br />
Hear, my dear, hear the sweet Night that silently strolls."<br />
<div>
<span style="text-align: justify;">**************************************************************</span></div>
<div>
<span style="text-align: justify;"><br /></span></div>
<div style="text-align: justify;">As you and I are in a manner perfect strangers to each other, see also: </div><div style="text-align: justify;">- <a href="https://www.academia.edu/37668483/Entre_vida_ativa_e_experi%C3%AAncia_liter%C3%A1ria_aporias_da_rela%C3%A7%C3%A3o_entre_o_eu_e_os_outros">Entre Vida Ativa e Experiência Literária</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/11/allan-ginsberg-burroughs-ney-matogrosso.html">Allan Ginsberg, Burroughs & Ney Matogrosso sobre Ayahuasca</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html">two sentences, the dogma of semantic uniformity & alchemy</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html">view from Berthe Trépat's Apartment</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/01/land-of-southern-lapwing.html">Land of the Southern Lapwing</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/12/joyce-in-toadstool.html">Joyce in a Toadstool</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/12/concretos-brazilian-inteligentsia.html">Concretos &/ou Brazilian Inteligentsia</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2014/10/sarebbe-la-definizzione-piu-giusta-del.html">Umberto Eco about Nietzsche & Deconstruction</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/03/blog-post_2.html">List of painters and other visual artists avec des blackboards pédagogiques</a>; </div><div style="text-align: justify;">And also, at certain intervals and changes of the Moon:</div><div style="text-align: justify;">- <a href="https://triplov.com/revistaTriplov/serie-viridae-03/">Tributo a Baudelaire. Revista Triplov de Artes Religiões e Ciências, Série Viridae 3</a>;</div><div style="text-align: justify;">- <a href="http://ref.scielo.org/jtrq3q">"Modernité et sorcellerie: Baudelaire lecteur du XVIIIe siècle" (Reginald McGinnis)</a>; </div><div style="text-align: justify;">- "<a href="https://www.academia.edu/37497396/Reimagining_Luso-Brazilian_encounters_a_new_venue_for_an_old_discussion_review_published_in_Confluecia_">Reimagining Luso-Brazilian encounters: a new venue for an old discussion" (Confluencia)</a>;</div><div style="text-align: justify;">- <a href="https://www.lpm.com.br/site/default.asp?Template=../livros/layout_produto.asp&CategoriaID=626470&ID=629263">O Spleen de Paris (traduction de Le Spleen de Paris en portugais by A/Z)</a>;</div><div style="text-align: justify;">- <a href="http://fleursdumal.org/">FleursDuMal.org</a>; </div><div style="text-align: justify;">- <a href="http://dx.doi.org/10.17613/6901-8497">"Balzacian Mysticism, Palindromic Design, and Heavenly Time in Berg's Music" (John Covach)</a>;</div><div style="text-align: justify;">- <a href="http://dx.doi.org/10.17613/6118-pe18">"</a><a href="http://dx.doi.org/10.17613/6118-pe18">The Sources of Schoenberg's Aesthetic Theology" (John Covach, 19th-Century Music)</a>;</div><div style="text-align: justify;">- <a href="https://doi.org/10.2307/488160">"The Essay as Form" (Theodor Adorno, translated by Bob Hullot-Kentor and Frederic Will)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/13615965/Der_Morgenlandfahrer_und_der_tonale_Abenteurer_Neues_über_Scelsi_und_Tosatti">"Der Morgenlandfahrer und der tonale Abenteurer Neues über Scelsi und Tosatti" (Johannes Menke, 2015)</a>;</div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-69885297631235982662019-11-26T07:18:00.037-08:002023-07-01T17:50:46.306-07:00Allen Ginsberg, Burroughs & Ney Matogrosso sobre Ayahuasca (to led your imagination a thorny dance)<div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: justify;"><div style="text-align: justify;">Ney de Souza Pereira/Ney Matogrosso, Pictures taken from Denise Pires Vaz' Um Cara Meio Estranho (1992);</div><div style="text-align: justify;">The Great Being & The Vomit, Pictures taken from Burroughs & Ginsberg's The Yage Letters (1963);</div></div><div><div style="text-align: justify;">God eating hallucinogenic mushrooms (Codex Vindobonensis/The British Museum); </div><div style="text-align: justify;">Throbbing Gristle's What a Day [this video was taken out of Youtube];</div><div style="text-align: justify;"><div>Blue Jay Way (Beatles); </div><div>Cambridge 1969 (John Lennon & Yoko Ono); </div><div>Cold Turkey (Plastic Ono Band); </div><div>The Crucifixion (Phil Ochs); </div></div><div style="text-align: justify;">Chrome's All Data Lost;</div><div style="text-align: justify;">Understanding Ayahuasca Symposium (David Luke/Synergetic Press, London 2016); </div><div style="text-align: justify;">Why Portugal Decriminalized all Drugs (Vice/Jamie Clifton); </div><div style="text-align: justify;">Marjorie Cameron at MOCA (MOCAtv/Youtube 2014); </div><div style="text-align: justify;">Code Morel & One Hundred Forty Nine Inches (by A/Z, <a href="https://www.juststructontologin.com/video.html" target="_blank">see here</a>)</div>
<br />
#ActForTheAmazon<br />
#ExtinctionRebellion<br />
#GretaThunberg<br />
#GreenNewDeal<br />
#BoycottBrazilianMonocultures<br />#Plagued&Pestered<br />#AeraFixed<br />#DameNature</div><div><span style="text-align: justify;">**************************************************************</span></div><div><h4 style="text-align: left;">out of the common track & wrote upon strong vellum: </h4><br />
"Images fall slow and silent like snow... Serenity... All defenses fall... everything is free to enter or to go out... Fear is simply impossible..."<br />
William S. Burroughs, Naked Lunch (Notes from yagé state)<br />
"Tout cela ne vaut pas le poison qui découle<br />
De tes yeux, de tes yeux verts...<br />
Tout cela ne vaut pas le terrible prodige<br />
De ta salive qui mord..."<br />
Baudelaire</div><div style="text-align: justify;">"El humo se retorcía al nacer, rompía sus nudos para desplegar un cuerpo lento que buscaba valles en el aire por donde correr hasta diluirse en azules tenues."</div><div>Mauricio Rosencof<br />
<br />"Foi tal a maldição dos que caídos</div><div>Morderam dessa mãe querida o seio,</div><div>A contrair-se aos beijos denegridos,</div><div>O desespero se imprimi-los veio <span style="text-align: justify;">—,</span></div><div><span style="text-align: justify;">Que ressentiu-se, verdejante e válido,</span></div><div><span style="text-align: justify;">O floripôndio em flor..."</span></div><div><span style="text-align: justify;">Sousandrade (<i>Guesa</i>, Canto Primeiro)</span></div><div><br /><div style="text-align: justify;">"En faisant varier l'heure, l'endroit où on s'endort, en provoquant le sommeil d'une manière artificielle, ou au contraire en revenant pour un jour au sommeil naturel — le plus étrange de tous pour quiconque a l'habitude de dormir avec des soporifiques — on arrive à obtenir des variétés de sommeil mille fois plus nombreuses que, jardinier, on n'obtiennent des variétés d'oeillets ou de roses... À tout moment il faut choisir entre la santé, la sagesse d'un part, et de l'autre les plaisirs spirituels. J'ai toujours eu la lâcheté de choisir la première part. Au reste, le périlleux pouvoir auquel je renonçais l'était plus encore qu'on ne le croit. Les pitiés, les rêves ne s'envolent pas seuls. À varier ainsi les conditions dans lesquelles on s'endort, ce ne sont pas les rêves seuls qui s'évanouissent, mas pour de longs jours, pour des années quelquefois, la faculté non seulement de rêver mais de s'endormir."</div><div style="text-align: justify;">Marcel Proust (le narrateur, La Prisonnière)</div><div style="text-align: justify;">"Estou ouvindo agora uma música selvática, quase que apenas batuque e ritmo que vem de uma casa vizinha onde jovens drogados vivem o presente. Um instante mais de ritmo incessante, incessante, e acontece-me algo terrível. É que passarei por causa do ritmo em seu paroxismo — passarei para o outro lado da vida."</div><div style="text-align: justify;">Clarice Lispector (Água Viva) </div><div style="text-align: justify;">"To believe, accept, and obtain virtue is like becoming intoxicated with the mushrooms... Furthermore, intoxicating carries both the positive connotation of inspiring or entrancing on the one hand, and the negative connotation of poisonous on the other."</div><div style="text-align: justify;">Myoe/Mark Unno (Shingon Refractions)</div></div><div><div style="text-align: justify;">"'Of course, of course,' sez Osbie, with a fluid passage of fingers and wrist based on the way Bela Lugosi handed a certain glass of doped wine to some fool of a juvenile lead in White Zombie..."</div><div style="text-align: justify;">Thomas Pynchon (Gravity's Rainbow)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Le bon sens nous dit que les choses de la terre n'existent que bien peu, et que la vraie réalité n'est que dans les rêves. Pour digérer le bonheur naturel, comme l' artificiel, il faut d'abord avoir le courage de l'avaler, et ceux qui mériteraient peut-être le bonheur sont justement ceux-là à qui la félicité, telle que la conçoivent les mortels, a toujours fait l'effet d'un vomitif."</div><div style="text-align: justify;">Baudelaire (Les Paradis Artificiels)</div><div style="text-align: justify;">"Prendre ses rêves pour des réalités voilà ce dans quoi le Peyotl ne vous laissera jamais sombrer... Car il y a dans la conscience le Merveilleux avec lequel outrepasser les choses. Et le Peyotl nous dit où il est et à la suite de quelles concrétions insolites d'un souffle ataviquement refoulé et obturé le Fantastique peut se former et renouveler dans la conscience ses phosphorescences, son poudroiement."</div><div style="text-align: justify;">"Le Peyotl d'après ce que j'ai vu fixe la conscience et l'empêche de s'égarer, de se livrer aux impressions fausses."</div>
A. Artaud (Le Rite du Peyotl chez les Tarahumaras)<br /><div style="text-align: justify;">"Le incomodan las vendas? El periodista miope lo imagina [a Moreira César] viendo siluetas, oyendo ruidos, tratando de entender, de recordar, y, a su vez, recuerda, como algo de otra vida, ciertos despertares después de una noche serenada por el opio."</div><div>Mario Vargas Llosa (La guerra del fin del mundo) </div><br /><div style="text-align: justify;">"Nunca tive uma bad trip, soube de muitos que piraram de vez, tipo achar que é passarinho e se atirar do prédio. Hay que tener cojones para receber revelações espirituais e permanecer calmo. As 'pedrinhas' do meu tempo tinham zero anfetamina. Quando o psicodélico batia transformando a existência num caleidoscópio de consciência infinita, o ego despertava do mundo da ilusão dando de cara com o realismo fantástico do Higher Self, onde um mero grão de areia te explicava o universo. E você lá de alegre só sendo Deus. Aliás, desde que me decepcionei com religiões não sentia a presença do Divino tão acachapante. LSD não é para maricas materialistas."</div><div style="text-align: justify;">Rita Lee</div>
<div style="text-align: justify;">
"Jagger had done two concerts and was really on the brink of collapse—but the kind of collapse that transcends into magic... there's a certain kind of poetry that's performance poetry. It's like the American Indians weren't writing conscious poetry. They were making chants, they were making ritual language—and the language of ritual is the language of the moment... I mean, Billy Graham is a great performer, even though he is a hunk of shit. Adolf Hitler was a fantastic performer. He was a black magician. And I learned from that. You can seduce people into mass consciousness. So I write to have somebody... The other thing is that through performance, I reach such states, in which my brain feels so open—so full of light, it feels huge, it feels as big as the Empire State Building..."</div>
<div style="text-align: justify;">
Patti Smith (Please Kill Me)</div>
<div style="text-align: justify;">
<br />
<div style="text-align: justify;">
"Everyone's telling Debbie she's gonna be the next Farrah Fawcett, and she was saying that she didn't want to be Farrah Fawcett. All she wanted to do was sing."<br />
James Sliman (Please Kill Me)<br />
"They give this stuff to us just to keep us stoned, I don't even want it. You fucking take it. They just keep giving it to us! That's all the fucking guys give us! They want, they want, they want, and for that they give us this shit! James, this is for you, I don't even want it, my hotel room is full of it."<br />
Blondie/James Sliman (Please Kill me)</div>
<div style="text-align: justify;">
"Gravar um disco inteiro viajando de ácido dá nisso. A rotação do tempo é de outro mundo, tipo Darth Vader se afogando na areia movediça. Não recomendo misturar as experiências."<br />
Rita Lee<br />
<div style="text-align: justify;">
<div style="text-align: justify;">
"... and I just couldn't stop looking at her, because I was so fascinated-but-horrified. Her hands kept crawling, they couldn't sleep, they couldn't stay still..."</div>
</div>
<div style="text-align: justify;">
The Philosophy of Andy Warhol</div><div><div>"Já experimentei me estabelecer por conta própria e não deu certo: ficou-me até hoje essa mão trêmula. Tivesse eu insistido um pouco mais e teria perdido para sempre a saúde."</div><div>Clarice Lispector (O Ovo e a Galinha)</div></div><div style="text-align: justify;">
"... but for those of us with endless yawning stretches of interior and nothing but nothing to stop us from getting lost in it, drugs can be wonderfully helpful."<br />
James St. James<br />
<br /></div><div style="text-align: justify;"><div><div>"... je ne vous parle pas de ma fatique... elle fut immense.... C'est la punition de la prodigalité impie avec laquelle vous avez dépensé le fluide nerveux..."</div>"On sait, en outre, que l'atonie est le résultat le plus ordinaire de l'abus que les hommes font de leurs nerfs et des substances propres à les exciter..."</div><div>"... admettons un instant que le haschisch donne, ou du moins augmente le génie; ils oublient qu'il est de la nature du haschisch de diminuer la volonté, et qu'ainsi il accorde d'un côté ce qu'il retire de l'autre... Se figure-t-on le sort affreux d'un homme dont l'imagination paralysée ne saurait plus fonctionner sans le secours du haschisch ou de l'opium?"</div><div>"... c'est la partie purement humaine, trop souvent même la partie brutale de l'homme, qui, par l'auxiliaire du vin, usurpe la souveraineté, au lieu que le mangeur d'opium sent pleinement que la partie épurée de son être et ses affections morales jouissent de leur maximum de souplesse, et, avant tout, que son intelligence acquiert une lucidité consolante et sans nuages." </div><div>"Rêver magnifiquement n'est pas un don accordé à tous les hommes, et, même chez ceux qui le possèdent, il risque fort d'être de plus en plus diminué par la turbulence du progrès matériel. La faculté de rêverie est une faculté divine et mystérieuse; car c'est par le rêve que l'homme communique avec le monde ténébreux dot il est environné. Mais cette faculté a besoin de solitude pour se développer librement; plus l'homme se concentre, plus il est apte à rêver amplement, profondément."</div><div>Baudelaire (Les Paradis artificiels)</div></div><div style="text-align: justify;"><br /></div>
</div>
</div>
<div style="text-align: justify;">
"Echoing Eno's rhetoric, Cabaret Voltaire initially saw themselves less as a musical entity than as a 'sound group,' says Kirk, doing a lo-fi, garage band version of musique concrète. 'We started in late 1973 and initially there was a large group of people involved, a gang of mates interested in a bit of art and some films and a few strange books.' Most prominent among those 'strange books' were the works of William S. Burroughs..."</div>
<div style="text-align: justify;">
"'We need to search for methods to break the preconceptions, modes of unthinking acceptance and expectations that make us, within our constructed behavior patterns, so vulnerable to Control,' wrote P-Orridge, borrowing Burroughs's near mystical concept of 'Control' as this all-pervasive power reaching inside the fibers of our consciousness..."</div>
<div style="text-align: justify;">
"'The reality of the psychedelic experience isn't love and peace, it's insanity. If you actually took LSD and listened to our records, the trip would get so whacked-out you'd start laughing. Funny-scary, we called it. The bad trip would turn into a good trip, because you'd already been to the most negative part of the universe' [Helios Creed/Chrome]."</div>
<div style="text-align: justify;">
Simon Reynolds (Rip It Up)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Fanatiques de notre liberté nous avions un sens très pur de l'amitié: chacun était ce qu'il était, accepté comme tel, et non irréellement, au contraire de ce qui se passe dans certains rapports humains ou nous inventons et fabriquons notre interlocuteur ou partenaire, puis, à la première déconvenue, nous nous empressons de l'oublier... Des excitants? Naturellement. Comme pour les poëtes chinois le vin éperonnait l'inspiration. L'opium? Oui, on le fuma un peu rue Bomet. O Baudelaire, o Thomas de Quincey... Je ne pense pas qu'il y eut à cette époque gens comprenant mieux Nerval prophète et pratiquant du marriage du rêve et de la vie, et Blake grand officiant des Noces du Ciel et de l'Enfer."</div><div style="text-align: justify;">"Tout ce qu'aujourd'hui on croit découvrir dans le domaine resté longtemps souterrain de l'étrange et du 'discordant' (je parle de choses écrites ou peintes), nous était familier déjà en ces années 1922-25. Cette connaissance ne s'associait chez nous à aucune pédanterie. Il nous était naturel d'aimer ce qui était à rebours. Il n'y avait là aucun prétexte à s'enorgueillir... cet esprit de conteur lyrique pouvait se manifester de la part de Limbour jusque dans la cage d'un commissariat. Le contraste inouï d'un verbe splendide adressé aux agents de garde aussi bien qu'aux prostituées de cages voisines avec les répliques obscènes des unes et des autres..."</div><div style="text-align: justify;">André Masson (45, rue Blomet/Écrits, anthologie établie par Françoise Levaillant)</div><div style="text-align: justify;">
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<br /></div>
<div style="text-align: justify;">
Ayahuasca [aja'waska] (Banisteriopsis caapi), synonyms in Portuguese: cipó de defunto, daime, santo-daime, iagê, mariri, uasca, yage. </div>
<div style="text-align: justify;">
"'Magic Psalm', 'The Reply' and 'The End' record visions experienced after drinking Ayahuasca, an Amazon spiritual potion. The message is: Widen the area of consciousness ['Salmo Mágico', 'A Resposta' e 'O Fim' registram visões que vivi depois de beber Ayahuasca, uma poção espiritual amazônica. A mensagem é a seguinte: ampliar a área da consciência.]"— A. G. (<i>Kaddish and Other Poems</i>).</div>
<br />
<h4>
"Salmo Mágico:</h4>
<div style="text-align: justify;">
Porque esse mundo está voando e o que vem por aí ninguém sabe</div>
<div style="text-align: justify;">
Oh fantasma que minha mente busca anos e anos, desce do céu a esse corpo bambo</div>
<div style="text-align: justify;">
Captura o meu olho ligeiro no Raio vasto que não conhece limites — Inseparável — Mestre —</div>
<div style="text-align: justify;">
Gigante fora do Tempo com todas tuas folhas cadentes — Gênio do Universo — Mágico do Nada em que aparecem nuvens vermelhas —</div>
<div style="text-align: justify;">
Rei Inominável das estradas que se foram — Cavalo Ininteligível saindo do cemitério — Sol poente derramado sobre Cordilheira e inseto — Mariposa Retorcida — </div>
<div style="text-align: justify;">
Peçonha — Gargalhada sem boca, Coração que nunca teve carne pra morrer — Promessa nunca feita — Alívio, cujo sangue queima em milhões de animais golpeados —</div>
<div style="text-align: justify;">
Ah Misericórdia, Destruidora do Mundo, Ah Misericórdia, Criadora de Ilusões Úberes, Ah Misericórdia, pombinha cacofônica cuja boca a guerra amorna, Vem,</div>
<div style="text-align: justify;">
vara meu corpo com o sexo de Deus, engasga minhas narinas com as infinitas blandícias da corrupção</div>
<div style="text-align: justify;">
transfigura-me em vermes pegajosos de pura transcendência sensória de eu ainda estar vivo,</div>
<div style="text-align: justify;">
coaxa minha voz com o-pior-que-a-realidade, um tomate mediúnico falando tuas milhões de bocas, </div>
<div style="text-align: justify;">
Miríades-de-línguas minha Alma, Monstro ou Anjo, Amante que vem pra me foder de vez — vestido longo em Lula Estrábica —</div>
<div style="text-align: justify;">
Rabo do Universo em que desapareço — Mão Elástica que falou a Crane — Música que passa pelo fonógrafo dos anos vinda de outro Milênio — Orelha dos edifícios de NY —</div>
<div style="text-align: justify;">
Aquilo em que acredito — tenho visto — procurado sem parar em mirada furtiva de cão — equívoco sempre, lacuna — que me faz pensar —</div>
<div style="text-align: justify;">
Desejo que me criou — Desejo que escondo no corpo, Desejo [que] todo Homem a Morte sabe, Desejo superando o mundo possível babilônico</div>
<div style="text-align: justify;">
que faz meu corpo sacudir orgasmo do Teu Nome que nunca sei nunca vou falar —</div>
<div style="text-align: justify;">
Fala aos Homens pra dizer que o grande sino dobra um som de ouro em sacadas de ferro em cada milhão de universo,</div>
<div style="text-align: justify;">
Sou o Teu profeta vindo a esse mundo pra vociferar um Nome odioso através dos meus 5 sentidos e o abominável sexto</div>
<div style="text-align: justify;">
que conhece a Tua Mão em seu falo invisível, coberto com os bulbos eletrônicos da morte —</div>
<div style="text-align: justify;">
Paz, Resolvedora em que revolvo ilusão, Vagina de Lábios Moles que me entra no cérebro vinda de cima, Arca-Pomba com broto de Morte.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
"Enlouquece-me, Deus estou pronto à desintegração da minha mente, desgraça-me aos olhos da terra,</div>
<div style="text-align: justify;">
assalta de terror meu coração peludo come meu pinto coaxar Invisível de sapo-da-morte pula em mim cambada de cães salivando luz,</div>
<div style="text-align: justify;">
devora meu cérebro Fluxo Uno de consciência interminável, tenho medo da tua promessa devo fazer berrar minha reza de medo —</div>
<div style="text-align: justify;">
Baixa oh Criador de Luz & Comedor de Homens, atravanca o mundo em sua loucura de bombas e assassinato, </div>
<div style="text-align: justify;">
Vulcões de carne sobre Londres, em Paris chuva de olhos — caminhões de corações de anjos enxovalham paredes do Kremlin — a taça-crâneo de luz a Nova Iorque —</div>
<div>
<div style="text-align: justify;">
miríade de pés incrustados de joias nos terraços de Pequim — véus de gás elétrico baixando na Índia — cidades de Bactéria invadindo o cérebro — a Alma escapando na borracha de bocas ondulantes do Paraíso —</div>
<div style="text-align: justify;">
Esse é o Grande Chamado, toque'ntoxicante da Guerra Eterna, esse é o grito da mente esquartejada na Nebulosa,</div>
<div style="text-align: justify;">
esse é o Sino de Ouro da Igreja que nunca existiu, o reboo no âmago do raio de sol, o brado do Verme na Morte,</div>
<div style="text-align: justify;">
Apelo do castrado sem-mão apanha Esmola semente de ouro da Futuridade no sismo & vulcão do mundo —</div>
<div style="text-align: justify;">
Crava meu pé sob os Andes, respinga meus cérebros na Esfinge, veste com minha barba e cabelo o Empire State Building,</div>
<div style="text-align: justify;">
cobre minha barriga com mãos de musgo, preenche minhas orelhas com teu relâmpago, cega-me com arcos-íris proféticos</div>
<div style="text-align: justify;">
Que por fim eu prove da merda do Ser, que eu toque os teus genitais na palmeira,</div>
<div style="text-align: justify;">
que o raio vasto da Futuridade entre na minha boca a soar Tua Criação pra Sempre Não-Nascida, oh Beleza invisível ao meu tempo!</div>
<div style="text-align: justify;">
que minha reza supere meu entendimento, que eu deponha minha vaidade a Teus pés, que eu não mais tema o Juízo sobre o Allen desse mundo</div>
<div style="text-align: justify;">
nascido em Newark vindo à Eternidade em Nova Iorque chorando de novo no Peru pra Língua humana salmodiar o Indizível,</div>
<div style="text-align: justify;">
que eu supere o desejo de transcendência e entre nas águas do universo</div>
<div style="text-align: justify;">
que vá até o fim dessa onda, não afogado para sempre na enchente da minha imaginação</div>
<div style="text-align: justify;">
que eu não seja estraçalhado em minha própria magia insana, esse crime punido nas prisões misericordiosas da Morte,</div>
<div style="text-align: justify;">
homens entendem minha fala pelo seu próprio coração turco, ajudem-me os profetas com a Proclamação,</div>
<div style="text-align: justify;">
o Serafim aclama Teu Nome, Tu mesma de vez em uma descabida Boca de Universo faz responder a carne."</div>
<div style="text-align: justify;">
- Allen Ginsberg, junho de 1960 [***translated into Portuguese by A/Z, at his own proper costs and charges & out of his own proper monies, with the officious humility of heart devoted to the assistance merely of the inquisitive];</div>
<div style="text-align: justify;">
<br /></div>
<h4>
"<i>Banisteriopsis caapi...</i> </h4>
<div style="text-align: justify;">
"... (harmaline, banisterine, telepathine) é uma trepadeira que cresce rápido. O princípio ativo é aparentemente encontrado por toda a madeira da planta recém-colhida. A parte interior do caule é considerada a mais ativa, e as folhas nunca são usadas. É preciso uma quantidade considerável da planta para sentir o efeito mesmo da droga. Cerca de cinco pedaços da planta de vinte centímetros de comprimento cada são necessários para uma pessoa. A planta é esmagada e fervida por duas ou mais horas com as folhas de um arbusto identificado como <i>Palicourea fam. rubiaceae.</i></div>
<div style="text-align: justify;">
"<i>Yagé </i>ou <i>ayahuasca</i> (os nomes indígenas mais comuns para a <i>Banisteriopsis caapi</i>) é um narcótico alucinógeno que produz um profundo desregramento dos sentidos. Em overdose é um veneno convulsivo. O antídoto é um barbitúrico ou outro sedativo anticonvulsivo forte. Qualquer pessoa que venha a tomar <i>yagé</i> pela primeira vez deveria ter à mão um sedativo para o caso de uma overdose. </div>
<div style="text-align: justify;">
"As propriedades alucinógenas do <i>yagé</i> tornaram-no útil aos curandeiros [Medicine Men] desejosos de terem seus próprios poderes aumentados. Eles também o usam como um remédio eficaz no tratamento de várias doenças. <i>Yagé</i> faz baixar a temperatura corporal e por consequência tem alguma utilidade no tratamento da febre. É um poderoso anti-helmíntico, indicado para o tratamento de vermes do estômago ou intestino. <i>Yagé </i>provoca um estado de anestesia consciente, e é usado em rituais em que os iniciados devem passar por alguma provação dolorosa, como serem açoitados com vinhas nodosas ou expostos a picadas de formigas. </div>
<div style="text-align: justify;">
"Até onde pude descobrir, só a planta recém colhida é eficaz. Não encontrei nenhuma forma de secar, extrair ou preservar o princípio ativo. Nenhum tipo de tintura funcionou. A planta seca é completamente inerte. A farmacologia do <i>yagé</i> precisa ser pesquisada em laboratório. Dada a potência narcótica alucinógena do extrato cru, é possível que resultados ainda mais espetaculares possam ser obtidos com variações sintéticas. Certamente o tema é digno de maior investigação. </div>
<div style="text-align: justify;">
"Não observei nenhum efeito prejudicial que pudesse ser atribuído ao uso de <i>yagé</i>. Os curandeiros que o empregam continuamente ao realizar seus trabalhos parecem usufruir de uma saúde normal. A tolerância é logo adquirida, de forma que se pode beber o extrato sem sentir nausea ou outro efeito colateral.</div>
<div style="text-align: justify;">
"O <i>yagé</i> é um narcótico sem igual. A intoxicação por <i>yagé</i> é em alguns aspectos similar à intoxicação por haxixe. Em ambos os casos há uma mudança de perspectiva, uma extensão da consciência além da experiência ordinária. Mas o <i>yagé</i> produz um desregramento mais profundo dos sentidos com alucinações muito reais. Clarões azuis à frente dos olhos é um efeito peculiar da intoxicação por <i>yagé</i>. </div>
<div style="text-align: justify;">
"As concepções que se tem sobre o <i>yagé</i> variam muito. Muitos indígenas e a maioria dos usuários brancos parecem ver nele um intoxicante comum como o álcool. Para outros grupos, ele tem um significado ritual e é assim empregado. Entre os jivaros, jovens do sexo masculino tomam <i>yagé</i> para contatar espíritos ancestrais e obter um resumo da vida futura. É utilizado em iniciações para anestesiar os iniciados em provações doloridas. Todos os curandeiros o usam em suas práticas para prever o futuro, localizar objetos perdidos e roubados, dar nome ao perpetrador de algum crime, diagnosticar e tratar doenças. </div>
<div style="text-align: justify;">
"O alcalóide da <i>Banisteriopsis caapi</i> foi isolado em 1923 por Fisher Cardenas. Ele chamou o alcalóide de telepatina, ou ainda de banisterina. Rumf mostrou que a telepatina era idêntica à harmina, o alcalóide da <i>Peganum harmala</i>.</div>
<div style="text-align: justify;">
"A <i>Banisteriopsis caapi </i>evidentemente não provoca dependência."</div>
<div style="text-align: justify;">
- William S. Burroughs, <i>Letter from a master addict to dangerous drugs </i>(Veneza, 1956) [***translated into Portuguese by A/Z, at his own proper costs and charges & out of his own proper monies, with the officious humility of heart devoted to the assistance merely of the inquisitive];</div>
<div style="text-align: justify;">
**************************************************************<br />
<h4>Ney Matogrosso (person of no small note & consequence):</h4>
</div>
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">
"Sentia a bebida efetuando uma revisão física no seu corpo. Durante uma cerimônia, brotou a nítida impressão de uma restauração dentro da cabeça: uma luz forte estourava em partes diferentes do cérebro, tão intensa que ele abria os olhos, pensando ser do lado de fora. Não era. E a cada novo <i>flash</i> seguia-se um alívio no lugar iluminado da cabeça... 'Se quer tomar alguma coisa para se aprofudnar realmente, use o daime... Ele atua na essência do ser, abrindo caminho para as descobertas do espírito...'"<br />
"Uma noite, depois de tomar o daime durante uma sessão, surgiu quase inteiro na sua cabeça o espetáculo que encenaria poucos meses depois. No primeiro momento, reagiu às imagens, dialogando consigo mesmo que aquilo era ego e que estava desperdiçando a oportunidade de caminhar mais profundamente. Não conseguia, no entanto, controlar o que aparecia na sua cabeça, e acabou concluindo que a criação também era divina. Aí relaxou e o show pintou praticamente completo. 'A segunda parte veio inteira, e eu vi a cor da roupa, seu feitio, e as imagens de um ser realizando no palco, com as luzes adequadas para cada situação. Da primeira parte vieram flashes esparsos, e o primeiro foi a figura de uma cabeça com uma enorme peruca. Há uns três anos eu havia ganho uma crina de cavalo...'"<br />
"O mais louco de toda a história com o daime é que nada precisa ser falado: a tal da telepatina, uma substância encontrada na bebida, faz com que você se comunique com as pessoas sem trocar uma única palavra. Além disso, o daime é um acelerador, e me possibilitou vivenciar numa noite a dor que evitei durante 46 anos... 46 anos para compreender a necessidade e a importância do afeto! Quando percebi que o Paulo Roberto [responsável pela comunidade do Daime no Rio] estava conscientemente conduzindo um trabalho comigo nesse sentido, pensei assim: 'olha, pode pegar leve, sem toda essa dureza, porque eu estou entendendo tudo'. Na mesma hora, ele abriu os olhos e sorriu pra mim, e dali pra frente, voltou uma sensação muito boa...'"<br />
"'Sempre senti uma forte ligação com a América Latina, que me fazia ter a atenção profundamente despertada pelas suas civilizações antigas. Não uma curiosidade meramente intelectual, mas um interesse que passava pelo coração. E esse foi o lado que mais me encantou no daime e que primeiro me segurou: ele é uma manifestação totalmente voltada e centrada naquela região. Quando ouvia aqueles hinos, aqueles acompanhamentos com flautas, eu era inteiramente transportado para o meio da Amazônia, dos Andes, reconhecendo ao mesmo tempo que ali estava o espírito brasileiro mais puro.'"<br />
"Várias vezes, sob o efeito do daime, Ney escutava sons de animais ou objetos, como carneiros e pandeiros, que não se encontravam presentes fisicamente no ambiente. Esses momentos funcionavam como uma prática de relação com o mundo inaparente, um ideal que sempre permeou sua vida. Uma noite, durante o ritual, ouviu o som forte de um motor, que, aos poucos, se transformou no barulho do universo. Só que aí não era mais um ruído, e, sim, um som surdo que os ouvidos humanos, em condições normais, não captam. Em vez de assustá-lo, experiências desse tipo ratificavam em Ney a antiga certeza de que o homem apreende muito pouco do ambiente que o cerca, possuindo um conhecimento limitado do universo."<br />
"O daime me ensinou a aceitação do próximo, mostrando que a gente precisa conviver em paz com todas as pessoas, e não apenas com as que a gente elege."<br />
Denise Pires Vaz & Ney Matogrosso, <i>Um cara meio estranho </i>(Brasil 1992)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien)<span face="Calibri, sans-serif">:</span></div><div><span face="Calibri, sans-serif">"</span>Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from <a href="https://www.britannica.com/art/mode-music" target="_blank">"Mode," entry in Brittanica, by Mieczyslaw Kolinski</a>);</div></div>
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<div style="text-align: justify;">See also:</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html">actual infinite falling (all-)together</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html">the dogma of semantic uniformity</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html">the odd transformation of Der Herr Warum</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/blue-crab-siri-azul-torres-brazil-jan.html">Blue Crab/Siri Azul</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/02/audrey-hepburn-haunted-by-az-or-how-to.html">Audrey Hempburnt Haunted by A/Z</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/12/genug-manifesto-az-certified-original.html">Genug! Manifesto</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">liste des déclencheurs musicaux</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/03/kur-d-t-my-ghost.html">Kur-d-t My Ghost</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/01/land-of-southern-lapwing.html">Land of Southern Lapwing</a>;</div><div style="text-align: justify;">-<a href="https://aletche.blogspot.com/2016/12/concretos-brazilian-inteligentsia.html"> Concretos &/ou Brazilian Inteligentsia</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/11/call-me-helium-helio-oiticica-jimi.html">Call me Helium</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/10/god-save-queen.html">God Save the Queen</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/07/darkwaves-beyond-80s-toujours-under.html">Darkwaves beyond the 80's</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/02/eletronic-high-or-middle-culture.html">High or Middle Culture?</a> </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/07/noite-morta-manuel-bandeira-1921.html">Noite Morta</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/07/jaguanhem-jaguar-speech.html">Jaguanhém</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">liste des figures du chaos</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/01/brazil-in-80s.html">Brazil in the 80's</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/12/serie-genoux-with-thread.html">Série, presque à genoux with thread</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2012/09/blog-post.html">Tropicalismo</a>; </div><div style="text-align: justify;">And also (with the whole of it):</div><div style="text-align: justify;">- <a href="https://www.academia.edu/7139345/ANIMAIS_PE%C3%87ONHENTOS_TEMPESTADES_E_CURUPIRAS_QUEST%C3%95ES_DE_ORDEM_ONTOL%C3%93GICA_NA_LITERATURA_JESU%C3%8DTICA_SOBRE_O_BRASIL_NO_S%C3%89CULO">Animais Peçonhentos, Tempestades & Curupiras</a>;</div><div style="text-align: justify;">- <a href="http://www.triplov.com/novaserie.revista/numero_63/alessandro_zir/index.html">Conversa de Etiqueta (peça em 1/2 ato)</a>;</div><div style="text-align: justify;">- <a href="https://www.lpm.com.br/site/default.asp?Template=../livros/layout_produto.asp&CategoriaID=816351&ID=645260">Petronius' Satíricon</a>;</div><div style="text-align: justify;">- <a href="https://doi.org/10.1590/S0103-40142010000200022">"The Threads Unraveled: The Great Themes of Traditional Popular Music in Brasil" (Mariana Monteiro & Paulo Dias, Estudos Avançados, 2010)</a>;</div></div>
A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-85735714918959027752019-03-21T12:41:00.078-07:002024-03-17T10:55:32.703-07:00actual infinite falling (all-)together &/or chaosmos COLLAPSE—the backsliding (bend-sinister?) of your aunt included<a href="#"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTmIsh1acZdDqHHj5R_pIgccAK811fgZcOrGEDNUDMPRn6tCUVPeTbuf_35MvxSvGO0jiXZWBLgpw-nuHvz_BaV0m6dsVqgsEK2cJomxPJA1BuQAjSAWyge5RBaWlng6eWONMUwQ/s400/montage_infinitefalling_logo+%25281%2529.jpg" /></a><div> <br />
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<br />Photography taken by AZ at Musée d'Orsay/January 2018, <a href="https://www.behance.net/azir4c5c">for more see here</a>;</div><div>
Clara Colosimo in Fellini's Prova d'orchestra;</div><div>Duchamp in Maya Deren's Witch's Cradle (1943); </div><div>The Dimension of Dali (Joan Úbeda & Susi Marquès, 2004); </div><div>György Ligeti: Étude No. 13 (L'escalier du diable) (Pierre Laurant Aimard/Youtube); </div><div>György Ligeti: Étude No. 13 (L'escalier du diable) (Gabriel Stern/Youtube); </div><div>György Ligeti: Étude No. 13 (L'escalier du diable) (Annie Qin/Youtube) [this video was taken out of Youtube]; <br /><div style="text-align: justify;">Necessity of Complex Numbers (Barton Zwiebach, MIT/Youtube, Spring 2016) [an open minded, honest & serious nutshell explanation of a fundamental question in physics & mathematics many scientists would rather not talk about];</div></div><div style="text-align: justify;">Imaginary Numbers Are Real: Riemann Surfaces (Welch Labs/Youtube); </div><div>But What is the Fourier Transform? (Grant Sanderson, 3Blue1Brown/Youtube); </div>Como obter a Série de Fourier de uma função periódica? (Matemateca, Ester Velasquez/Youtube); <div>Intro to the Fundamental Group: Algebraic Topology (Trefor Bazett & Tom Crawford/ Youtube); <br />
Arquipélago dos Pombos Correios (o soverdouro) (A/Z, 2019); <br />
The great abyss inframince (A/Z 2018, <a href="https://www.juststructontologin.com/video.html" target="_blank">for more see here</a>);</div><div><br /></div><div><h4 style="text-align: left;">en exergue (traditions to sift):</h4>
<br />"E pois, te digo, as estrelas, <br />no céu imenso espalhadas, <br />são a metade e outro tanto <br />das mesmas por Deus criadas; <br />e, se imaginas que minto <br />na quantidade que dei, <br />te desafio a contá-las... <br />para ver que não errei!"</div><div>Cancioneiro Guasca<br />"I use the word approximation because a measuring mind can never finally measure nature."</div><div>John Cage (Experimental Music)</div><div>"I'm giddy,<span style="text-align: justify;">—I'm stone blind,</span><span style="text-align: justify;">—I'm dying,</span><span style="text-align: justify;">—I a gone.</span><span style="text-align: justify;">—Help! Help! Help!</span><span style="text-align: justify;">—But hold..."</span></div><div><div style="text-align: justify;">Tristram Shandy</div><div style="text-align: justify;">"... but the Ping! is still there..."</div><div style="text-align: justify;">David Mermin (What is wrong with this pillow?)</div><div style="text-align: justify;">"... 'd' merely means 'a little bit of.'"</div><div style="text-align: justify;">"Everything depends upon relative minuteness..."</div><div style="text-align: justify;">Silvanus P. Thompson (Calculus Made Easy)</div><br />
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<div><div style="text-align: justify;">"But he wants The Cold like he wants His Junk—NOT OUTSIDE where it does him no good but INSIDE so he can sit around with a spine like a frozen hydraulic jack..."</div><div style="text-align: justify;">"Because Fats' nerves were raw and peeled to feel the death spasms of a million cold kicks... Fats learned The Algebra of Need and survived..."</div><div style="text-align: justify;">"Cure is always: <i>Let Go! Jump!</i>"</div></div>
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William S. Burroughs</div><div style="text-align: justify;">"But these things explode first, a-and then you hear them coming in" [Slothrop].</div><div style="text-align: justify;">"... this transmarginal leap, this surrender. Where ideas of the opposite have come together, and lost their oppositenes." </div><div style="text-align: justify;"> Thomas Pynchon (Gravity's Raimbow)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... De la même façon, le coeur, sous l'effet d'une joie extraordinaire, se disperse à l'intérieur du corps et souffre une dissolution manifeste des esprits vitaux; celle-ci peut s'accentuer à un point tel que le coeur demeure privé de ce qui le fait fonctionner et que la vie s'éteint sous l'effet d'un tel excès de joie, comme le dit Galien au livre XII de la Méthode; au livre V du Lieu des affections, au livre II de La Cause des symptômes."</div><div style="text-align: justify;"><span style="text-align: left;">Rabelais, Gargantua (translation de Guy Demerson)</span></div></div><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Todo susto da galinha é porque estão sempre interrompendo o seu devaneio. A galinha é um grande sono."</div><div style="text-align: justify;">Clarice Lispector (O Ovo e a Galinha)</div><div style="text-align: justify;">"Il faut tout d'un coup voir la chose d'un seul regard, et non pas par progrès de raisonnement..."</div><div style="text-align: justify;">Blaise Pascal (<i>Différence entre l'esprit de géométrie et l'esprit de finesse)</i></div><div style="text-align: justify;"><span style="text-align: left;"><i>"... </i>toutes ces grandeurs sont divisibles à l'infini, sans tomber dans leurs indivisibles, de sorte qu'elles tiennent toutes le milieu entre l'infini et le néant."</span></div><div style="text-align: justify;">Pascal (Fragments de l'esprit géométrique)</div><div style="text-align: justify;">"Chance, to be precise, is a leap, provides a leap out of reach of one's own grasp of oneself."</div><div><div style="text-align: justify;">John Cage (45' for a Speaker)</div><div style="text-align: justify;">"Jagger had done two concerts and was really on the brink of collapse—but the kind of collapse that transcends into magic."</div><div style="text-align: justify;">Patti Smith (Please Kill Me)</div><div style="text-align: justify;">"K is a displacer—you are outside of your head, and everything, <i>everything</i>, is new..."</div><div style="text-align: justify;">James St. James</div></div><div style="text-align: justify;">"Reversal is the moving of the Way..."</div><div style="text-align: justify;">Daodejing/40 (Edmund Ryden's translation)</div>
<br /></div><div><div style="text-align: justify;">"... silêncio, não se deve confundir com a pausa tradicional. Esta, também ausência de som, no entanto, é parte objetiva da estrutura formal, articulando e separando frases e motivos. Não é meio de expressão feito o silêncio, o qual tem de ser vivido subjetivamente e interpretado como tal, causando expectativa e tensão... o som não pode ser separado do espaço, aparentemente vazio, em que ele ocorre. Da mesma forma como as partículas não podem ser separadas do espaço que as circunda. É o som – não podendo ser considerado como entidade isolada – que determina e define a estrutura do espaço do silêncio. Porque tem que ser compreendido como condensação parcial de um campo sonoro contínuo e onipresente, presente por toda a parte. O silêncio deve ser considerado como fundo gerador de todos os sons e suas interações mútuas. O aparecimento e desaparecimento de sons, por seu lado, deve ser compreendido como formas de movimento desse mesmo campo e, se quiserem, de um holomovimento... A unificação dos conceitos, aparentemente opostos, som e silêncio, na estética relativista do impreciso e paradoxal, destrói, forçosamente, a noção tradicional de signos musicais isolados. Os signos sonoros da partitura tradicional, através da produção musical dos últimos trinta anos, dissolveram-se, cada vez mais, em padrões de probabilidade... "</div><div style="text-align: justify;">Koellreutter (A Imagem do Mundo na Estética do Nosso Século)</div></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"... we need to acknowledge the true complexity of music. Electronic music, in particular, is not merely a beat machine. It undulates (under envelope control), modulates (under low-frequency oscillator or LFO control), and triggers, as well as beats. These phenomena are the result of many simultaneous clocks and functions of time applied to pitch, timbre, space, etc... Moreover, broken and jagged beats, loops and diced loops are common currency of electronic music discourse. Electronic music can deploy overlapping polyrhythms generated by algorithms and advanced clocking schemes that ambulate around zones of rhythmic morphosis. Moreover, the local temporal context is always functioning within a hierarchy of larger timescales. In all these ways, the art of rhythm is far ahead of science’s ability to track it, much less explain it."</div><div style="text-align: justify;">"Fundamental to the modern concept of rhythm is the recognition of the continuum between rhythm and tone (i.e., between the infrasonic frequencies—periodic and aperiodic rhythms—and the audible frequencies— pitched and unpitched tones). As mentioned previously, Henry Cowell described this relationship in 1930... More than two decades later, Karlheinz Stockhausen formulated another theory of the continuum between rhythm and pitch in the context of serial music.<span style="text-align: justify;">"</span></div><div style="text-align: justify;"><span style="text-align: justify;"><div>"As Messiaen observed, when combining multiple simultaneous rhythms, one confronts 'neutralizing forces' that prevent clear perception of their superimposition. In general, these forces pertain to any kind of similarity between the various rhythmic voices, be it timbral, registral, harmonic, durational, or similarity of intensity and attack time. Messiaen was especially insistent on how isochronous pulsations destroy the polyrhythmic 'scaffolding' (échafaudage). Messiaen suggested that polyrhythms be articulated by polytonality and polymodality."</div><div style="text-align: left;"><span style="text-align: justify;">Curtis Roads, Composing Electronic Music</span></div></span></div></div><div><br /></div><div style="text-align: justify;">"... la science limite la conscience aux objets, elle ne mène pas à la conscience de soi (elle ne peut connaître le sujet qu'en le prenant pour un objet, pour une chose); mais elle contribue à l'éveil en habituant à la précision et en décevant: car elle admet elle-même ses limites, elle avoue l'impuissance où elle est de parvenir à la conscience de soi."</div><div style="text-align: justify;">Georges Bataille (La Part Maudite)</div><div style="text-align: justify;">"... la conception d’une quantité finie porte toujours sur l'objet du savoir, sur l’être qui est opposé au savoir et qui constitue l’objet de la connaissance; tandis que l’idée de l’infini... ne peut porter que sur les fonctions mêmes du savoir, où elle introduit la plus haute unité intellectuelle ou la plus haute signification dans la production même de la connaissance de la quantité."</div><div style="text-align: justify;">Höené Wronski (Philosophie de l'Infini)</div><div style="text-align: justify;"><div>"The Divine Spirit found a sublime outlet in that wonder of analysis, that portent of the ideal world, that amphibian between being and not-being, which we call the imaginary root of negative unity."</div><div>Leibniz on imaginary numbers as quoted by Morris Kline (who has no understanding whatsoever of Leibniz's nature)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div style="text-align: right;"><div style="text-align: justify;">"Es treten in uns fortwährend neue Vorstellungs-massen auf, welche sehr rasch aus unserm Bewusstsein wieder verschwinden. Wir beobachten eine stetige Thätigkeit unserer Seele. Jedem Act derselben liegt etwas Bleibendes zu Grunde, welches sich bei besonderen Anlässen (durch die Erinnerung) als solches kundgiebt, ohne einen dauernden Einfluss auf die Erscheinungen auszuüben. Es tritt also fortwährend (mit jedem Denkact) etwas Bleibendes in unsere Seele ein, welches aber auf die Erscheinungswelt keinen dauernden Einfluss ausübt. Jedem Act unserer Seele liegt also etwas Bleibendes zu Grunde, welches mit diesem Act in unsere Seele eintritt, aber in demselben Augenblick aus der Erscheinungswelt völlig verschwindet. Von dieser Thatsache geleitet, mache ich die Hypothese, dass der Weltraum mit einem Stoff erfüllt ist, welcher fortwährend in die ponderablen Atome strömt und dort aus der Erscheinungswelt (Körperwelt) verschwindet..."</div></div><div>Bernhard Riemann (Neue mathematische Prinzipien der Naturphilosophie)</div></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"Der phantasiestarke Mathematiker wird den Gebilden seines Denkens auch die Lebendigkeit der Anschauung einzuhauchen wissen, während Geister von schwächerer Flugkraft oder mehr abstrakter Richtung ihm in sein Reich konkreter Schöpfung und Belebung nicht zu folgen vermögen."</div><div style="text-align: justify;">Felix Hausdorff (<a href="https://archive.org/details/annalendernatur01ostwgoog/page/n9/mode/2up" target="_blank">Das Raumproblem/Annalen der Naturphilosophie 1904</a>)</div><div style="text-align: justify;">"Mais ce que je veux faire voir, c'est que, dans cette déformation, le monde n'est pas demeuré semblable à lui-même ; les carrés sont devenus des rectangles ou des parallélogrammes, les cercles des ellipses, les sphères des ellipsoïdes. Et cependant nous n'avons aucun moyen de savoir si cette déformation est réelle."</div><div style="text-align: justify;">Henri Poincaré (<a href="https://archive.org/details/scienceetmthod00poin/page/100/mode/2up" target="_blank">Science et Méthode</a>)</div><div style="text-align: justify;">"El Universo es una esfera cuyo centro está en todas partes y la periferia en ninguna [Nicolas de Cusa]: ¿podría extenderse al tiempo está concepción tradicional del infinito? ¡Qué mejor símbolo del fin de la confusión entre irreversibilidad y degradación! Reencontraríamos aqui la flecha del tiempo asociada a la inestabilidad y a la probabilidad, y ella no significaría ya evolución hacia la muerte térmica, hacia el fin de toda historia, sino posibilidad de un eterno volver a comenzar. El Universo sería creación continua, sucesión infinita de Universos que nacen por doquier y van hacia el infinito."</div></div><div style="text-align: justify;">Spanish translation (by Javier García Sanz) from the end of chapter 7 of Prigogine & Stengers' Entre le temps et l'eternité [it is an ill-fated instance of the malignancy of this world that it happens I don't have the French original of this book, & shall therefore by my ashes stand forever indebted to the heroine soul (chaste star!) who peradventure send me, with all her fraternity, the French original of just this choicest morsel so I could definitely pen it down here as a seasonable kindness to our whole parish!]</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"It is usual to assume that the curvatures are produced by those concrete somethings which we call mass, momentum, energy, pressure. In this way, we must concede a duality to nature; there would exist both matter and space-time, or, better still, matter and the metrical field of space-time. Einstein, when he elaborated his hypothesis of the cylindrical universe, attempted to remove this duality by proving that it was possible to attribute the entire existence of the metrical field, hence of space-time, to the presence of matter. This attitude led to a matter moulding conception of the universe, elevating matter over the metrical field of space-time. And as we recall, only when this attitude was adhered to could Mach's belief in the relativity of all motion be accepted. Eddington's attitude is just the reverse. He prefers to assume that the equations of gravitation are not equations in the ordinary sense of something being equal to something else. In his opinion they are identities. They merely tell us how our senses will recognise the existence of certain curvatures of space-time by interpreting them as matter, motion, and so on. In other words, there is no matter; there is nothing but a variable curvature of space-time."</div><div>"Since objects in equilibrium, such as rigid objects, electrons and atoms, all adjust themselves to the radius of curvature of the universe, it is only natural that results of greatest simplicity should be obtained when we select this radius or some definite fraction therof as a gauge at every point."</div><div>A. D'abro (The Evolution of Scientific Thought)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Since Einstein introduced discontinuity into the study of light, and de Broglie the continuity of waves into the study of matter, it is impossible to maintain the old idea of domains of physical facts that are separate from one another. The physics of the continuous represents a mode of treatment by differential equations of physical facts. The physics of discontinuity represents a mode of treatment of the same facts by other methods: group theory, calculation of matrices, quantum statistics, etc. <span style="text-align: left;">There thus exists a certain analogy between contemporary physics and contemporary mathematics, in that they offer each other the spectacle of facts amenable to being studied at the same time by the calculus of the continuous and by the calculus of the discontinuous."</span></div><div><div style="text-align: justify;">Albert Lautman (Essay on the Unity of Mathematical Sciences, Simon B. Duffy's translation)</div><div style="text-align: justify;">"Mathematics is constituted like physics: the facts to be explained were throughout history the paradoxes that the progress of reflection rendered intelligible by a constant renewal of the meaning of essential notions. Irrational numbers, the infinitely small, continuous functions without derivatives, the transcendence of e and of r, the transfinite had all been accepted by an incomprehensible necessity of fact before there was a deductive theory of them. They had the fate of these physical constants like c or h which were essential in an incomprehensible way in the most different domains, up until the genius of Maxwell, Planck and Einstein knew to see in the constancy of their value the connection of electricity and light, of light and energy."</div></div><div style="text-align: justify;">Albert Lautman (Essay on the Notions of Structure and Existence in Mathematics, Simon B. Duffy's translation [it is ALSO an ill-fated instance of the malignancy of this world that it happens I don't have the French original of Lautman's essays, & shall therefore by my ashes stand forever indebted to the heroine soul (chaste star!) who peradventure send me, with all her fraternity, the French original of just at least these choicest morsels so I could definitely pen them down here as a seasonable kindness to our whole parish!])</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"The continuum is one of the most complex concepts that humanity has had to decipher, not only in its technical, internal behavior, inside culture, but also in its constant, external entangling with the cosmos. Like Proteus, the sea god which changed his appearance at will, the continuum moves between the physical world and abstract ideals, between a subtle phaneron and wide hierarchical ramifications in mathematical models, between the most concrete biological evolution and arbitrary completions of discrete breaks. On its hand, a logic of continuity has to propose adequate signs, structures and rules to handle an important part of those passages. The triple action of semeiotics (syntactics, semantics, pragmatics) has to be put at work, in order to understand the global and local forces which shape the ongoing logical passages over the continuum."</div><div style="text-align: justify;"><a href="https://www.academia.edu/31948393/ZalameaPeirceCont_pdf" target="_blank">Fernando Zalamea (Peirce's Logic of Continuity)</a></div><div style="text-align: justify;"><br /></div>
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"... la majorité est travaillé par une minorité proliférante et non dénombrable qui risque de détruire la majorité dans son concept même, c'est-à-dire en tant qu'axiome... le étrange concept de non-blanc ne constitue pas un ensemble dénombrable... Le propre de la minorité, c'est de faire valoir la puissance du non-dénombrable, même quand elle est composée d'un seul membre. C'est la formule des multiplicités. Non-blanc, nous avons tous à le devenir, que nous soyons blancs, jaunes ou noirs."</div>
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Deleuze & Guattari (Mille plateaux)</div><div style="text-align: justify;">"De telles limites ne valent pas par la valeur empirique qu'elles prennent seulement dans des systèmes de coordonnées, elles agissent d'abord comme la condition de ralentissement primordial qui s'étend par rapport à l'infini sur toute l'échelle des vitesses correspondantes, sur leurs accélérations ou ralentissements conditionnés. Et ce n'est pas seulement la diversité de ces limites qui autorise à douter de la vocation unitaire de la science; c'est chacune en effet qui engendre pour son compte des systèmes de coordonnées hétérogènes irréductibles, et impose des seuils de discontinuité..."</div><div style="text-align: justify;">Deleuze & Guattari (Qu'est-ce que la philosophie?)</div><div style="text-align: justify;">"The equation to which Deleuze refers is the meromorphic function, which is a differential equation or function of a differential relation determined according to the Weierstrassian approach, from which the essential singularity and therefore the composite function are determined according to Poincaré’s qualitative approach. This form of integration is again characterised from the local point of view, by what Deleuze describes as an original process of différenciation."</div><div style="text-align: justify;">Simon Duffy (The Mathematics of Deleuze's differential logic and metaphysics, <i>Virtual Mathematics</i>)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... temporalité intemporelle, à une durée insaisissable: ce qu'on ne peut stabiliser, établir, appréhender, <i>prendre</i> mais aussi bien ce qu'on ne peut <i>comprendre</i>, ce que l'entendement, le sens commun et la raison ne peuvent <i>begreifen</i>, saisir, concevoir, entendre, médiatiser, donc non plus nier ou dénier, entraîner dans le travail du négatif, faire travailler..."</div><div><div style="text-align: justify;">Jacques Derrida (Donner la mort)</div><div style="text-align: justify;">"This relative freedom of a hero does not violate the strict specificity of the construction, just as the specificity of a mathematical formula is not violated by the presence of irrational or transfinite quantities."</div><div style="text-align: justify;">Mikhail Bakhtin (Problems of Dostoevsky's Poetics, Caryl Emerson translation)</div><div style="text-align: justify;">
"... the term quantum mechanics is very much a misnomer. It should, perhaps, be called quantum nonmechanics..."</div>
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David Bohm<br />
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"Note the parallels between ordinary awareness, classical physics, and the natural and counting integers..."</div>
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Dean Radin (Real Magic)</div><div style="text-align: justify;"><div>"And though we may string ever so many clauses into a single compound sentence, motion leaks everywhere, like electricity from an exposed wire."</div><div>Ezra Pound (Chinese Character as a Medium for Poetry)</div>
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"Eighteenth-century masters achieved most pleasing effects with forgrounds of warm brown and fading distances of cool, silvery blues... Constable wanted to try out the effect of respecting the local color of grass somewhat more, in his <i>Wivenhoe Park </i>he is seen pushing the range more in the direction of bright greens. Only in the direction of, it is a transposition, not a copy."<br />
Ernst H. Gombrich (Art and Illusion)<br />
"Oboukhoff acumule alors en un étroit espace les demi-tons; la sensation est déchirante, horripilante... Avec le glissando, c'est tout l'infini du monde sonore qui fait irruption dans la musique tempérée..."<br />
Boris de Schloezer (1925)</div>
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"É a luz que dá o salto e cria toda mágica do espetáculo."<br />
Ney Matogrosso<br />
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"Ihr verehrt mich: aber wie, wenn eure Verehrung eines Tages umfällt?"<br />
"Ich komme aus Höhen, die kein Vogel je erflog, ich kenne Abgründe, in die noch kein Fuß sich verirrt hat..."<br />
"Vor mir giebt es diese Umsetzung des dionysischen in ein philosophisches Pathos nicht."<br />
"... ein vollkommnes Ausser-sich-sein mit dem distinktesten Bewusstsein einer Unzahl feiner Schauder und Überrieselungen bis in die Fusszehen; eine Glückstiefe, in der das Schmerzlichste und Düsterste nicht als Gegensatz wirkt, sondern als bedingt, als herausgefordert, sondern als eine nothwendige Farbe innerhalb eines solchen Lichtüberflusses; ein Instinkt rhythmischer Verhältnisse, der weite Räume von Formen überspannt..."<br />
Nietzsche</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"A profound epistemological analysis of certain quantum-mechanical principles seems to suggest that the traditional conceptions of space and time are perhaps not the most suitable frame for the description of microphysical processes... In his discussion of electron transitions between stationary states within the atom, Niels Bohr already called such processes 'transcending the frame of space and time.'"</div><div style="text-align: justify;">"Les données de nos perceptions nous conduisent à construire un cadre de l'espace et du temps où toutes nos observations peuvent se localiser. Mais le progrès de la Physique quantique nous amènent à penser que notre cadre de l'espace et du temps [as classically or ordinarily understood] n'est pas adéquat à la véritable description des réalités de l'échelle microscopique" [Louis de Broglie]."</div><div style="text-align: justify;">"Should it become evident that Mach's Program cannot be satisfied within the general theory of relativity perhaps merely because the energy-momentum tensor which caracterizes matter presupposes already metrical magnitudes: in other words, because matter cannot be understood apart from knowledge of space-time, then matter as the source of the field will become part of the field. On the basis of such a unified field theoretic conception as proposed for example by J. Callaway, the field itself would constitute the ultimate, and in this sense absolute, datum of physical reality"</div></div><div style="text-align: justify;">"As Salecker and Wigner rightly remarked, the concepts of rigid reference frames or of (practically) rigid rods as conventionally defined and taken as the basis for the construction of space-time metric and for the physical interpretation of the Lorentz covariance cannot be meaningfully applied in the quantal world of elementary particles."</div><div style="text-align: justify;">Max Jammer's <i>Concepts of Space</i> (Dover 1993)</div><div style="text-align: justify;">"In Grothendieck’s work, objects tend to be situated over certain ‘bases’ (the sheaf over its underlying topological space, the scheme over its spectrum), and many important problems arise when base changes are carried out."</div><div style="text-align: justify;"><a href="https://appliedvirtualitylab.files.wordpress.com/2015/09/synthetic-philosophy-of-contemporary-mathematics-web.pdf" target="_blank">Fernando Zalamea (Synthetic Philosophy of Mathematics)</a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"The term 'field' was first introduced into science by Michael Faraday in the 1840s, in connection with electricity and magnetism. His key insight was that attention should be focused on the space around a source of energy, rather than on the source of energy itself. In the nineteenth century the field concept was confined to electromagnetism and light. It was extended to gravitation by Einstein in his general theory of relativity in the 1920s. According to Einstein, the entire universe is contained within the universal gravitational field, curved in the vicinity of matter. Moreover, through the development of quantum physics, fields are now thought to underlie all atomic and subatomic structures... Fields are inherently holistic. They cannot be sliced up into bits, or reduced to some kind of atomistic unit; rather, fundamental particles are now believed to arise from fields..." </div></div><div><div style="text-align: justify;">Rupert Sheldrake's Seven Experiments that could change the world</div><div style="text-align: justify;">"The uncertainty principle of Werner Heisenberg suggests... that the vacuum is not empty. According to the principle, uncertainty about the energy of a system increases as it is examined on progressively shorter time scales. Particles may violate the law of the conservation of energy for unobservably brief instants; in effect, they may materialize from nothingness. In QED [Quantum Electrodynamics] the vacuum is seen as a complicated and seething medium in which pairs of charged "virtual" particles, particularly electrons and positrons, have a fleeting existence. These ephemeral vacuum fluctuations are polarizable just as are the molecules of a gas or a liquid. Accordingly QED predicts that in a vacuum too electric charge will be screened and effectively reduced at large distances..." </div></div><div style="text-align: justify;"><a href="http://pages.erau.edu/~reynodb2/ps303/Quigg_1985_SciAm_ElementaryParticlesAndForces.pdf">Chris Quigg's Elementary Particles and Forces (Scientific American, vol. 252, n. 4, 1985, pp. 84-95)</a></div><div style="text-align: justify;">"Bohm and Hiley (1984) generalized the Penrose twistor theory to a Clifford algebra, paving the way for a description which allows continuous space-time to emerge from a deeper pre-space they call an implicate order. Bohm (1986) further proposed that the “ex-plicate” space and time that we consciously experience is likewise projected from its enfoldment in deeper implicate orders. In neural terms what becomes interesting here is Pribram’s (1991) holographic theory of neural memory, for the hologram (where information about the whole is stored in each part) is a paradigmatic example of an implicate order (of course, similar ideas have been explored in connection with artificial neural networks)..." </div><div><div style="text-align: justify;"><a href="https://helda.helsinki.fi/bitstream/handle/10138/37374/Futura_2_2012_Pylkkanen.pdf?sequence=2">Paavo Pylkkanen's "Cognition, the implicate order and rainforest realism" (Futura, 31, 2012/2, pp. 74-83</a>)</div><div style="text-align: justify;">"Piaget describes how, when children are asked to draw a map of the local area around their home and are asked to position the playground, school, ice cream shop, dentist etc., they place the ice cream shop and the playground close to home, but will place the dentist and the school far from home, regardless of their actual physical distance from their home. The children are using a neighbourhood relation which has to do with pleasure and not physical distance. Thus by generalising the notion of neighbourhood, it is possible to have many different orders on the same set of points depending on what is taken to be the relevant criterion for the notion of neighbourhood in a particular context. Thus our description becomes context dependent and not absolute. This is very important both for thought and quantum theory... The importance of context in quantum theory has only recently begun to emerge, although it was always implicit in Bohr’s notion of wholeness. However in the Bohm interpretation context dependence becomes crucial..." </div><div style="text-align: justify;"><a href="http://www.bbk.ac.uk/tpru/BasilHiley/PS20MindMatterAlgebra.pdf"></a><a href="http://www.bbk.ac.uk/tpru/BasilHiley/PS20MindMatterAlgebra.pdf">Basil J. Hiley's "Mind and matter: aspects of the implicate order described through algebra" (in K. H. Pribram's and J. King's Learning as Self-Organisation, New Jersey, Lawrence Erlbaum Associates, 1996, pp. 569-86)</a></div></div><div style="text-align: justify;">"Bohm notes that if we try to analyze a thought into smaller and smaller elements we eventually come to a point where further analysis seems impossible. Analogously, some of the essential properties of a quantum system (e.g. whether it is a wave or a particle) depend on its indivisible and incompletely controllable connections with surrounding objects. This suggests that both thought and quantum phenomena are characteristic of a radical type of wholeness, unanalyzability and context-dependence..." </div></div><div><div style="text-align: justify;"><a href="https://www.diva-portal.org/smash/get/diva2:797486/FULLTEXT01.pdf">Paavo Pylkkänen's "Fundamental Physics and the Mind – Is There a Connection?" (in H. Atmanspacher's, C. Bergomi's, T. Filk's, K. Kitto's, Quantum Interaction 2014: 8th International Conference, Filzbach, Switzerland, June 30 - July 3, 2014)</a></div><div style="text-align: justify;">"... in the 1950s one reaction against the failure of field theory in strong-interaction physics was to turn away from intractable Feynman diagrams towards the transition probabilities themselves—perhaps at this level of analysis some sense could be made of the strong interaction... the entire array of probabilities covering transitions between all conceivable initial and final states was known as Scattering- or S-matrix..." </div></div><div><div style="text-align: justify;">Andrew Pickering's Constructing Quarks (Chicago, 1984);</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... it is the subjective act of transcendental synthesis which transforms the chaotic array of sensual impressions into 'objective reality.' Shamelessly ignoring the objection that we are confounding ontological and empirical levels, here we must invoke quantum physics: it is the collapse of the quantum waves in the act of perception which fixes quantum oscillations into a single objective reality. And, furthermore, this point must be universalized: every figure of reality is rooted in a determinate standpoint. Even at a level closer to us, we know how different 'reality' appears to a hog or a bird, starting with the different tapestry of colors: each living being perceives (and interacts with) its own 'reality.' And one should push this insight to the extreme of Cartesian doubt: the very notion of greatness should be relativized. How do we know that our Milky Way is not just a speck of dust in another universe?"</div></div><div><div style="text-align: justify;">Slavoj Zizek (Haunted by A/Z, Feyerabend with vengeance & the New Wave)</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">**************************************************************</div></div></div>
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<h4>Too Manifestly a Obliquity (as I called it) &/or as my life and opinions are likely to make some noise in the world:</h4>
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This is AGAINST your worship, Carlo Rovelli's <i>dictum </i>or pseudo-problem: "<i>visto que tudo se atrai, a única maneira de um Universo finito não desmoronar sobre si mesmo é que se expanda</i>" [<i>Anglicé</i>:<i> </i>since all things attract one another, the only way a finite Universe can avoid collapse is to expand] (<i>A realidade não é o que parece</i>, as indeed it is, p. 105)—but why should one use the term "finite" (or even "infinite") to describe <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html" target="_blank">a universe with no definite borders (like a 3-sphere, or something even more complex)</a>, which indeed had never been thought of at all? <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html" target="_blank">The infinite is not equivalent to the <i>huge</i>. The infinite is simply (according to Dedekind, a person of no small note and consequence) what can be matched up to its own parts (the only reason to deny this is hysteria, paradox-freakishness, state apoplexy & disquietude of the soul).</a> The universe (the <i>chaosmos</i>) both expands & collapses, with the gross and more carnal parts included! As a whole and at the length of its space-time infinitesimals (or epsilon-delta limits, whatever), the macro/micro contractions, the revolving ruminations (what Rovelli confusedly calls "granulations," as if they were incompatible with any notion of continuity) of an autophagic real-virtual Einsteinian mollusk. If you have three fundamental constants (as Rovelli suggests, <i>A realidade não é o que parece</i>, p. 229), velocity [of light], information and Planck's length (<i>c</i>, <i>ħ</i>, <i>ℓp</i>), what matters is the relation among them (which might be revealed in established, finite proportions) not each one of their supposedly fixed (absolute) values (and even the relation might vary, fluctuate). I own I say this, of course, with all officious humility of heart devoted to the assistance merely of the inquisitive, but otherwise you behave like a very stupid painter arguing over the positive value of (what we call) green or brown in the transposition of tonal gradations to canvas. </div><div style="text-align: justify;"><br />
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<h4><span>Main Hall (the good adventitious parts, by the destinies):</span></h4>
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<span>Time out of joints or the excessive solution (otherwise academically and sophistically called, after many successes & miscarriages, 'the measurement problem', as nine parts in ten of a man sense of his nonsense): </span></div>
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"If quantum state evolution proceeds via the Schrödinger equation or some other linear equation, then, as we have seen in the previous section, typical experiments will lead to quantum states that are superpositions of terms corresponding to distinct experimental outcomes. It is sometimes said that this conflicts with our experience, according to which experimental outcome variables, such as pointer readings, always have definite values. This is a misleading way of putting the issue, as it is not immediately clear how to interpret states of this sort as physical states of a system that includes experimental apparatus, and, if we can’t say what it would be like to observe the apparatus to be in such a state, it makes no sense to say that we never observe it to be in a state like that," <a href="https://plato.stanford.edu/entries/qt-issues/" target="_blank">Wayne Myrvold's "Philosophical Issues in Quantum Mechanics," <i>Stanford Encyclopedia of Philosophy</i></a>;</div>
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"... von Neumann makes the logical structure of quantum theory very clear by identifying two very different processes, which he calls process 1 and process 2... Process 2 is the analogue in quantum theory of the process in classic physics that takes the state of a system at one time to its state at a later time. This process 2, like its classic analogue, is local and deterministic. However, process 2 by itself is not the whole story: it generates a host of ‘physical worlds’, most of which do not agree with our human experience. For example, if process 2 were, from the time of the big bang, the only process in nature, then the quantum state (centre point) of the moon would represent a structure smeared out over a large part of the sky, and each human body–brain would likewise be represented by a structure smeared out continuously over a huge region. Process 2 generates a cloud of possible worlds, instead of the one world we actually experience...<span style="text-align: justify;">," <a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank">Jeffrey M. Schwartz's, Henry P. Stapp's and Mario Beauregard's "Quantum physics in neuroscience and psychology: a neurophysical model of mind–brain interaction," </a></span><i style="text-align: justify;"><a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank">Philosophical Transactions of the Royal Society</a></i><span style="text-align: justify;"><a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank"> (2005)</a>;</span></div>
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"... a seminal discovery by Heisenberg... in order to get a satisfactory quantum generalization of a classic theory one must replace various numbers in the classic theory by actions (operators). <span style="text-align: start;">A key difference between numbers and actions is that if A and B are two actions then AB represents the action obtained by performing the action A upon the action B. If A and B are two different actions then generally AB is different from BA: the order in which actions are performed matters. But for numbers the order does not matter: AB=BA. The difference between quantum physics and its classic approximation resides in the fact that in the quantum case certain differences AB–BA are proportional to a number measured by Max Planck in 1900, and called Planck’s constant. Setting those differences to zero gives the classic approximation</span>,"<span style="text-align: justify;"> <a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank">Jeffrey M. Schwartz's, Henry P. Stapp's and Mario Beauregard's "Quantum physics in neuroscience and psychology: a neurophysical model of mind–brain interaction," </a></span><i style="text-align: justify;"><a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank">Philosophical Transactions of the Royal Society</a></i><span style="text-align: justify;"><a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank"> (2005)</a>;</span><br />
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"At their narrowest points, calcium ion channels are less than a nanometre in diameter... The narrowness of the channel restricts the lateral spatial dimension. Consequently, the lateral velocity is forced by the quantum uncertainty principle to become large. This causes the quantum cloud of possibilities associated with the calcium ion to fan out over an increasing area as it moves away from the tiny channel to the target region... This spreading of this ion wave packet means that the ion may or may not be absorbed on the small triggering site. Accordingly, the contents of the vesicle may or may not be released... the quantum state of the brain <span style="text-align: justify;">splits into a vast host of classically conceived possibilities, one for each possible combination of the release-or-no-release options at each of the nerve terminals... a huge smear of classically conceived possibilities," <a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank">Jeffrey M. Schwartz's, Henry P. Stapp's and Mario Beauregard's "Quantum physics in neuroscience and psychology: a neurophysical model of mind–brain interaction," </a></span><i style="text-align: justify;"><a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank">Philosophical Transactions of the Royal Society</a></i><span style="text-align: justify;"><a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank"> (2005)</a>;</span><br />
"... waves make diffraction patterns precisely because multiple waves can be at the same place at the same time, and a given wave can be at multiple places at the same time... by definition particles are localized entities that take up space, they can be here or there, but not in two places at once. However it turns out that particles can produce diffraction patterns under specific circumstances... a given particle can be in a state of superposition... to be in a state of superposition between two positions, for exemple, is not to be here or there or even here and there, but rather it is to be indeterminately here-there. That is, it is not simply that the position is unknown, but rather there is no fact of the matter to whether it is here or there... it is a matter of ontological indeterminacy and not merely epistemological uncertainty... patterns of difference... are arguably at the core or what matter is and are at the heart of how quantum physics understands the world... the quantum probabilities are calculated by taken account of all the possible paths connecting the points. In other words, a given particle that starts out here and winds up there is understood as is understood to be in a superposition of all possible paths between two points. Or in its four dimensional quantum field theory elaboration, all possible space-time histories... the very meaning of superposition is that all possible histories are happening together, they all coexist and mutually contribute to this overall pattern or else there wouldn't be a diffraction pattern..." <a href="https://youtu.be/RZHurGcoRmQ" target="_blank">Karen Barad's "Troubling Time's & Ecologies of Nothingness," <i>European Graduate School Video Lectures </i>(YouTube</a>), my transcription;<br />
"Quantum physics opens up another possibility beyond the relatively familiar phenomena of spatial diffraction, namely, temporal diffraction. The existence of temporal diffraction is due to a less well-known indeterminacy principle than the usual position/momentum indeterminacy principle... something call the energy/time indeterminacy principle. This indeterminacy principle plays a key role in quantum field theory... temporalities are not merely multiple, but rather temporalities are specifically entangled and threaded through one another such that there is no determinate answer to the question <i>what time is it? </i><a href="https://youtu.be/RZHurGcoRmQ" target="_blank">Karen Barad's "Troubling Time's & Ecologies of Nothingness,"</a> <a href="https://youtu.be/RZHurGcoRmQ" target="_blank"><i>European Graduate School Video Lectures </i>(YouTube</a>), my transcription;<br />
"During the waning decades of the 20th century, the most murdering century by some accounts in history, the notion that the past might be open to revision through a quantum erasure came to the fore. The quantum erasure experiment is a variation of the two slit diffraction experiment, an experiment which Feynman said contains all the mysteries of quantum physics. Against this fantastic claim of the possibility of erasure, I will claim that in paying close attention to the material labours entailed the claim of erasure possibility fades, at least full erasure, while at the same time bringing to the forth a relational ontology sensibility to questions of time, memory and history... the nature of time and being, or rather time-being itself is in question and can't be assumed. What this experiment tells us is not simply that a given particle would have done something different in the past, but that the very nature of its being, its ontology, in the past remains open to future reworkings... In particular I argue that this experiment offers empirical evidence for a relational ontology or perhaps more accurately a hauntology as against a metaphysics of presence... Remarkably this experiment makes evident that entanglement survives the measurement process and further more that material traces of attempts at erasure can be found in tracing the entanglements... While the past is never finished, and the future is not what would unfold, the world holds or rather is the memories of its iterated reconfigurings" <a href="https://youtu.be/RZHurGcoRmQ" target="_blank">Karen Barad's "Troubling Time's & Ecologies of Nothingness,"</a> <a href="https://youtu.be/RZHurGcoRmQ" target="_blank"><i>European Graduate School Video Lectures </i>(YouTube</a>), my transcription;<br />
"If classical physics insists that the void has no matter and no energy, the quantum principle of ontological indeterminacy, and particularly the indeterminacy relation between energy and time, pose into question the existence of such a zero energy, zero matter state... the indeterminacy principle allows for fluctuations of the vacuum... the vacuum is far from empty, it is fill with all possible indeterminate yearnings of space-time mattering... we can understand vacuum fluctuation in terms of virtual particles. Virtual particles are the quanta of the vacuum fluctuations... the void is a spectral ground, not even nothing can be free of ghosts... there is infinite number of possibilities, but not everything is possible. The vacuum isn't empty but neither is anything in it... particles together with their antiparticles and pairs can be created out of the vacuum by putting the right amount of energy into the vacuum... So, similarly, particles together with their antiparticles and pairs can go back into the vacuum, emitting the excess energy" <a href="https://youtu.be/RZHurGcoRmQ" target="_blank">Karen Barad's "Troubling Time's & Ecologies of Nothingness,"</a> <a href="https://youtu.be/RZHurGcoRmQ" target="_blank"><i>European Graduate School Video Lectures </i>(YouTube</a>), my transcription;</div><div style="text-align: justify;"><br />
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<h4><span>Labyrinthine corridors, rooms (which appear at certain intervals and changes of the Moon): </span></h4>
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"This was on Friday afternoon. Saturday morning I awoke early and read the two papers. Bohm, in simple clear language, declared that indeed there were conceptual problems in both macro- and microphysics, and that they were not to be swept under the carpet... And, further, Bohm suggested that the root of those problems was the fact that conceptualizations in physics had for centuries been based on the use of lenses which objectify (indeed the lenses of telescopes and microscopes are called objectives). Lenses make objects, particles," <a href="http://karlpribram.com/wp-content/uploads/pdf/theory/T-166a.pdf" target="_blank">Karl Pribram's "The Implicate Brain"</a>;<br />
"An equally important step in understanding came at a meeting at the University of California in Berkeley, in which Henry Stapp and Geoffrey Chew of the Department of Physics pointed out that most of quantum physics, including their bootstrap formulations based on Heisenberg's scatter matrices, were described in a domain which is the Fourier transform of the spacetime domain. This was of great interest to me because Russell and Karen DeValois of the same university had shown that the spatial frequency encoding displayed by cells of the visual cortex was best described as a Fourier transform of the input pattern. ***The Fourier theorem states that any pattern, no matter how complex, can be analyzed into regular waveform components of different frequencies, amplitudes, and (phase) relations among frequencies. Further, given such components, the original pattern can be reconstructed. This theorem was the basis for Gabor's invention of holography," <a href="http://karlpribram.com/wp-content/uploads/pdf/theory/T-166a.pdf" target="_blank">Karl Pribram's "The Implicate Brain"</a>;<br />
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[***when different wave patterns meet, they add up to form new patterns; you can analyse complex wave patterns as if they were a superposition of more simple waves, which have, for instance a definite, uniforme wavelength; <a href="http://www.pitt.edu/~jdnorton/teaching/HPS_0410/chapters/quantum_theory_waves/index.html" target="_blank">the illustration at left (see the picture much above) is taken from the site of professor John D. Norton (Pittsburg University): "Einstein for Everyone"</a>; it is important to note (and it in no way becomes me to decide) that real wave patterns studied in physics are much more complex than this two dimensional representation, and that they are ultimately formed by something that is neither strictly speaking a wave nor a particle as these are classically understood; it shall also be laid before the reader in this very due time that not all John D. Norton's explanations given in the referred site seem very enlightening to me;]<br />
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<a href="https://aletche.blogspot.com/2018/10/list-of-two-charming-scientists-under.html">From Maxwell's equations</a>, we should expect (and indeed for the literal edification of the world) an infinite number of frequencies of electromagnetic waves (or radiation, which includes visible light, and waves whose frequencies are bellow the one which produces the red colour, such as radio waves, and also waves whose frequencies are above the one which produces the violet colour, such gama rays). All these electromagnetic waves travel under the heaven at what is called the speed of light (the frequencies can vary because the wavelength also varies proportionally) and constitute the <i>electromagnetic spectrum</i>. High frequency means also high photon energy. The photon energy is related to how single atoms of different material objects can absorb and emit electromagnetic waves, which happens always in quantum discrete amounts. <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html" target="_blank">As concrete musical instruments, atoms can produce oscillations only in certain restricted ways, and they do so very energetically.</a> The physical production of what we perceive as forms and colours has to do, however, more directly with the way electromagnetic waves travel much more freely and continuously in space, through, for instance, air or water, interfering (constructively or destructively) with one another, interacting with molecules—and we are talking about electromagnetic waves of lower energy and frequencies, which are visible. What we see, although, isn't—to the very end of the world, everything.</div>
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Does the continuum (infinitely divisible) preclude plurality? Does the discrete precludes unity? Of course no! Except for the lack of imagination of the purist & prudish. But thanks gosh, in philosophy we also have Leibniz's "<i>Natura non facit saltus," </i>and Peirce's synechism (everything is connected), the immemorial and unending, irreducible battles between the <i>one </i>and the <i>many</i><i>.</i> Why should people be so afraid of <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html" target="_blank">a conundrum of straight lines, curves, and points (which besides going for these one- and two-dimensions, can be extrapolated to n-)</a>? Infinitesimals, differentials, and limits, what is the <i>real difference</i>? Epsilon-delta definition (Cauchy, Bolzano, Weierstrass) and nonstandard analysis (Abraham Robinson) are all in the end perfectly compatible. Add to that <i>synthetic differential geometry</i> or <i>the smooth infinitesimal</i> (F. W. Lawvere), whatever! <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html" target="_blank">The actual infinite</a>—everything else starts from it! <i>Just don't be afraid of lingo</i>—the science wars are an affair of securing university bonus (with advowson, rectory & parsonage) in times of <a href="https://www.theguardian.com/business/2019/feb/01/rutger-bregman-world-economic-forum-davos-speech-tax-billionaires-capitalism">economic havoc</a>. And don't forget that continuity doesn't have to be only local, that is, the chaosmos is full of <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html" target="_blank">nonlocal connections</a>, the innermost separations! <a href="https://aletche.blogspot.com/2018/02/audrey-hepburn-haunted-by-az-or-how-to.html" target="_blank">What matters is attitude, not content or specific formulations</a>.</div>
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["Whenever a point x is within δ units of c, f(x) is within ε units of L," graphic and definition from the <a href="https://en.wikipedia.org/wiki/(%CE%B5,_%CE%B4)-definition_of_limit" target="_blank"><i>Wikipedia</i>'s epsilon-delta entry</a> (see the picture much above);]<i> </i><br />
["Infinitesimals (ε) and infinites (ω) on the hyperreal number line (1/ε = ω/1)," graphic and definition from <a href="https://en.wikipedia.org/wiki/Hyperreal_number" target="_blank"><i>Wikipedia</i>'s hyperreal number entry</a> (see the picture much above;]<br />
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"Cusanus... took the circle to be an infinilateral regular polygon, that is, a regular polygon with an infinite number of (infinitesimally short) sides... The idea of considering a curve as an infinilateral polygon was employed by a number of later thinkers, for instance, Kepler, Galileo and Leibniz... Traditionally, geometry is the branch of mathematics concerned with the continuous and arithmetic (or algebra) with the discrete. The infinitesimal calculus that took form in the 16th and 17th centuries, which had as its primary subject matter <i>continuous variation</i>, may be seen as a kind of synthesis of the continuous and the discrete, with infinitesimals bridging the gap between the two. The widespread use of indivisibles and infinitesimals in the analysis of continuous variation by the mathematicians of the time testifies to the affirmation of a kind of mathematical atomism which, while logically questionable, made possible the spectacular mathematical advances with which the calculus is associated. It was thus to be the infinitesimal, rather than the infinite, that served as the mathematical stepping stone between the continuous and the discrete," <a href="https://plato.stanford.edu/entries/continuity/index.html#note-4">John L. Bell's </a><a href="https://plato.stanford.edu/entries/continuity/index.html#note-4">"Continuity and Infinitesimals" (<i>Stanford Encyclopedia of Philosophy</i>)</a> [I like this passage very much, and this is a very useful article, but it shall also be laid before the reader in this very due time that I'm not subscribing in detail to all ideas Bell developed there];</div><div style="text-align: justify;">
"... science needs calculus; calculus needs the continuum; the continuum needs a very careful definition; and the best definition requires there to be actual infinities (not merely potential infinities) in the micro-structure and the overall macro-structure of the continuum... Informally expressed [for Dedekind], any infinite set can be matched up to a part of itself; so the whole is equivalent to a part. This is a surprising definition because, before this definition was adopted, the idea that actually infinite wholes are equinumerous with some of their parts was taken as clear evidence that the concept of actual infinity is inherently paradoxical... [Cantor's] new idea [similar to Dedekind's] is that the potentially infinite set presupposes an actually infinite one. If this is correct, then Aristotle’s two notions of the potential infinite and actual infinite have been redefined and clarified," <a href="https://www.iep.utm.edu/infinite/" target="_blank">Bradley Dowden's "The Infinite" (<i>Internet Encyclopedia of Philosophy</i>)</a> [I like this passage very much, and this is a very useful article, but it shall also be laid before the reader in this very due time that I'm not subscribing in detail to all ideas Dowden developed there];</div><div style="text-align: justify;">
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"... in Quantum Electrodynamics... processes of much greater complexity [than a simple electron-electron scattering] could intervene in the scattering process. For example, the exchanged photon could convert to an electron-positron pair which would subsequently recombine... or one of the incoming electrons might emit a photon and reabsorb it on the way out... in general, the exchange of arbitrarily large numbers of photons, electrons and positrons can contribute to electromagnetic interactions... very complicated multiparticle exchanges have to be taken into account in the analysis of physical systems. Indeed, no exact solutions to the Quantum Electrodynamics are known, nor have such solutions ever been shown rigorously to exist [but precise approximations are possible]," Andrew Pickering's <i>Constructing Quarks </i>(p. 63);<br />
"... in quantum field theory all forces are mediated by particle exchange... It is equally important to stress that the exchanged particles... are not observable... To explain why this is so, it is necessary to make a distinction between 'real' and 'virtual' particles... particles with unphysical values of energy and momentum are said to be 'virtual' or 'off mass-shell' particles. In classical physics they could not exist at all... In quantum physics, in consequence of the Uncertainty Principle, virtual particles can exist, but only for an infinitesimal and experimentally undetectable length of time. In fact, the lifetime of a virtual particle is inversely dependent upon how far its mass diverges from its physical value," Andrew Pickering's <i>Constructing Quarks </i>(p. 64-65);<br />
"In quantum mechanics the particles themselves can be represented as fields. An electron, for example, can be considered a packet of waves with some finite extension in space. Conversely, it is often convenient to represent a quantum mechanical field as if it were a particle. The interaction of two particles through their interpenetrating fields can then be summed up by saying the two particles exchange a third particle, which is called the quantum of the field. For example, when two electrons, each surrounded by an electromagnetic field, approach each other and bounce apart, they are said to exchange a photon, the quantum of the electromagnetic field. The exchanged quantum has only an ephemeral existence... The larger their energy, the briefer their existence. The range of an interaction is related to the mass of the exchanged quantum. If the field quantum has a large mass, more energy must be borrowed in order to support its existence, and the debt must be repaid sooner lest the discrepancy be discovered. The distance the particle can travel before it must be reabsorbed is thereby reduced and so the corresponding force has a short range. In the special case where the exchanged quantum is massless [such as a photon] the range is infinite," <a href="https://pdfs.semanticscholar.org/6b97/c04614e51ca94490e2c88b89a1241c15d6fd.pdf" target="_blank">Gerard 't Hooft's "Gauge Theories of the Forces between Elementary Particles" (<i>Scientific American</i>, vol. 242, n. 6, 1980, pp. 104-141)</a>;</div>
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"It was not immediately apparent that quantum electrodynamics could qualify as a physically acceptable theory. One problem arose repeatedly in any attempt to calculate the result of even the simplest electromagnetic interactions, such as the interaction between two electrons. The likeliest sequence of events in such an encounter is that one electron emits a single virtual photon and the other electron absorbs it. Many more complicated exchanges are also possible, however; indeed, their number is infinite. For example, the electrons could interact by exchanging two photons, or three, and so on. The total probability of the interaction is determined by the sum of the contributions of all the possible events... Perhaps the best defense of the theory is simply that it works very well. It has yielded results that are in agreement with experiments to a n accuracy of about one part in a billion, which makes quantum electrodynamics the most accurate physical theory ever de vised," <a href="https://pdfs.semanticscholar.org/6b97/c04614e51ca94490e2c88b89a1241c15d6fd.pdf" target="_blank">Gerard 't Hooft's "Gauge Theories of the Forces between Elementary Particles" (<i>Scientific American</i>, vol. 242, n. 6, 1980, pp. 104-141)</a>;<br />
"If an electron enters a medium composed of molecules that have positively and negatively charged ends, for example, it will polarize the molecules. The electron will repel their negative ends and attract their positive ends, in effect <i>screening itself</i> in positive charge. The result of the polarization is to reduce the electron's effective charge by an amount that in creases with distance... The uncertainty principle of Werner Heisenberg suggests... that the vacuum is not empty. According to the principle, uncertainty about the energy of a system increases as it is examined on progressively shorter time scales. Particles may violate the law of the conservation of energy for unobservably brief instants; in effect, they may materialize from nothingness. In QED [Quantum Electrodynamics] the vacuum is seen as a complicated and seething medium in which pairs of charged "virtual" particles, particularly electrons and positrons, have a fleeting existence. These ephemeral vacuum fluctuations are polarizable just as are the molecules of a gas or a liquid. Accordingly QED predicts that in a vacuum too electric charge will be screened and effectively reduced at large distances," <a href="http://pages.erau.edu/~reynodb2/ps303/Quigg_1985_SciAm_ElementaryParticlesAndForces.pdf" target="_blank">Chris Quigg's Elementary Particles and Forces (<i>Scientific American</i>, vol. 252, n. 4, 1985, pp. 84-95)</a>;<br />
"A nuvem de probabilidades que acompanha os elétrons entre uma interação e outra é um pouco parecida com um campo. Mas os campos de Faraday e Maxwell, por sua vez, são feitos de grãos: os fótons. Não apenas as partículas estão em certo sentido difusas no espaço como campos, mas também os campos interagem como partículas. As noções de campo e de partícula, separadas por Faraday e Maxwell, acabam convergindo na mecânica quântica. A forma como isso acontece na teoria é elegante: as equações de Dirac determinam quais valores cada variável pode assumir. Aplicadas à energia das linhas de Faraday, dizem-nos que essa energia pode assumir apenas certos valores e não outros... As ondas eletromagnéticas são de fato vibrações das linhas de Faraday, mas também, em pequena escala, enxames de fótons... Por outro lado, também os elétrons e todas as partículas de que é feito o mundo são 'quanta' de um campo... semelhante ao de Faraday e Maxwell," Carlo Rovelli's <i>A realidade não é o que parece</i> (Objetiva, 2014, p. 125);<br />
"A 'nuvem' que representa os pontos do espaço onde é provável encontrar o elétron é descrita por um objeto matemático chamado 'função de onda.'O físico austríaco Erwin Schrödinger escreveu uma equação que mostra como essa função de onda evolui no tempo. Schrödinger esperava que a 'onda' explicasse as estranhezas da mecânica quântica... Ainda hoje alguns tentam entender a mecânica quântica pensando que a realidade é a onda de Schrödinger. Mas Heisenberg e Dirac logo compreenderam que esse caminho é equivocado. A função [de onda] não está no espaço físico, está em um espaço abstrato formado por todas as possíveis [virtuais!] configurações do sistema... A realidade do elétron não é uma onda [?]: é esse aparecer intermitente nas colisões," Carlo Rovelli's <i>A realidade não é o que parece</i> (Objetiva, 2014, p. 271);</div><div style="text-align: justify;"><br />
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<h4>Backdoors (for good & all):</h4>
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"When we say that we wish to make sense of something we meant to put it into spacetime terms, the terms of Euclidean geometry, clock time, etc. The Fourier transform domain is potential to this sensory domain. The waveforms which compose the order present in the electromagnetic sea which fills the universe make up an interpenetrating organization similar to that which characterizes the waveforms "broadly cast" by our radio and television stations. Capturing a momentary cut across these airwaves would constitute their hologram. The broadcasts are distributed and at any location they are enfolded among one another. In order to make sense of this cacophany of sights and sounds, one must tune in on one and tune out the others. Radios and television sets provide such tuners. Sense organs provide the mechanisms by which organisms tune into the cacophany which constitutes the quantum potential organization of the elecromagnetic energy which fills the universe," <a href="http://karlpribram.com/wp-content/uploads/pdf/theory/T-166a.pdf">Karl Pribram's "The Implicate Brain"</a>;<br />
"... the cloud chamber photograph does not reveal a “solid” particle leaving a track. Rather it reveals the continual unfolding of process with droplets forming at the points where the process manifests itself. Since in this view the particle is no longer a point-like entity, the reason for quantum particle interference becomes easier to understand. When a particle encounters a pair of slits, the motion of the particle is conditioned by the slits even though they are separated by a distance that is greater than any size that could be given to the particle. The slits act as an obstruction to the unfolding process, thus generating a set of motions that gives rise to the interference pattern," <a href="http://www.bbk.ac.uk/tpru/BasilHiley/PS20MindMatterAlgebra.pdf">Basil J. Hiley's "Mind and matter: aspects of the implicate order described through algebra" (in K. H. Pribram's and J. King's <i>Learning as Self-Organisation</i>, New Jersey, Lawrence Erlbaum Associates, 1996, pp. 569-86)</a>;<br />
"Let us... ask what the algebraic structure tells you about the underlying phase space. Because the algebra is non-commutative there is no single underlying manifold. That is a mathematical result. Thus if we take the algebra as primary then there is no underlying manifold we can call the phase space. But we already know this. At present we say this arises because of the 'uncertainty principle,' but nothing is 'uncertain,'" <a href="https://pdfs.semanticscholar.org/bb05/2740074f3e6b19f685315c9ddb994b563e29.pdf">Basil Hiley's "From the Heisenberg Picture to Bohm: a New Perspective on Active Information and its relation to Shannon Information" (in A. Khrennikov, Proc. Conf. <i>Quantum Theory: reconsideration of foundations</i>, Sweden, Växjö University Press, pp. 141-162, 2002)</a>;<br />
"What Gelfand showed was that you could either start with an a priori given manifold and construct a commutative algebra of functions upon it or one could start with a given commutative algebra and deduce the properties of a unique underlying manifold. If the algebra is non-commutative it is no longer possible to find a unique underlying manifold. The physicist’s equivalent of this is the uncertainty principle when the eigenvalues of operators are regarded as the only relevant physical variables. What the mathematics of non-commutative geometry tells us is that in the case of a non-commutative algebra all we can do is to find a collection of shadow manifolds... The appearance of shadow manifolds is a necessary consequence of the non-commutative structure of the quantum formalism," <a href="http://www.birkbeck.ac.uk/tpru/BasilHiley/ShadowPhaseVajxo03.pdf">Basil Hiley's "Phase Space Descriptions of Quantum Phenomena" (in A. Khrennikov, <i>Quantum theory: Reconsiderations of Foundations</i>, Vaxjo University Press, 2003)</a>;</div>
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See also (as matter of business or as matter of amusement, if you haven't got to this journey's end too miserably spent):<br />
- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html" target="_blank">the dogma of semantic uniformity & Python Gored Naturalism</a>; </div>
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- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html">the odd transformation of Der Herr Warum (Gödel with Resnais)</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html">the only three types of ingenuity</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/why-self-help-books-are-not-to-be.html">why self-help books are not to be dismissed</a>;<br />
- <a href="https://aletche.blogspot.com/2019/01/the-most-auspicious-tetrahedron-two.html">the most auspicious tetrahedron</a>;<br />
- <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html">what is REAL space? what is REAL number?</a><br />
- <a href="https://aletche.blogspot.com/2018/12/timothy-leary-in-1990s-how-to-talk.html">Timothy Leary in the 1990s</a>;<br />
- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html">5G?! Get real...</a><br />
- <a href="https://aletche.blogspot.com/2018/10/list-of-two-charming-scientists-under.html">list of charming scientists/engineers</a>;<br />
- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>;<br />
- <a href="https://aletche.blogspot.com/2018/06/en-profane-orsay-centre-pompidou-paris.html" target="_blank">en profane: Orsay & Centre Pompidou</a>;<br />
- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html" target="_blank">view from Berthe Trépat's apartment</a>;<br />
- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">list des déclencheurs musicaux</a>;<br />
- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness</a>;<br />
- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception</a>;<br />
- <a href="https://aletche.blogspot.com/2016/03/structuralism-poststructuralism.html">Structuralism, Poststructuralism</a>;<br />
- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">List des figures du chaos primordial (Deleuze)</a>;<br />
- <a href="https://aletche.blogspot.com/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism</a>;<br />
- <a href="https://aletche.blogspot.com/2015/12/piano-playing-kochevitsky.html">Piano Playing (Kochevitsky)</a>;<br />
- <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">L'Affirmation de l'âne (review of Smolin/Unger's <i>The Singular Universe</i>)</a>;<div>- <a href="https://arxiv.org/abs/quant-ph/9801057" target="_blank">What is quantum mechanics trying to tell us? (N. David Mermin)</a>; </div><div>- <a href="https://www.jstor.org/stable/40231740" target="_blank">Chaos and Indeterminism (Jesse Hobbs/Canadian Journal of Philosophy, 1991)</a>; <br />
<div style="text-align: justify;">
And also (with the whole of it):</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html" target="_blank">Dogen with Hagakure</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2015/07/larticulation-blanchotienne-des-notions.html" target="_blank">L'articulation (Maurice Blanchot)</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2016/01/lintelligence-des-fleurs-maeterlinck.html" target="_blank">L'intelligence des fleurs</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2012/07/blog-post.html" target="_blank">Spooky Blue</a>;</div>
<div style="text-align: justify;">
- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900" target="_blank">Interactive while indifferent—Kinds & Phantasmagoria circa 1900</a>;</div><div style="text-align: justify;">- <a href="https://mumbletheoryhome.files.wordpress.com/2021/03/arkady-plotnistky-chaosmologies.pdf" target="_blank">Chaosmologies: Quantum Field Theory, Chaos & Thought (Arcady Plotnitsky)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/20620553/Mathematics_is_Metaphysics_Fernando_Zalamea" target="_blank">Mathematics is Metaphysics (Fernando Zalamea)</a>; </div><div style="text-align: justify;">- <a href="https://www.erudit.org/en/journals/philoso/2010-v37-n1-philoso3706/039718ar/" target="_blank">La vision unificatrice de Grothendieck (Mathieu Bélanger)</a>; </div><div style="text-align: justify;">- <a href="http://www.implications-philosophiques.org/deleuze-et-les-mathematiques/" target="_blank">Deleuze et les mathématiques (Anna Longo)</a>; </div><div style="text-align: justify;">- <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=1421&context=tme" target="_blank">The Mathematical Continuum: A Haunting Problematic (Elizabeth de Freitas)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/57393028/Infinitesimal_how_a_dangerous_mathematical_theory_shaped_the_modern_world" target="_blank">Infinitesimal (review of Amir Alexander's book)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/45671298/Rhythm_and_Textural_Temporality" target="_blank">Rhythm and Textual Temporality (Sha Xin Wei & Garrett Laroy Johnson)</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/4818961/Helmholtz_Riemann_and_the_Sirens" target="_blank">Helmholtz, Riemann, and the Sirens (Peter Pesic)</a>; </div><div style="text-align: justify;">- <a href="https://homepage.ntu.edu.tw/~karchung/phonetics%20II%20page%20eight.htm" target="_blank">Fundamental Frequency and Harmonics (Karen Steffen Chung/National Taiwan University)</a>; </div><div style="text-align: justify;">- <a href="http://dx.doi.org/10.17613/6901-8497">"Balzacian Mysticism, Palindromic Design, and Heavenly Time in Berg's Music" (John Covach)</a>;</div><div style="text-align: justify;">- <a href="https://www.anppom.com.br/revista/index.php/opus/article/view/opus2018b2402" target="_blank">Som-silêncio em Concretion 1960, de Hans-Joachim Koellreutter (Luigi Antonio Irlandini, Revista Eletrônica da ANPPOM)</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">*****extremely useful site for reviewing almost all mathematical concepts and skills in a systematic and organized way (Sal Khan's Academy): <a href="https://www.khanacademy.org/math" style="text-align: left;">https://www.khanacademy.org/math</a>; </div></div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com2tag:blogger.com,1999:blog-30487535.post-80394572484611254352019-02-15T06:33:00.081-08:002024-03-12T13:23:44.688-07:00two sentences, the dogma of semantic uniformity & alchemy (or how not to use the method of shouting to close a window)<a href="#"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEgF4tGcd1p18gMdGA7XGqYBCFAuhivATdTpIp1nsONU6IW18D0i6wjihfOp26IR0fhW9nrUyfcb9aWZ9ncHp0RbribHGFT67FlT0X7FmxpStzyQdMSxpi_jRZcD9EvjRfVi8skg/s400/wolfgang_pauli_montage.jpg" /></a> <div><br />
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Der fürchterliche Pauli as a young student (picture taken from the Internet/<a href="https://cds.cern.ch/record/1221531">CERN</a>);<br />Duchamp in Maya Deren's Witch's Cradle (1943); <br />The Dimension of Dali (Joan Úbeda & Susi Marquès, 2004); </div><div>Monster Group (John Conway) (Numberphile/Youtube); </div><div>What is the number "e" and where does it come from? (Eddie Woo/Youtube); </div><div>500 Years of NOT Teaching the Cubic Formula (Burkard Polster, Mathologer/Youtube); </div><div>The Subtle Reason Taylor Series Work (Morphocular/Youtube 2024); </div><div><div style="text-align: justify;">Imaginary Numbers Are Real: Riemann Surfaces (Welch Labs/Youtube); </div></div><div style="text-align: justify;">Secret Kinks of Elementary Functions (Imaginary Angle/Youtube 2024); </div><div>
The Devil & Father Amorth (William Friedkin, 2018);</div><div>12 Aves do Brasil com Canto Estranhos (Planeta Aves/Youtube);</div><div> </div><div><h4 style="text-align: left;">Wrote upon strong vellum and now in perfect preservation: </h4><div style="text-align: justify;"><br /></div><div>
<div style="text-align: justify;"><div style="text-align: justify;">"People sometimes say that the way things happen in the movies is unreal, but actually it's the way things happen to you in life that's unreal."</div>
<i><div style="text-align: justify;"><i>The Philosophy of Andy Warhol</i></div></i></div><div style="text-align: justify;">"It is not the Copenhagen interpretation of quantum mechanics that is strange, but the world itself."</div><div style="text-align: justify;">N David Mermin (Quantum mysteries for anyone)</div><div style="text-align: justify;"><i>"</i>Para ela a realidade era demais para ser acreditada."</div><div style="text-align: justify;"><div style="text-align: justify;">Clarice Lispector (A Hora da Estrela)</div><div style="text-align: justify;">"And the Gods stand by and marvel..."</div><div style="text-align: justify;">Whistler</div></div><div style="text-align: justify;">"Dieu est un scandale, — un scandale qui rapporte."</div><div style="text-align: justify;"><div style="text-align: justify;">Baudelaire (Fusées)</div><div style="text-align: justify;">"Too many shadows whispering voices</div><div style="text-align: justify;">Faces on posters too many choices..."</div></div>
<div style="text-align: justify;">
Pet Shop Boys<br />
<div style="text-align: justify;">
</div>
</div><div style="text-align: justify;"><div style="text-align: justify;">"Chance, to be precise, is a leap, provides a leap out of reach of one's own grasp of oneself."</div><div style="text-align: justify;">John Cage (45' for a Speaker)</div></div>
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Pode o céu produzir flores,</div></div><div><div style="text-align: justify;">A terra estrelas criar..."</div><div style="text-align: justify;">Cancioneiro Guasca</div></div><div><div style="text-align: justify;">"Nem mesmo sabemos onde habita agora o que é vivo, o que ele é, como se chama."</div><div style="text-align: justify;">Memórias do Subsolo (tradução Boris Schnaiderman)</div><div style="text-align: justify;">"... olho para ela e é como se no escuro ela também olhasse para mim, não se mexe."</div><div style="text-align: justify;">Dária Oníssimovna (tradução Paulo Bezerra)</div></div><div><div style="text-align: justify;">"... across the great brown river where whole trees float with green snakes in the branches and sad-eyed lemurs watch the shore out over a vast plain..."</div><div style="text-align: justify;">W. S. Burroughs</div><div><div style="text-align: justify;">"And maybe wisdom and madness do look very similar, at some point."<br />Monica Gagliano (<a href="https://www.nytimes.com/2019/08/26/style/can-plants-talk.html?smid=nytcore-ios-share" target="_blank">Do Plants Have Something to Say? NYTimes</a>)</div><div style="text-align: justify;">"Le monde n'est ni vrai, ni réel, mais vivant."<br />Gilles Deleuze (<i>Nietzsche et la philosophie</i>)</div><div style="text-align: justify;"><span style="text-align: left;">"L'imagination se lassera plutôt de concevoir que la nature de fournir."</span></div><div style="text-align: justify;"><span style="text-align: left;">Pascal (as cited by Benoît Mandelbrot in The Fractal Geometry of Nature)</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Rien n’est plus fécond, tous les mathématiciens le savent, que ces obscures analogies, ces troubles reflets d’une théorie à une autre, ces furtives caresses, ces brouilleries inexplicables..."</div><div><div style="text-align: justify;">"... les analogies entre le calcul des différences finies et le calcul différentiel servir de guide à Leibniz, à Taylor, à Euler, au cours de la période héroïque durant laquelle Berkeley pouvait dire, avec autant d’humour que d’à-propos, que les 'croyants' du calcul infinitésimal étaient peu qualifiés pour critiquer l’obscurité des mystères de la religion chrétienne, celui-là étant pour le moins aussi plein de mystères que celle-ci. Un peu plus tard, d’Alembert, ennemi de toute métaphysique en mathématique comme ailleurs, soutint dans ses articles de l’Encyclopédie que la vraie métaphysique du calcul infinitésimal n’était pas autre chose que la notion de limite. S’il ne tira pas lui-même de cette idée tout le parti dont elle était susceptible, les développements du siècle suivant devaient lui donner raison; et rien ne saurait être plus clair aujourd’hui, ni, il faut bien le dire, plus ennuyeux, qu’un exposé correct des éléments du calcul différentiel et intégral."</div><div style="text-align: justify;">"Heureusement pour les chercheurs, à mesure que les brouillards se dissipent sur un point, c’est pour se reformer sur un autre."</div></div><div style="text-align: justify;">André Weil (De la métaphysique aux mathématiques)</div><div style="text-align: justify;"><div>"The Divine Spirit found a sublime outlet in that wonder of analysis, that portent of the ideal world, that amphibian between being and not-being, which we call the imaginary root of negative unity."</div><div>Leibniz on imaginary numbers as quoted by Morris Kline (who has no understanding whatsoever of Leibniz's nature)</div></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"<span style="text-align: left;">... the objects of transfinite set theory... clearly do not belong to the physical world and even their indirect connection with physical experience is very loose (owing primarily to the fact that set-theoretical concepts play only a minor role in the physical theories of today)... </span>The set-theoretical paradoxes are hardly any more troublesome for mathematics than deceptions of the senses are for physics... <span style="text-align: left;">The mere psychological fact of the existence of an intuition which is sufficiently clear to produce the axioms of set theory and an open series of extensions of them suffices to give meaning to the question of the truth or falsity of propositions like </span><span style="text-align: left;">Cantor's continuum hypothesis. </span>What, however, perhaps more than anything else, justifies the acceptance of this criterion of truth in set theory is the fact that continued appeals to mathematical intuition are necessary not only for obtaining unambiguous answers to the questions of transfinite set theory, but also for the solution of the problems of finitary number theory (of the type of Goldbach's conjecture), where the meaningfulness and unambiguity of the concepts entering into them can hardly be doubted. This follows from the fact that for every axiomatic system there are infinitely many undecidable propositions of this type.<span style="text-align: left;">"</span></div><div><a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html" target="_blank">Der Herr Warum</a> (What is Cantor's Continuum Problem?/Supplement to the Second Edition)</div></div><div><div style="text-align: right;"><div style="text-align: justify;">"Es treten in uns fortwährend neue Vorstellungs-massen auf, welche sehr rasch aus unserm Bewusstsein wieder verschwinden. Wir beobachten eine stetige Thätigkeit unserer Seele. Jedem Act derselben liegt etwas Bleibendes zu Grunde, welches sich bei besonderen Anlässen (durch die Erinnerung) als solches kundgiebt, ohne einen dauernden Einfluss auf die Erscheinungen auszuüben. Es tritt also fortwährend (mit jedem Denkact) etwas Bleibendes in unsere Seele ein, welches aber auf die Erscheinungswelt keinen dauernden Einfluss ausübt. Jedem Act unserer Seele liegt also etwas Bleibendes zu Grunde, welches mit diesem Act in unsere Seele eintritt, aber in demselben Augenblick aus der Erscheinungswelt völlig verschwindet. Von dieser Thatsache geleitet, mache ich die Hypothese, dass der Weltraum mit einem Stoff erfüllt ist, welcher fortwährend in die ponderablen Atome strömt und dort aus der Erscheinungswelt (Körperwelt) verschwindet..."</div></div><div style="text-align: justify;">Bernhard Riemann (Neue mathematische Prinzipien der Naturphilosophie)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div><span style="text-align: left;">"... un nombre imaginaire est symbolique parce qu’il se réduit à un couple de nombre associés suivant certaines conventions. De même, une équation imaginaire est symbolique, parce qu’elle représente en réalité deux équations entre quantités réelles associées suivant des conventions définies. Or il semblerait a priori que des symboles, ainsi définis, ne pussent être rendus intuitifs par des images appropriées, et que l'intuition dût se limiter à illustrer des réalités intellectuelles correspondant aux quantités réelles. Mais l'idée du plan d'Argand-Caucy et, d'une façon plus systématique, les recouvrements des surfaces de Riemann démontrent qu'en fait on a su pour ces concepts symboliques créer une intuition satisfaisante."</span></div><div><span style="text-align: left;">Jules Vuillemin (La philosophie de l'algèbre)</span></div></div><div><br /></div><div style="text-align: justify;">"... fractal geometry is a new branch born belatedly of the crisis of mathematics that started when DuBois Reymond 1875 first reported on a continuous nondifferentiable function constructed by Weierstrass. The crisis lasted approximately to 1925, major actors being Cantor, Peano, Lebesgue, and Hausdorff. These names, and those of Besicovitch, Bolzano, Cesaro, Koch, Osgood, Sierpinski, and Urysohn, are not ordinarily encountered in the empirical study of Nature, but I claim that the impact of the work of these giants far transcends its intended scope."</div><div style="text-align: justify;"><span style="text-align: left;">Benoît Mandelbrot (Fractal Written Account of Chimeric Notions)</span></div><div style="text-align: justify;">"Der phantasiestarke Mathematiker wird den Gebilden seines Denkens auch die Lebendigkeit der Anschauung einzuhauchen wissen, während Geister von schwächerer Flugkraft oder mehr abstrakter Richtung ihm in sein Reich konkreter Schöpfung und Belebung nicht zu folgen vermögen."</div><div style="text-align: justify;">Felix Hausdorff (<a href="https://archive.org/details/annalendernatur01ostwgoog/page/n9/mode/2up" target="_blank">Das Raumproblem/Annalen der Naturphilosophie 1904</a>)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"El Universo es una esfera cuyo centro está en todas partes y la periferia en ninguna [Nicolas de Cusa]: ¿podría extenderse al tiempo está concepción tradicional del infinito? ¡Qué mejor símbolo del fin de la confusión entre irreversibilidad y degradación! Reencontraríamos aqui la flecha del tiempo asociada a la inestabilidad y a la probabilidad, y ella no significaría ya evolución hacia la muerte térmica, hacia el fin de toda historia, sino posibilidad de un eterno volver a comenzar. El Universo sería creación continua, sucesión infinita de Universos que nacen por doquier y van hacia el infinito."</div><div style="text-align: justify;">Spanish translation (by Javier García Sanz) from the end of chapter 7 of Prigogine & Stengers' Entre le temps et l'eternité </div><div style="text-align: justify;">"... qué habrían dicho los defensores de la racionalidad y del rigor mecanicista si hubieran conocido la extraña fuerza newtoniana? Ya que, detrás de las prudentes declaraciones de Newton (no habrá ninguena hipótesis en lo que se refiere a la naturaleza de las fuerzas), se disimulará la pasión de un alquimista?... Lo que inspiro la fuerza newtoniana que anima a la materia inerte y que constitue en su sentido más fuerte la actividad de la naturaleza, parecen ser fuerzas que el químico Newton observó entre los cuerpos, fuerzas de atracción, de repulsión que regula la 'vida social' de la materia, fuerzan a todo cuerpo a formar pares estables con otros, a provocar por repulsión la disolución de los compuestos, a servir de mediadores que permiten el acercamiento y el acoplamiento de otros cuerpos..."</div><div style="text-align: justify;">Spanish translation (by Manuel García Velarde and María Cristina Martín Sanz) of Prigogine & Stengers's La nouvelle alliance</div><div style="text-align: justify;">[it is an ill-fated instance of the malignancy of this world that it happens I don't have the French originals of these two books by Prigogine & Stengers, & shall therefore by my ashes stand forever indebted (compound interest!) to the heroine soul (chaste star!) who peradventure send me, with all her fraternity, the French originals of just this choicest morsel so I could definitely pen it down here as a seasonable kindness to our whole parish!]</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"Since Einstein introduced discontinuity into the study of light, and de Broglie the continuity of waves into the study of matter, it is impossible to maintain the old idea of domains of physical facts that are separate from one another. The physics of the continuous represents a mode of treatment by differential equations of physical facts. The physics of discontinuity represents a mode of treatment of the same facts by other methods: group theory, calculation of matrices, quantum statistics, etc. <span style="text-align: left;">There thus exists a certain analogy between contemporary physics and contemporary mathematics, in that they offer each other the spectacle of facts amenable to being studied at the same time by the calculus of the continuous and by the calculus of the discontinuous."</span></div><div><div style="text-align: justify;">Albert Lautman (Essay on the Unity of Mathematical Sciences, Simon B. Duffy's translation)</div><div style="text-align: justify;">"Mathematics is constituted like physics: the facts to be explained were throughout history the paradoxes that the progress of reflection rendered intelligible by a constant renewal of the meaning of essential notions. Irrational numbers, the infinitely small, continuous functions without derivatives, the transcendence of e and of r, the transfinite had all been accepted by an incomprehensible necessity of fact before there was a deductive theory of them. They had the fate of these physical constants like c or h which were essential in an incomprehensible way in the most different domains, up until the genius of Maxwell, Planck and Einstein knew to see in the constancy of their value the connection of electricity and light, of light and energy."</div><div style="text-align: justify;">"Facts are... organized under the unity of the notion that generalizes them. The real ceases to be the pure discovery of the new and unforeseeable fact, in order to depend on the global intuition of a supra-sensible entity. [Pierre] Boutroux [<i>L'Ideal scientifique des mathématiciens</i>, 1920] takes as an example the reality of the ellipse. The ellipse is for him neither the locus of points such that the sum of their distances to the foci is constant, nor a curve defined by its algebraic equation, nor a curve to the projective properties of conics. It is all that and much more. It is, he says, 'a whole that does not include parts... a sort of Leibnizian monad. This monad is pregnant with the properties of the ellipse; I mean that these properties, even though they have not been explicitly formulated (and they cannot be since they are infinite in number) are contained in the notion of ellipse.'"</div></div><div style="text-align: justify;">Albert Lautman (Essay on the Notions of Structure and Existence in Mathematics, Simon B. Duffy's translation)</div><div style="text-align: justify;">"... it is for reasons that depend on the very nature of their conception of the problem of the foundation of mathematics that most theorists of contemporary mathematical logic judge this ‘purification’ of arithmetic of any analytic elements as extremely desirable. Whether it is an undertaking to reconstruct all of mathematics from the single notion of the whole number, or the requirement to at least reduce the consistency of analysis to that of arithmetic, it seems that it will always rely on the idea that arithmetic is metaphysically anterior to analysis, and <span style="text-align: left;">that calling upon analysis to prove arithmetic results is consequently con</span>trary to the natural order of things. In any case, whatever the effort dispensed on this route, it does not currently appear that it will ever be possible, for example in the theory of prime numbers, to eliminate analysis from arithmetic. If this negative result is then compared with the proof by Gödel of the impossibility of formalizing a supposedly consistent proof of the consistency of arithmetic without appeal to means that exceed arithmetic, it can lead to thinking that it is incorrect to consider arithmetic as fundamentally simpler than analysis."</div><div style="text-align: justify;">Albert Lautman (New Research on the Dialectical Structure of Mathematics, Simon B. Duffy's translation<span style="text-align: left;"> [it is ALSO an ill-fated instance of the malignancy of this world that it happens I don't have the French original of Lautman's essays, & shall therefore by my ashes stand forever indebted to the heroine soul (chaste star!) who peradventure send me, with all her fraternity, the French original of just at least these choicest morsels so I could definitely pen them down here as a seasonable kindness to our whole parish!])</span></div></div><div style="text-align: justify;"><span style="text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="text-align: left;"><div style="text-align: justify;">"Ce n’est qu’après le temps de Planck de 10−43 sec que les lois de la physique commencèrent à se créer. Les quatre forces fondamentales (éléctromagnetisme, force faible, force forte, gravitation) se 'condensèrent' après 10−12 sec. Un milliard d’années après surgirent les galaxies, et ensuite les éléments chimiques lourds tel que le fer. Notre terre naquit il y a seulement 4,6 milliards d’années, suivie par les protistes 800 millions d’années plus tard. Malgré le succès dû à sa puissance explicatrice et prédicative des phénomènes de la nature inanimée, la physique ne concerne qu’un segment limité de la réalité. L’ontologie de la physique ne pourrait se libérer de celle des mathématiques, c’est-à-dire d’une ontologie de nature parfaitement spirituelle. Ce fait prend une portée dramatique en particulier au moment planckien de la naissance des lois de la physique: c’est un processus qui ne peut exister qu’au sein de la réalité des mathématiques, non humaines, mais bien 'divines', si l’on y tient. Le lieu de naissance des lois de la physique touche à une réalité non physique. Ce type de recours inevitable à la base mathématique est d’ailleurs une des obstructions les plus dures à la réduction de l’activité intelligente de l’esprit humain aux purs processus neuronaux de la substance cérébrale dont les neuro-scientifiques voudraient nous persuader. En particulier, ce plaidoyer est une mise en relief des autres strates de la réalité: de la biologie et de la culture, de la logique du vivant et surtout de la dynamique mentale qui nous élèvent au-dessus de la matière animée ou non. Le succès de la physique s’avère être le succès de son immersion fondamentale au sein de la réalité spirituelle des mathématiques."</div><div style="text-align: justify;">"Le Big Bang biologique créa des lois de l’évolution biologique dont la logique est loin d’être comprise. Elles semblent se situer loin au-delà des lois de la physique, qui elle ne sait rien de la vie, de sa dynamique selective, des jeux chaotiques et catastrophiques dont la téléologie de la survie échappe à la causalité, même brisée par les lois de la mécanique quantique, et dont l’organisation circulaire requiert des mathématiques fort différentes de celles de la physique, par exemple les fractales, les réseaux neuronaux, la théorie du chaos, des catastrophes, des automates cellulaires, ou alors des ensembles non bien fondés. Mais encore, comme en physique, la réalité biologique ne pourrait fonctionner comme base réductrice pour la réalité spirituelle, car toute description précise de ses phénomènes recourt aux mathématiques et aucune mathématique ne pourrait être expliquée en termes purement biologiques. C’est ici un point bien délicat qui semble échapper à quelques représentants des sciences cognitives: l’analyse cognitive reste totalement impuissante si l’on en exclut la contribution des mathématiques dont elle fait usage."</div></span></div><div style="text-align: justify;"><span style="text-align: left;"><div style="text-align: justify;">"On sait que pour le musicien, la compréhension du temps en tant qu’axe muni d’une seule dimension réelle est inacceptable. La réalité musicale du temps est vécue dans une variété fort complexe comprenant la stratification en rythmes locaux et globaux, en hiérarchies de courbes des tempi, et en dimensions temporelles engendrées par l’action et l’interaction de l’instrumentiste dans la genèse corporelle des vibrations sonores. Cette apparente confrontation des conceptions de temporalités ne se réduit pas à la simple négation de l’axe temporel et au contraire met en évidence le fait que cette mince ligne temporelle est une projection d’ontologies complexes dont les lois de la temporalité ne peuvent se concevoir en une seule dimension. Tout se passe dans un espace complexe temporel, dont la ligne du temps 'mesuré' ne présente qu’une image illusoire."</div><div style="text-align: justify;">Guerino Mazzola (La vérité du beau dans la musique) </div></span></div><div style="text-align: justify;"><span style="text-align: left;"><br /></span></div><div><div style="text-align: justify;">"But those infinities are perhaps not inevitable... I regard Peirce's hypostatization as name magic, Wittgenstein's alchemy."</div><div style="text-align: justify;">"Pythagoreanism is the deeper naturalism."</div><div style="text-align: justify;">Ian Hacking (Why is There Philosophy of Mathematics At All?)</div><div style="text-align: justify;">"... physics can only (correctly) assert that photomultiplier #n firing is perfectly correlated with my knowing that photomultiplier #n fired for either value of n. The question that physics does not answer is how it can be that I know that it is #1 and is not #2. This is indeed a problem. It is part of the problem of consciousness."</div><div><div style="text-align: justify;"><a href="https://arxiv.org/abs/quant-ph/9801057" target="_blank">David Mermin (What is quantum mechanics trying to tell us?)</a></div><div style="text-align: justify;">"'Delusion' is such a word; its very vagueness helps by preventing us from seeing to the bottom of it. The two conceptions of reality and of deception are mingled in it, and perhaps the mingling has more justification than we know, and is less strange in nature than it is to our downright processes of thought."</div><div style="text-align: justify;">Thomas Mann (An Experience in the Occult/H. T. Lowe-Porter translation)</div><div style="text-align: justify;">"En faisant de la volonté l'essence des choses ou le monde vu du dedans, on refuse en principe la distinction de deux mondes: c'est le même monde qui est sensible et suprasensible."</div><div style="text-align: justify;">Gilles Deleuze (Nietzsche et la philosophie)</div><div style="text-align: justify;">"Mais tout cela est suffisant pour faire toucher du doigt une différence bien plus grande encore, celle qui sépare l'Occident moderne de tous ces peuples du présent et du passé qui n'ont pas jugé nécessaire de procéder à une naturalisation du monde."</div><div style="text-align: justify;">Philippe Descola</div></div></div><div style="text-align: justify;">"... car loin de croire le surnaturel, le divin inventé par l'homme je pense que c'est l'intervention millénaire de l'homme qui a fini par nous corrompre le divin."</div><div style="text-align: justify;">"Le vieux totémisme des bêtes, des pierres, des objets chargés de foudre, des costumes bestialement imprégnés, tout ce qui sert en un mot à capter, à diriger, et à dériver des forces..."</div><div style="text-align: justify;">"... les idées claires sont, au théâtre comme partout ailleurs, des idées mortes et terminées."</div><div style="text-align: justify;">Antonin Artaud</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Commodum limen evaserant, et fores ad pristinum statum integrae resurgunt: cardines ad foramina residunt, postes ad repagula redeunt, ad claustra pessuli recurrunt..."</div><div style="text-align: justify;">"At ille, odore alioquin spurcissimi humoris percussus quo me Lamiae illae infecerant, vehementer aspernatur..."</div><div style="text-align: justify;">"Verum tamen et ipse per somnium iugulari visus sum mihi, nam et iugulum istum dolui et cor ipsum mihi avelli putavi, et nunc etiam spiritu deficior et genua quatior et gradu titubo et aliquid cibatus refovendo spirito desidero."</div><div style="text-align: justify;">Apuleius</div><div style="text-align: justify;"><br /></div></div><div style="text-align: justify;"><div>"Às duas da manhã o preso, que até então se mantivera surpreendentemente calmo e até adormecera, súbito começou a gritar, passou a esmurrar freneticamente a porta, com uma força antinatural arrancou da janelinha da porta a grade de ferro, quebrou o vidro e cortou as mãos..."</div><div>"Liámchin começou a gritar com uma voz que não era de gente, mas de algum animal."</div><div>Dostoiévski (Os Demônios, tradução de Paulo Bezerra)</div><div>"Y un día, cuando harto de caminar por las tierras que están a la orilla de la nuestra, entré por un sendero bordeado de lustros y descubrí mi casa y salí a la calle, la gente descubrió que jo estaba desnudo porque posiblemente no veía mi traje de capitán acusándome, además, de homicidio y pederasta."</div><div>Roberto Arlt (El traje del fantasma)</div></div><div style="text-align: justify;">"Le phénomène 'Rachel' qui n'opère dans aucun espace-temps n'est pas compréhensible, pas plus que ne le sont les plus petits éléments en physique."</div><div style="text-align: justify;">Anselm Kiefer (L'Art survivra à ses ruines)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... si tout à l'heure je trouvais que Bergotte avait dit faux en parlant des joies de la vie spirituelle, c'était parce que j'appelais 'vie spirituelle', à ce moment-là, des raisonnements logiques qui étaient sans rapport avec elle..."</div><div style="text-align: justify;">"... il y avait peut-être sous ces signes quelque chose de tout autre que je devais tâcher de découvrir, une pensée qu'ils traduisaient à la façon de ces caractères hiéroglyphique que on <i>croirait </i>représenter seulement des objets matériels... un grimoire compliqué et fleuri..."</div><div style="text-align: justify;">"... sans laisser de côté ces mystères qui n'ont probablement leur explication que dans d'autres mondes et dont le pressentiment est ce qui nous émeut le plus dans la vie et dans l'art."</div><div style="text-align: justify;">Marcel Proust (le narrateur)</div>
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... ich bin, um es in Räthselform auszudrücken, als mein Vater bereits gestorben, als meine Mutter lebe ich noch und werde alt."</div><div style="text-align: justify;">"Ich schätze den Werth von Menschen, von Rassen darnach ab, wie nothwendig sie den Gott nicht abgetrennt vom Satyr zu verstehen wissen..."</div></div><div style="text-align: justify;">"Theologisch geredet — man höre zu, denn ich rede selten als Theologe — war es Gott selber, der sich als Schlange am Ende seines Tagewerks unter den Baum der Erkenntniss legte: er erholte sich so davon, Gott zu sein…"</div>
<div style="text-align: justify;"><div style="text-align: justify;">Nietzsche (Ecce Homo)</div><div style="text-align: justify;">"Ein solcher Gott muss nützen un schaden können, muss Freund und Feind sein können—man bewundert ihn im Guten wie in Schlimmen. Die widernatürliche Kastration eines Gottes zu einem Gotte bloss des Guten läge hier ausserhalb aller Wünschbarkeit."</div><div style="text-align: justify;">"Das ist es nicht, was uns abscheidet, dass wir keinen Gott wiederfinden, weder in der Geschichte, noch in der Natur, noch hinter der Natur—sondern dass wir, was als Gott verehrt wurde, nicht als 'göttlich', sondern als erbarmungswürdig, als absurd, als schädlich empfinden, nicht nur als Irrtum, sondern als Verbrechen am Leben... Wir leugnen Gott als Gott..."</div><div style="text-align: justify;">Nietzsche (Der Antichrist)</div><div style="text-align: justify;">"Et que de dieux sont encore possibles! Je ne douterais point de l'existence de toutes sortes de dieux..."</div><div style="text-align: justify;">Nietzsche (traduit par Klossowski)</div><div style="text-align: justify;">"... veja bem, um Deus não é o mesmo que Deus, please!"</div><div style="text-align: justify;">Hélio Oiticica</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Sans doute la version nietzschéenne du polythéisme est-elle bien nécessairement aussi éloignée de la dévotion antique que sa propre notion du divin instinct générateur de plusieurs dieux l'est nécessairement de la notion chrétienne de la divinité. Mais ce dont cette 'version' témoigne c'est le refus de s'installer dans une morale athée qui, pour Nietzsche, n'était pas moins irrespirable que la morale monothéiste, et il ne pouvait pas ne pas voir dans la morale athée et humanitaire autre chose que la continuation de ce qu'il éprouvait comme la tyrannie d'une vérité unique... l'incroyance à l'égard d'un Dieu unique et normateur, d'un Dieu qui est la Vérité, ne s'affirme pas moins comme une impiété d'inspiration proprement divine et s'interdit tout repliement de la raison dans les limites strictement humaines... non que cette impiété aspire au pur et simple déchaînement des forces aveugles comme on est généralement convenu de le dire au sujet de Nietzsche, alor qu'il n'a rien de commun avec un vitalisme faisant table rase de toutes les formes élaborées de la culture; Nietzsche est aux antipodes de tout naturisme... c'est pourquoi on retrouverait dans l'incantation de Zarathoustra comme un appel à une insurrection des images, de ces images que, dans ses phantasmes, l'âme humaine, au contact des forces obscures en elle, est capable de former; phantasmes qui témoignent pour l'âme comme d'une aptitude à la métamorphose toujours inépuisée, d'un besoin d'investissement universel inassouvi où les diverses formes extra-humaines de l'existence se proposent à l'âme comme autant de possibilités d'être..."</div><div><div>"... la doctrine de l'éternel retour se conçoit encore une fois comme un simulacre de doctrine dont le caractère parodique même rend compte de l'hilarité comme attribut de l'existence se suffisant à elle-même lorsque le rire éclate au fond de l'entière vérité, soit que la vérité explose dans le rire des dieux, soit que les dieux eux-mêmes meurent de fou rire..." </div><div>"... car si les dieux meurent de ce rire, c'est aussi de ce rire qui éclate du fond de l'entière vérité que les dieux renaissent."</div><div>''Zarathoutra, dès lors qu'il a voulu l'éternel retour de toutes choses, a d'avance choisi de voir tourner en dérision sa propre doctrine... Quel autre sens, si ce n'est celui-là, attribuerait-on à l'extraordinaire parodie de la Cène où le meurtrier de Dieu est aussi celui qui offre le calice à l'âne — figure sacrilège du Dieu chrétien du temps de la réaction païenne, mais plus spécifiquement animal sacré des mystères antiques, l'âne d'or de l'initiation isiaque, animal digne par son infatigable Ia (ita est!) — son infatigable oui donné au retour de toutes choses — digne de représenter la longanimité divine, digne donc aussi d'incarner une antique divinité, Dionysos, le dieu de la vigne, ressuscité dans l'ivresse générale. Et en effet, comme Voyageur le déclare à Zarathoustra: la mort, chez les dieux, n'est jamais qu'un préjugé."</div><div>Pierre Klossowski (Un si funeste désir) </div><div><br /></div>"In a famous article, Pierre Cartier, one of Grothendieck’s main disciples, had conjectured that ‘there are many reasons for believing in a 'cosmic Galois group' acting on the fundamental constants of physical theories. This group should be closely related to the Grothendieck-Teichmüller group’... ‘Cartier’s dream’, as his conjecture was known for some years, had therefore ‘come true’, thanks to the results of Connes and his team, and it thus represents a sort of intensified, infinitely refined Pythagoreanism, harking back to the first, rough and original hypotheses regarding the existence of harmonic correspondences between mathematika (the study of quantity) and kosmos (order). In Connes’s work, this arithmetico-geometrico-physical refinement extends to deeper analogies between physical divergences in field theory and arithmetical mixtures in Tate motifs, thus approaching what Connes calls the very ‘heart’ of mathematics: ‘modular forms, L-functions, arithmetic, prime numbers, all sorts of things linked to that.'"</div></div><div><a href="https://appliedvirtualitylab.files.wordpress.com/2015/09/synthetic-philosophy-of-contemporary-mathematics-web.pdf" style="text-align: justify;" target="_blank">Fernando Zalamea (Synthetic Philosophy of Mathematics)</a></div><div><br /></div><div><div style="text-align: justify;">"As Messiaen observed, when combining multiple simultaneous rhythms, one confronts 'neutralizing forces' that prevent clear perception of their superimposition. In general, these forces pertain to any kind of similarity between the various rhythmic voices, be it timbral, registral, harmonic, durational, or similarity of intensity and attack time. Messiaen was especially insistent on how isochronous pulsations destroy the polyrhythmic 'scaffolding' (échafaudage). Messiaen suggested that polyrhythms be articulated by polytonality and polymodality."</div><div style="text-align: justify;">"The early electronic music of Stockhausen is a classic example of the integration of pitched and non-pitched elements. Gesang der Jünglinge (1956) juxtaposed sung serial melodies and chords against such elements as 'sine complex showers,' 'impulse complex showers,' filtered and broadband noise, and 'chords' of narrow noise bands. His Kontakte (1960) takes the contrasts even further. At any given instant, Stockhausen pits noise against pitch, fixed against moving, close against far, short against long, high against low register, soft against loud—always in sharp relief. This unrelenting counterpoint of contrasts marks Kontakte as an especially inventive composition, as Stockhausen discovered oppositions that were never before articulated."</div><div><span>Curtis Roads, Composing Electronic Music</span></div></div><div><span><br /></span></div><div style="text-align: justify;">"When talking about miracles, we should of course bear in mind Lacan's qualification that the only 'irrationality' he admits is that of irrational numbers in mathematics—in a homologous way, the only 'miracles' a radical materialist allows for are mathematical ones."</div><div style="text-align: justify;">"... it is the subjective act of transcendental synthesis which transforms the chaotic array of sensual impressions into 'objective reality.' Shamelessly ignoring the objection that we are confounding ontological and empirical levels, here we must invoke quantum physics: it is the collapse of the quantum waves in the act of perception which fixes quantum oscillations into a single objective reality. And, furthermore, this point must be universalized: every figure of reality is rooted in a determinate standpoint. Even at a level closer to us, we know how different 'reality' appears to a hog or a bird, starting with the different tapestry of colors: each living being perceives (and interacts with) its own 'reality.' And one should push this insight to the extreme of Cartesian doubt: the very notion of greatness should be relativized. How do we know that our Milky Way is not just a speck of dust in another universe? Why, when we think about aliens, do we always accept that, though they may be smaller or larger than us, they nonetheless live in a world which is proportionally of the same order of greatness as ours? Perhaps aliens are already here, but just so large or so small that we do not even notice each other."</div><div style="text-align: justify;">Slavoj Zizek (Haunted by A/Z, Feyerabend with vengeance & the New Wave)</div><div>*************************************************************</div><div><h4 style="text-align: left;">Two sentences:</h4> <br /><div style="text-align: justify;">"There are at least three perfect numbers greater than 17." </div><div style="text-align: justify;">"There are at least three large cities older than New York."</div></div>
<div style="text-align: justify;">
- from Ian Hacking's (person of no small note and consequence) <i>Why is there Philosophy of Mathematics at all </i>(Cambridge, 2014, p. 216-17);</div>
<div style="text-align: justify;">
From the dogma of semantic uniformity: </div>
<div style="text-align: justify;">
Both sentences are to be analysed in the same way [also from Hacking's <i>Why is there Philosophy of Mathematics</i>, p. 217, but Hacking doesn't subscribe to the dogma, he derides it as an abominable thing]. </div>
<div style="text-align: justify;">
What is semantic uniformity, standard semantics, denotational semantics? Something that is at odds with a minimal insightful understanding of mathematics. Something that is at odds with a minimal insightful understanding of "natural languages" (and moreover, who said that languages such as English not to speak Portuguese or Polish and even Hungarian are supposed to be <i>natural</i>?!): </div>
<div style="text-align: justify;">
"Nobody who takes Wittgenstein seriously is likely to agree to denotational [or referential] semantics applied to mathematics," Hacking's <i>Why is there Philosophy of Mathematics</i>, p. 218 [and even more important: "As his philosophy evolved, Wittgenstein absolutely rebelled against the uniformity-of-semantics premise"] [aside on Sir Peter Frederick Strawson (a man of erudition): "expressions have meanings, while we use some expressions to refer," "Strawson's lesson, that words do not refer, but that speakers use words to refer, seems to have been largely forgotten," Hacking, p. 219];</div>
<div style="text-align: justify;">
<br /></div>
<h4 style="text-align: justify;">Brewing the alchemy [but that against semantic uniformity & in favour of Python Gored Naturalism—to heroine it into so violent and hazardous an extream]:</h4><div style="text-align: justify;">
<div style="text-align: justify;">
<br /></div>
</div>
<div style="text-align: justify;">
- what is 17?</div>
<div style="text-align: justify;">
- what is New York?</div>
<div style="text-align: justify;">
- what is a perfect number?</div>
<div style="text-align: justify;">
- what is a large city?</div>
<div style="text-align: justify;">
- what are numbers?</div>
<div style="text-align: justify;">
- what are cities?</div>
<div style="text-align: justify;">
- what is an <i>object</i>?</div>
<div style="text-align: justify;">
- what is an <i>entity</i>?</div>
<div style="text-align: justify;">
...</div>
<div style="text-align: justify;">
→ there are <i>things</i>, <i>real</i> things (although not all things are like that) which we are acquainted with and with which we don't have causal relations [for example, <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html">some mathematical stuff</a> &/or <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">phenomena related to non-locality</a>, which was impossible for you to guess];</div><div style="text-align: justify;">
<br />
"... it is very much a philosopher's view that the only objects there are are physical or material objects, or regions of space-time, or whatever it is that philosophers tell us... to maintain that there aren't any numbers at all because numbers are abstract and not physical objects seems like a demented way to show respect for physics, which of course everyone admires," George Boolos (person of no small note and consequence), as quoted by Hacking, <i>Why is there Philosophy of Mathematics at all</i>.</div><div style="text-align: justify;">
"We are of divine species," Dedekind (person of no small note and consequence) as quoted by Hacking, <i>Why is there Philosophy of Mathematics at all</i>.</div>
<div style="text-align: justify;">
<br /></div>
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***More on the dogma of semantic uniformity, or an <i>expatiation</i> on how to accommodate Python Gored Naturalism with Styles of Scientific Reasoning & Pedestrian Reality: "... when facing this possibility of using the notion of styles of thinking to address so diversified kinds of human undertakings, a special point must be considered. Hacking is not saying that in order to point to truth or falsehood every proposition depends on some kind of style of thinking. He “rejects any uniform all-purpose semantics,” and the “idea that a uniform theory of truth or of meaning should apply across the board to an entire language”... In contrast to sentences that would depend on styles of thinking in order to point to truth or falsehood, Hacking refers to “the boring utterances that crop up in almost any language, and which make radical translation relatively easy.” He refers to “propositions that have a sense for almost all human beings,” and to the “boring domains of ‘observations’ that we share with all people as people.” As an example of such an observation, Hacking suggests the proposition “my skin is warm”... It is possible to sustain that even the most apparently obvious propositions are in any case theory-laden. But the conflation of Hacking’s distinction between more and less sophisticated kinds of propositions would imply a very implausible oversimplification of the way real people use language. Under normal viewing conditions, no one would even think much less utter a proposition such as <i>this table is brown</i>, so obvious people take to be its meaning... Someone could perfectly say, however, <i>this chair is made of Brazilian rosewood</i>, and this would make sense exactly for denoting some kind of expertise. We can understand the first sentence as not depending on any specific style whatsoever, and capable of being understood straightforwardly by most people just by the use of the most elementary discursive and perceptual abilities. The second sentence demands the use of other skills, which do not have to be styles of thinking, but only a slightly more elaborated and technical use of elementary discursive and perceptual abilities. Finally, another sentence could be added in order to extend the comparison: <i>the heat which has the refrangibility of the red rays is occasioned by the light of those rays</i>... This latter sentence demands the use of styles of thinking, because it mentions concepts and types of objects (refrangibility, rays) which would not even exist for people unless they are engaged in certain specific and complex practices by which these concepts and objects are made possible... Ultimately, the problem with saying that everything is theory-laden [this is the core of Hacking's criticism of theory-laden armchair infatuation] is that this position undermines elementary distinctions that constitute human discursive practices—elementary distinctions such as between on the one hand saying, telling, giving an account of something, and on the other hand doing something. A person might just say to another that he or she feels cold and wants the window to be closed, but unless one goes over there and effectively interacts with the window the cold will not merely disappear just by saying <i>close the window</i> no matter how loudly you shout. Perhaps the cold goes away if you are Brian de Palma’s <i>Carrie </i>(1976), but what makes Carrie a Carrie either in movies or in real life (supposing there might be such a thing) is that her thought and talk are imbued with a special <i>sui generis</i> power that is faraway more effective than ordinary people’s thought and talk (and even limbs). You would still need distinctions between thinking, saying, and doing in order to make any sense of Carrie. Differences between things such as mental states, sentences, and external objects are all constitutive and germane to what is here called styles of thinking. Without such elementary distinctions, there is not much to be done with a sentence such as <i>the heat which has the refrangibility of the red rays is occasioned by the light of those rays</i>," Alessandro Zir (person of no small note and consequence besides being meself), <i>Luso-Brazilian Encounters of the Sixteenth-Century </i>(Fairleigh Dickinson University Press, 2011, p. 6-7). </div>
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<h4 style="text-align: justify;">Getting Wolfgang Pauli & the naive Portuguese, as a plus (for the edification of the world, but literally):
</h4><div style="text-align: justify;">
<br />
"Generally speaking scientists are no Carries, though there might have been a few registered but far less noxious cases such as Wolfgang Pauli and the Pauli effect," Alessandro Zir, <i><a href="https://www.academia.edu/35518313/Thesis_THE_SIXTEENTH-CENTURY_CORPUS_OF_THE_PORTUGUESE_COLONIZERS_OF_BRAZIL_AN_APPROACH_IN_TERMS_OF_STYLES_OF_THINKING_">The Sixteenth-Century Corpus of the Portuguese Colonizers of Brazil</a> </i>(Dalhousie, PhD thesis) [the paragraph of this sentence (which refers also to Ludwik Fleck) wasn't (if I mistake not) incorporated in the book <i>Luso-Brazilian Encounters </i>published in 2011 by FDU Press—an incident not necessarily ranking as a fatal blow to <i>die Geissel Gottes</i>' scholarship (I'm positive)].</div>
<div style="text-align: justify;">
"Sérgio Buarque de Holanda remarks that the Portuguese were naive realist people. Their realism would come exactly from their credulity, which would be, as he defines it, “a radical gentleness and passivity in face of reality” that “does not deny Nature infinite possibilities” and the supernatural... If this is correct, the Portuguese would be people capable of recognizing the most strange things in nature, without having to deny all the humdrum propositions that make sense to most people, including people having no sensibility whatsoever to apparitions of monsters and the devil. Besides seeing devils and monsters, the Portuguese would not have any difficulty and do not invoke anything spiritual in order to answer a simple question such as are you cold? They also never use the method of shouting in order to close windows," Alessandro Zir, <i>Luso-Brazilian Encounters of the Sixteenth-Century</i> (Fairleigh Dickinson University Press, 2011, p. 6-7). </div>
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<br /></div>
<div>
<div style="text-align: justify;">
More on Pauli: </div>
<div>
<div style="text-align: justify;">
"Pauli was never what our expert in didactics would call a good lecturer. Nevertheless he was an inspiring and intoxicating teacher. In particular when he was not too well prepared (this happened not infrequently), one could experience the spirit <i>in statu nascendi</i>, and this was awesome. With his ruthless demand for precision and lucidity Pauli never intended to hurt his students or colleagues. His sharp tongue notwithstanding, his criticism was always honest and reflected not only his dislike of half-truths but also his demonic depths... In despite of his critical stance, he was certainly not one of these petty reasoning minds which cannot endure any paradoxes,"<a href="http://philsci-archive.pitt.edu/940/1/HiddenPauli.pdf" target="_blank"> Harald Atmanspacher's & Hans Primas's "The Hidden Side of Wolfgang Pauli," <i>Journal of Consciousness Studies</i>, 3, 2, 1996, pp. 112-26</a><i><a href="http://./">.</a> </i><br /></div><div style="text-align: justify;">"Impossible de dire quelques mots sur la place de Pauli dans les écrits de Bachelard sans rappeler qu’il était l’homme des boutades et du Witz, c’est-à-dire quelqu’un de profondément 'spirituel'. Lors d’un séminaire, John von Neumann démontrait un théorème au tableau; Pauli l’apostrophe: 'Si faire de la physique, c’était démontrer des théorèmes, tu serais un grand physicien.' C’est ainsi qu’il terrorisait un peu tous les autres physiciens de par le monde, y compris Louis de Broglie ou Werner Heisenberg qui fuyaient littéralement les colloques où il était présent," <a href="https://www.academia.edu/9587795/L_École_de_lETH_dans_lœuvre_de_Gaston_Bachelard" target="_blank">Charles Alunni, L'École de l'ETH dans l'oeuvre de Gaston Bachelard, <i>Revue de synthèse</i>: 5 Série, année 2005/2</a>.</div><div style="text-align: justify;"><i><br /></i></div>
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More on fairies & witches:</div>
<div style="text-align: justify;">
"I'm hitting art from both sides of the brain. I used to be really into math and science in school, I was a bit of a nerd. I was into quantum physics and all the strange magic that exists there. All of the ideas that an intuitive mind might come up with can be proven on a microscopic scientific level. I saw my fairy godmother the other day. We were talking about the future and I was stressed out, and she was like, "Just remember you're a witch." It was so cool to hear her say that in a chill way, just a casual thing to say. Ever since I was little I believed in stuff beyond what I could see. You could also just call that having an imagination, but I believed so much in it and how to manifest all of my dreams," <a href="https://i-d.vice.com/en_us/article/43vvv3/founder-of-the-luck-you-collective-india-salvor-menuez-thinks-shes-a-witch" target="_blank">India Salvor Menuez (<i>Vice </i>interview)</a>;<br />
<br /></div><div style="text-align: justify;"><div>***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien)<span face="Calibri, sans-serif">:</span></div><div><span face="Calibri, sans-serif">"</span>Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from <a href="https://www.britannica.com/art/mode-music" target="_blank">"Mode," entry in Brittanica, by Mieczyslaw Kolinski</a>);</div></div><div style="text-align: justify;"><br /></div>
</div>
See also:<br />
- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html" target="_blank">actual infinite falling (against Carlo Rovelli's pseudo-problem)</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html">the odd transformation of Der Herr Warum (Gödel with Resnais)</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html">the only three types of ingenuity</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/why-self-help-books-are-not-to-be.html">why self-help books are not to be dismissed</a>;<br />
- <a href="https://aletche.blogspot.com/2019/01/the-most-auspicious-tetrahedron-two.html">the most auspicious tetrahedron</a>;<br />
- <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html">what is REAL space? what is REAL number?</a><br />
- <a href="https://aletche.blogspot.com/2018/12/timothy-leary-in-1990s-how-to-talk.html">Timothy Leary in the 1990s</a>;<br />
- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html">5G?! Get real...</a><br />
- <a href="https://aletche.blogspot.com/2018/10/list-of-two-charming-scientists-under.html">list of charming scientists/engineers</a>; <br />
- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>;<br />
- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html" target="_blank">view from Berthe Trépat's apartment</a>;<br />
- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">list des déclencheurs musicaux</a>;<br />
- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness</a>;<br />
- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception</a>;<br />
- <a href="https://aletche.blogspot.com/2016/03/structuralism-poststructuralism.html">Structuralism, Poststructuralism</a>;<br />
- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">List des figures du chaos primordial (Deleuze)</a>;<br />
- <a href="https://aletche.blogspot.com/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism (Viveiros de Castro vs. Haroldo de Campos)</a>;<br />
- <a href="https://aletche.blogspot.com/2015/12/piano-playing-kochevitsky.html">Piano Playing (Kochevitsky)</a>;<br />
- <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">L'Affirmation de l'âne (review of Smolin/Unger's <i>The Singular Universe</i>)</a>;</div><div>- <a href="https://arxiv.org/abs/quant-ph/9801057" target="_blank">What is quantum mechanics trying to tell us? (N. David Mermin)</a>; </div><div>- <a href="https://www.jstor.org/stable/40231740" target="_blank">Chaos and Indeterminism (Jesse Hobbs/Canadian Journal of Philosophy, 1991)</a>; </div><div><br />
<div><div style="text-align: justify;">And also (with the whole of it): </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html">Dogen with Hagakure</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/07/larticulation-blanchotienne-des-notions.html">L'articulation (Maurice Blanchot)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/01/lintelligence-des-fleurs-maeterlinck.html">L'intelligence des fleurs</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2012/07/blog-post.html">Spooky Blue</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900">Interactive while indifferent—Kinds & Phantasmagoria circa 1900</a>;</div><div style="text-align: justify;">- <a href="https://nautil.us/maths-beautiful-monsters-1849/">Math's Beautiful Monsters (Adam Kucharski)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/20620553/Mathematics_is_Metaphysics_Fernando_Zalamea">Mathematics is Metaphysics (Fernando Zalamea)</a>; </div><div style="text-align: justify;">- <a href="https://www.erudit.org/en/journals/philoso/2010-v37-n1-philoso3706/039718ar/">La vision unificatrice de Grothendieck (Mathieu Bélanger)</a>; </div><div style="text-align: justify;">- <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=1421&context=tme">The Mathematical Continuum: A Haunting Problematic (Elizabeth de Freitas)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/57393028/Infinitesimal_how_a_dangerous_mathematical_theory_shaped_the_modern_world">Infinitesimal (review of Amir Alexander's book)</a>;</div><div style="text-align: justify;">- <a href="https://culturemachine.net/interzone/somnambulist-and-the-hermaphrodite-kerslake/" target="_blank">The Somnambulist and the Hermaphrodite: Deleuze and Johann de Montereggio and Occultism (Chritian Kerslake);</a> </div><div style="text-align: justify;">- <a href="http://periodicos.uefs.br/index.php/sitientibusBiologia/article/view/8081">Metamorphoses of insects as described by Guilherme Piso (1658) (Argus Vasconcelos de Almeida & Carlos Romero Ferreira de Oliveira, Sitientibus/2008)</a>;</div><div style="text-align: justify;">- <a href="https://www.ucl.ac.uk/taxome/jim/pap/JoronMalletTREE98.pdf">Diversity in mimicry: paradox or paradigm? (Mathieu Joron & James L. B. Mallet, Perspectives, 1998)</a>;</div><div style="text-align: justify;">- <a href="https://centaur.reading.ac.uk/91225/1/miha+09.pdf">Survival benefits in mimicry: a quantitative framework (Alexey Mikaberidze & Masudul Haque, Journal of Theoretical Biology, 2009)</a>;</div><div style="text-align: justify;">- <a href="https://www.science.org/doi/10.1126/sciadv.aaw4967">Deep learning on butterfly phenotypes tests evolution's oldest mathematical model (Jennifer Hoyal Cuthill et. all, 2019)</a>; </div><div style="text-align: justify;">- <a href="https://periodicos.ufjf.br/index.php/zoociencias/article/view/24198">O conhecimento etnoentomológico do cavalo-do-cão (Hymenoptera, Pompilidae) no povoado de Pedra Branca, estado da Bahia, Brasil (Eraldo Medeiros Costa Neto, Revista Brasileira de Zoociências, 2004)</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/19526834/Animalia_exotica_and_mirabilia_Os_animais_brasileiros_na_cultura_europeia_da_época_moderna_de_Thevet_a_Redi">Animalia exotica & mirabilia. Os animais brasileiros na cultura europeia da época moderna de Thevet a Redi (by Bruno Martins Boto Leite, Representações da Fauna no Brasil, 2014)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/28492765/Quem_conta_um_conto_aumenta_um_ponto_o_mito_do_Ipupiara_a_natureza_americana_e_as_narrativas_da_colonização_do_Brasil_Revista_de_Indias_Madri_v_LX_n_218_p_111_134_2000">Quem conta um conto aumenta um ponto: o mito do Ipupiara, a natureza americana e as narrativas da colonização do Brasil (by Carlos Ziller Camenietzki and Carlos Alberto Zeron, Revista de Indias, 2000)</a>;</div></div><div style="text-align: justify;">- <a href="https://orca.cardiff.ac.uk/id/eprint/78237/1/Lankila%20Aphrodite.pdf" target="_blank">Aphrodite in Proclus's Theology (by Tuomo Lankila)</a>; </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">*****extremely useful site for reviewing almost all mathematical concepts and skills in a systematic and organized way (Sal Khan's Academy): <a href="https://www.khanacademy.org/math" style="text-align: left;">https://www.khanacademy.org/math</a>; </div>
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</div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com4tag:blogger.com,1999:blog-30487535.post-13701714797723563312019-02-11T11:21:00.053-08:002024-03-12T13:25:14.626-07:00the odd transformation of Der Herr Warum (run over with this turn & application) <div class="separator" style="clear: both; text-align: center;">
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L'Année Dernière à Marienbad (Alain Resnais/Grillet 1961);<br />Duchamp in Maya Deren's Witch's Cradle (1943); <br />The Dimension of Dali (Joan Úbeda & Susi Marquès, 2004); <div>John Cage performing Water Walk on TV (1960);</div><div>Les théorèmes d'incompletude de Gödel (Lê Nguyên Hoang/ Science4All 2016);</div><div><div style="text-align: justify;">Imaginary Numbers Are Real: Riemann Surfaces (Welch Labs/Youtube); </div></div><div style="text-align: justify;">Secret Kinks of Elementary Functions (Imaginary Angle/Youtube 2024); </div><div style="text-align: justify;"><span style="text-align: left;">Intro to the Fundamental Group: Algebraic Topology (Trefor Bazett & Tom Crawford/ Youtube); </span></div><div>The Subtle Reason Taylor Series Work (Morphocular/Youtube 2024); </div><div>Nancarrow's Study for Player Piano n. 41a (Youtube); </div><div>Understanding Exponentiation and Multiplication with Negative Numbers (A/Z 2022);</div><div>The Great Abyss Inframince (A/Z 2018, <a href="https://www.blogger.com/#">for more see here</a>); <div>
<div style="text-align: justify;"><br /></div><h4 style="text-align: left;">vestibule (with commentary, scholium, illustration & key to the adventitious parts):</h4><div style="text-align: justify;">
<br />
"De ce terrible paysage,<br />
Tel que jamais mortel n'en vit,<br />
Ce matin encore l'image,<br />
Vague et lointane me ravit..."<br />
Baudelaire</div><div style="text-align: justify;">"... o Diabo na rua no meio do redemoinho. É com ele que Riobaldo tem o encontro-desafio, na encruzilhada, à noite, o encontro com o Nada, com o Não Ser, ou seja, em termos mallarmaicos, o desafio ao Acaso..."</div><div style="text-align: justify;">Augusto de Campos</div><div style="text-align: justify;">"[Sounds that are not noted] appear in the written music as silences, opening the doors of the music to the sounds that happen to be in the environment... The glass houses of Mies van der Rohe... There is no such thing as an empty space or an empty time."</div><div style="text-align: justify;">John Cage (Experimental Music)<br />
<br />"Only by bending can you be whole; </div><div style="text-align: justify;">Only by twisting can you be straight.</div><div style="text-align: justify;">Only by hollowing out can you be full; </div><div style="text-align: justify;">Only by being used up can you be new."</div><div>Daodejing/22 (Edmund Ryden's translation)<br /><br /><div style="text-align: justify;">"Il n'a pas de nombre, entier ni fractionnaire, pour compter les choses qui en présentent les propriétés, mais un chiffre qui en condense, en accumule les composantes parcourues et survolées. Le concept est une forme ou une force, jamais une fonction en aucun sens possible."</div></div><div><div style="text-align: justify;">Deleuze & Guattari (Qu'est-ce que la philosophie)</div><div style="text-align: justify;">"Le concept d'archi-trace doit faire droit et à cette nécessité et à cette rature. Il est en effet contradictoire et irrecevable dans la logique de l'identité. La trace n'est pas seulement la disparition de l'origine, elle veut dire ici — dans le <span style="text-align: left;">discours que nous tenons et selon le parcours que nous suivons </span><span style="text-align: left;">— que l'origine n'a même pas disparu, qu'elle n'a jamais été </span><span style="text-align: left;">constituée qu'en retour par une non-origine, la trace, qui devient </span><span style="text-align: left;">ainsi l'origine de l'origine."</span></div><div style="text-align: justify;"><span style="text-align: left;">Jacques Derrida (Grammatologie) </span></div><div style="text-align: justify;">"Existem segundos — apenas uns cinco ou seis simultâneos — em que você sente de chofre a presença de uma harmonia eterna plenamente atingida. Isso não é da terra; não estou dizendo que seja do céu, mas que o homem não consegue suportá-lo em sua forma terrestre." </div><div style="text-align: justify;">Kiríllov (from Dostoevsky's Demons, as translated by Paulo Bezerra)</div><div><div style="text-align: justify;">"But what if there is no dying 'in the true sense,' what if dying is always and by definition 'improper,' arriving at the wrong time and place? This point of impossibility is one feature of the Lacanian objet a: it designates that which is subtracted from reality (as impossible) and thus gives it consistency—if it gets included in reality, it causes a catastrophe."</div><div style="text-align: justify;">Slavoj Zizek (Haunted by A/Z, Feyerabend with vengeance & the New Wave)</div></div><div><br /></div><div style="text-align: justify;">"... la nature nous présente une série infinie de lignes courbes, fuyantes, brisées, suivant une loi de génération impeccable, où le parallélisme est toujours indécis et sinueux, où les concavités et les convexités se correspondent et se poursuivent..."</div><div style="text-align: justify;">Baudelaire (Exposition universelle) </div></div>
<div style="text-align: justify;">
"... the blindness of humanity to all the beauty and wonder of the Universe is due to this illusion of straightness. It is significant that Riemann, Bolyai and Lobatchewsky seem to have been the mathematical prophets of the New Revelation..."</div>
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Aleister Crowley, The Book of Thoth</div><div style="text-align: justify;"><div>"L'espace pour le peintre d'Asie, n'est ni extérieur, ni intérieur, il est jeu d'énergies — surgissement pur. Il est l'insituable... un camp magnétique où se rencontrent et s'enchevêtrent des forces —un lieu où s'ébattent sillages et trajectoires. Et renoncer au foyer unique... Ces considerations sur l'émancipation spatiale, et l'expression des forces élémentaires ne se limitaient pas à la peinture à l'encre ou à l'eau, elles s'étendaient à la pratique de l'huile, dans le sens de la fluidité et de l'emportement. Ainsi, le Turner de la dernière période y trouverait sa place."</div><div>André Masson (Une peiture de l'essentiel/Écrits, anthologie établie par Françoise Levaillant)</div><div><div>"And though we may string ever so many clauses into a single compound sentence, motion leaks everywhere, like electricity from an exposed wire."</div><div>Ezra Pound (Chinese Character as a Medium for Poetry)</div></div></div><div style="text-align: justify;"><br />
"... when you work with people who misunderstand you, instead of getting transmissions you get transmutations, and that's much more interesting in the long run..."<br />
Andy Warhol, The Philosophy of Andy Warhol</div><div style="text-align: justify;">"... listening one takes as a springboard the first sound that comes along; the first something springs us into nothing and out of that nothing arises something; etc. like an alternating current..."</div><div style="text-align: justify;">John Cage (45' for a Speaker)<br />
"There's a lot of unfolding. Everything just slides away, like many curtains opening at once."</div><div style="text-align: justify;">"The universe is decoding itself to you, and even though nothing makes sense, it all comes together."<br />
James St. James</div><div style="text-align: justify;">"... no fundo do poço sem fundo do inconsciente..."</div><div>Caio Fernando Abreu (carta a José Márcio Penido/Zézim) </div><div>"... irei até onde o vácuo faz uma curva..."</div><div>Clarice Lispector</div><div><div style="text-align: justify;">"... physics can only (correctly) assert that photomultiplier #n firing is perfectly correlated with my knowing that photomultiplier #n fired for either value of n. The question that physics does not answer is how it can be that I know that it is #1 and is not #2. This is indeed a problem. It is part of the problem of consciousness."</div><div><div style="text-align: justify;"><a href="https://arxiv.org/abs/quant-ph/9801057" target="_blank">David Mermin (What is quantum mechanics trying to tell us?)</a></div></div></div><div><br /></div><div><div style="text-align: justify;">"C'est alors que la vraie division commence, de vingt-deux par sept par exemple, et que les cahiers s'emplissent des vrais chiffres enfin."</div><div style="text-align: justify;">Molloy</div><div style="text-align: justify;">"Vous dite en somme que l'ironie de Platon est romanesque, et que le roman est ironique, indécidable."</div><div style="text-align: justify;">Bréhal (Les Samouraïs)</div></div><div style="text-align: justify;">"L'indécidable n'est pas une coupure est un bondir rapide entre deux possibilités opposées mais qui se touchent. Son mouvement intérieur, c'est d'être toujours lá où on ne l'attend pas."</div><div><div style="text-align: justify;">Hélène Cixous (Portrait de Jacques Derrida)</div><div style="text-align: justify;">"Tout vrai sentiment est en réalité intraduisible. L'exprimer c'est le trahir. Mais le traduire c'est le dissimuler. L'expression vraie cache ce qu'elle manifeste."</div><div style="text-align: justify;">A. Artaud (Théâtre oriental et théâtre occidental)</div>
<div style="text-align: justify;">
"Zur Aufgabe einer Umwerthung der Werthe waren vielleicht mehr Vermögen nöthig, als je in einem Einzelnen bei einander gewohnt haben, vor Allem auch Gegensätze von Vermögen, ohne daß diese sich stören, zerstören dürften."</div>
<div style="text-align: justify;"><div style="text-align: justify;">Nietzsche</div><div style="text-align: justify;">"Weber singulariza o seu tratamento da série radicalizando o princípio do espelho: ele procura configurações intervalares de doze sons que já sejam, elas mesmas, a condensação de um espaço simétrico, ao mesmo tempo que labiríntico e sem centro (uma série que já contenha, em avesso do avesso, os seus próprios espelhos)."</div><div style="text-align: justify;">José Miguel Wisnik</div>
<br /></div><div style="text-align: justify;">"Causal thinking never yields accurate description of metabolic processes (limitations of existing language)."</div><div style="text-align: justify;">"This ass talk had a sort of gut frequency. It hit you right down there like you gotta go."</div><div style="text-align: justify;">"Fear seals the turd message with a cuneiform account."</div></div>
<div style="text-align: justify;"><div style="text-align: justify;">William S. Burroughs</div><div style="text-align: justify;">"Ce n'est pas moi qui choisis les turbulences. Nous y sommes. Et si tu essaies de ne pas y penser, elles vont t'emporter d'une façon que j'ignore"</div><div style="text-align: justify;">Olga (Les Samouraïs)</div><div style="text-align: justify;">"Man muß die Größe seines Magens kennen... Das Tempo des Stoffwechsels steht in einem genauen Verhältniß zur Beweglichkeit oder Lahmheit der Füße des Geistes; der 'Geist' selbst ist ja nur eine Art dieses Stoffwechsels."</div><div style="text-align: justify;">Nietzsche</div></div><div style="text-align: justify;">"Pero la exploración interior, Tito, es un dédalo con más vueltas que un intestino y el Minotauro agazapado en la esquina de cada meandro, y fija que está en el colon."</div><div style="text-align: justify;">(<i>El Bataraz</i>, narrator)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><i>"</i>Or comme celui que je venais subitement de redevenir n'avait pas existé depuis ce soir lointain où ma grand-mère m'avait déshabillé à mon arrivée à Balbec, ce fut tout naturellement, non pas après la journée actuelle que ce moi ignorait, mais — comme s'il y avait dans le temps des séries différentes et parallèles — sans solution de continuité, tout de suite après le premier soir d'autrefois, que j'adhérai à la minute où ma grand-mère s'était penchée vers moi. Le moi que j'étais alors et qui avait disparu si longtemps, était de nouveau si près de moi qu'il me semblait encore entendre les paroles qui avaient immédiatement précédé et qui n'étaient pourtant plus qu'un songe, comme un homme mal éveillé croit percevoir tout près de lui les bruits de son rêve qui s'enfuit. Je n'étais plus que cet être qui cherchait à se réfugier dans les bras de sa grand-mère, à effacer les traces de ses peines en lui donnant des baisers, cet être que j'aurais eu à me figurer, quand j'étais tel ou tel de ceux qui s'étaient succédé en moi depuis quelque temps, autant de difficulté que maintenant il m'eût fallu d'efforts, stériles d'ailleurs, pour ressentir les désirs et les joies de l'un de ceux que, pour un temps du moins, je n'était plus." </div><div style="text-align: justify;">Marcel Proust (le narrateur, <i>Sodome et Gomorrhe</i>)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"<i>Un Coup de Dés</i> fez de Mallarmé o inventor de um processo de composição poética cuja significação se nos afigura comparável ao valor da 'série', introduzida por Schöenberg, purificada por Webern e, através da filtração deste, legada aos jovens músicos eletrônicos, a presidir os universos sonoros de um Boulez ou um Stockhausen. A esse processo definiríamos, de início, com a palavra <i>estrutura</i>, tendo em vista uma entidade onde o todo é mais que a soma das partes ou algo qualitativamente diverso de cada componente. Eisenstein na fundação da sua teoria da montagem, Pierre Boulez e Michel Fano, com relação ao princípio serial, testemunharam — como artistas — o interesse da aplicação dos conceitos gestaltianos ao campo das artes. E é em estritos termos de Gestalt que entendemos o título de um dos livros de poesia de E. E. Cummings: <i>Is 5</i>. Para a poesia, e em especial para a poesia de estrutura de Mallarmé ou Cummings, <i>dois mais dois pode ser rigorosamente igual a cinco</i>."</div><div style="text-align: justify;">Augusto de Campos (pontos-periferia-poesia concreta/Teoria da Poesia Concreta)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"El Universo es una esfera cuyo centro está en todas partes y la periferia en ninguna [Nicolas de Cusa]: ¿podría extenderse al tiempo está concepción tradicional del infinito? ¡Qué mejor símbolo del fin de la confusión entre irreversibilidad y degradación! Reencontraríamos aqui la flecha del tiempo asociada a la inestabilidad y a la probabilidad, y ella no significaría ya evolución hacia la muerte térmica, hacia el fin de toda historia, sino posibilidad de un eterno volver a comenzar. El Universo sería creación continua, sucesión infinita de Universos que nacen por doquier y van hacia el infinito."</div><div style="text-align: justify;">Spanish translation (by Javier García Sanz) from the end of chapter 7 of Prigogine & Stengers' Entre le temps et l'eternité [it is an ill-fated instance of the malignancy of this world that it happens I don't have the French original of this book, & shall therefore by my ashes stand forever indebted (compound interest) to the heroine soul (chaste star!) who peradventure send me, with all her fraternity, the French original of just this choicest morsel so I could definitely pen it down here as a seasonable kindness to our whole parish!]</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"We know the difference that separates the Hilbertian conception of mathematics from that of Russell and Whitehead’s Principia Mathematica (1910). Hilbert has replaced the method of genetic definitions with that of axiomatic definitions, and far from claiming to reconstruct the whole of mathematics from logic, introduced on the contrary, by passing from logic to arithmetic and from arithmetic to analysis, new variables and new axioms which extend each time the domain of consequences. Here is, for example, according to Bernays, who in the complete works of Hilbert published a study of all his work on the foundations of mathematics, all that is necessary to be given to formalize arithmetic: the propositional calculus, the axioms of equality, the arithmetic axioms of the ‘successor’ function (a + 1), the recurrence equations for addition and multiplication, and finally some form of the axiom of choice. To formalize analysis, it is necessary to be able to apply the axiom of choice, not only to numeric variables, but to a higher category of variables, those in which the variables are functions of numbers. Mathematics thus presents itself as successive syntheses in which each step is irreducible to the previous step. Moreover, and this is crucial, a theory thus formalized is itself incapable of providing the proof of its internal coherence. It must be overlaid with a metamathematics that takes the formalized mathematics as an object and studies it from the dual point of view of consistency and completion. The duality of planes that Hilbert thus established between the formalized mathematics and the metamathematical study of this formalism has as a consequence that the notions of consistency and completion govern a formalism from the interior of which they are not figured as notions defined in this formalism."</div><div style="text-align: justify;">"... it is impossible to consider a mathematical ‘whole’ as resulting from the juxtaposition of elements defined independently of any overall consideration relative to the structure of the whole in which these elements are integrated. There thus exists a descent from the whole towards the part, as a ascent from the part to the whole, and this dual movement, illuminated by the idea of completion, allows the observation of the first aspect of the internal organization of mathematical entities. If one claims to admit that the study of such structural connections is an essential task for mathematical philosophy, one cannot fail to notice the differences that separate mathematical philosophy thus conceived from the entire current of logicist thought that developed after Russell had discovered the paradoxes of set theory. The logicians have since always claimed to prohibit non-predicative definitions, that is, those in which the properties of an element are supportive of the set to which that element belongs. Mathematicians have never been willing to admit the legitimacy of this interdiction, rightly showing the necessity, to define certain elements of a set, to sometimes call upon the global properties of this set... We thus hope to make evident this idea that the true logic is not a priori in relation to mathematics but that for logic to exist a mathematics is necessary."</div><div style="text-align: justify;">Albert Lautman (Essay on the Notions of Structure and Existence in Mathematics, Simon B. Duffy's translation [it is ALSO an ill-fated instance of the malignancy of this world that it happens I don't have the French original of Lautman's essays, & shall therefore by my ashes stand forever indebted to the heroine soul (chaste star!) who peradventure send me, with all her fraternity, the French original of just at least these choicest morsels so I could definitely pen them down here as a seasonable kindness to our whole parish!])</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"In contrast to the possibility of eliminating infinity as just described stand a number of results that show that some finitary statements can only be proved through infinitary considerations. These results originally emerge with Gödel’s incompleteness theorems (1931) but have been recently refined by displaying statements of mathematical interest... establishing the truth of the Gödel sentence and of the new incompleteness results requires appeal to some “infinitary” principles (when the truth of the Gödel sentence G is established through appeal to the statement expressing the consistency of Peano Arithmetic, it is establishing the latter that requires some portion of infinitary reasoning, such as induction up to an infinite ordinal called ε0)."</div><div style="text-align: justify;"><a href="https://plato.stanford.edu/entries/infinity/" target="_blank">Kenny Easwaran et al. (Infinity, Stanford Encyclopedia of Philosophy)</a></div><div style="text-align: justify;"><div>"More surprising still is the fact that dimensionality is not the arbiter of the power of a set. The power of the set of points in a unit line segment is just the same as that of the points in a unit area or in a unit volume—or, for that matter, all the three-dimensional space. (Dimensionality, however, retains some measure of authority in that any one-to-one mapping of points in a space of unlike dimensionality is necessarily a discontinuous mapping.) So paradoxical were some results in point-set theory that Cantor himself on one occasion in 1877 wrote to Dedekind, 'I see it, but I don't believe it'; and he asked his friend to check the proof."</div><div>Carl B. Boyer (A History of Mathematics)</div><div><div>"<span style="text-align: left;">... the objects of transfinite set theory... clearly do not belong to the physical world and even their indirect connection with physical experience is very loose (owing primarily to the fact that set-theoretical concepts play only a minor role in the physical theories of today)... </span>The set-theoretical paradoxes are hardly any more troublesome for mathematics than deceptions of the senses are for physics... <span style="text-align: left;">The mere psychological fact of the existence of an intuition which is sufficiently clear to produce the axioms of set theory and an open series of extensions of them suffices to give meaning to the question of the truth or falsity of propositions like </span><span style="text-align: left;">Cantor's continuum hypothesis. </span>What, however, perhaps more than anything else, justifies the acceptance of this criterion of truth in set theory is the fact that continued appeals to mathematical intuition are necessary not only for obtaining unambiguous answers to the questions of transfinite set theory, but also for the solution of the problems of finitary number theory (of the type of Goldbach's conjecture), where the meaningfulness and unambiguity of the concepts entering into them can hardly be doubted. This follows from the fact that for every axiomatic system there are infinitely many undecidable propositions of this type.<span style="text-align: left;">"</span></div><div style="text-align: left;"><a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html" target="_blank">Der Herr Warum</a> (What is Cantor's Continuum Problem?/Supplement to the Second Edition)</div></div><div style="text-align: left;"><div style="text-align: justify;">"The Divine Spirit found a sublime outlet in that wonder of analysis, that portent of the ideal world, that amphibian between being and not-being, which we call the imaginary root of negative unity."</div><div style="text-align: justify;">Leibniz on imaginary numbers as quoted by Morris Kline (who has no understanding whatsoever of Leibniz's nature)</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><div style="text-align: justify;">"Conlon Nancarrow (1912–1997) made amazingly precise music using mechanically driven instruments. Operating a custom-built hole-punching machine, he produced piano rolls that drove two synchronized player pianos. Nancarrow was obsessed with the simultaneous layering of multiple tempo strands, where the tempi were related by a mathematical ratio. For example, in his Study for Player Piano 41a (1965), the tempi are related by an irrational factor, and cascades of notes sweep up and down the keyboard at superhuman speed."</div><div style="text-align: justify;">"Complex contrapulsations can lead to chaotic cloud textures whose internal rhythm can only be perceived statistically. A classic example is Ligeti’s Poème Symphonique (1962) for 100 metronomes, where each metronome is set to a different tempo."<br /></div>Curtis Roads, Composing Electronic Music</div></div><div style="text-align: justify;">************************************************************** </div><div><h4 style="text-align: left;">thereof main hall to hit upon:</h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">
"Marienbad: the name conjures up images of expensively dressed men and women walking leisurely on wide white paths through expansive manicured gardens, large fountains spewing the mineral-rich waters high into the air... The Gödel family is likely to have stayed at the elegant Baroque-style hotel at the springs, where many famous people have enjoyed their holidays, among them King Friedrich Wilhelm IV of Prussia, King Otto I of Greece, the Persian Shah Nasredding, Edward VII of Britain, as well as Goethe, Mark Twain, and Sigmund Freud, to name but a few."</div>
<div style="text-align: justify;">"As Kurt described the experience many years later, at Marienbad he underwent a transformation. Until the Gödel expected to pursue his interests in the humanities, social studies, and languages, as an educated man of the period. But walking the long corridors of the elegant hotel, strolling through the lavish parks, and soaking in the steaming mineral waters, he was suddenly changed..."</div>
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- Amir D. Aczel, <i>The Mystery of the Aleph </i>(WSP 2000).</div>
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More (to led us a vagary some zillions of zillions into the very heart of ANY planetary system): <br />
"... [as revealed by Stefan Zweig in <i>The World of Yesterday</i>] before World War I, 'A ballet dancer ... was available for any man at any hour in Vienna for two hundred crowns.' [But] to marry someone with such associations could destroy even a well–established career [<a href="https://aletche.blogspot.com/2015/07/blog-post_53.html" target="_blank">which happened indeed in many a family which were of an original character throughout & in which nothing ever wrought after the ordinary way</a>]" John W. Dawson, <i>Logical Dilemmas</i> (A. K. Peters, 1997).<br />
"[Morgenstern] was astonished... to learn that <a href="https://aletche.blogspot.com/2018/09/defi-du-non-circuncis-le-petit-fils.html">Gödel took an interest in ghosts</a>, and he was very dismayed by Gödel’s choice of wife, whom he described as 'a Viennese washerwoman type: garrulous uncultured, [and] strong-willed,'" John Dawson, <i>Logical Dilemmas </i>(cf. <i>Dejection & Affliction</i>, which I forgot which but was unanimously agreed and lamented).<br />
Dawson tells also that Gödel didn't care much for classical music and preferred dismally popular songs. But according to him Gödel was otherwise interested in Modern art, <a href="https://aletche.blogspot.com/2015/05/blog-post.html" target="_blank">television</a> and <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html" target="_blank">Kafka</a>, and (in compliancy with this humours of his) believed in afterlife.<br />
In <i>The Mystery of Aleph </i>(a book actually written to the literal edification of this scurvy and disasterous world of ours & in spight of all gentlemen reviewers in the Continent), Amir D. Aczel characterizes Gödel's incompleteness theorem as follows: "there will always be propositions that cannot be proven within the system. Even if a theorem is true, it may be mathematically impossible to prove." This is fair enough (that is, <i>sans condition</i>, <i>anglicé</i>, to the very end of the world), but what Aczel says next is (if I mistake not, which I don't) completely wrong: "The human mind, existing within a limited universe, cannot perceive <i>an immense entity</i> that extends beyond the confines of the system." This is completely wrong because <a href="https://aletche.blogspot.com/2015/07/larticulation-blanchotienne-des-notions.html" target="_blank">what is beyond the system is not bigger but smaller.</a> <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html" target="_blank">The outside is inside, and the biggest is the smallest</a>, something I own (even as you and I are in a manner perfect strangers to each other) is impossible for you to guess, and I really think it is so. <br />
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Consistency (from head to tail):<br />
"Vladmir Voevodsky worried in a lecture at the Princeton Institute for Advanced Study that mathematics as we know it, and as analysed in present-day Foundations of Mathematics, might be inconsistent... that would, perhaps, be liberating... Most philosophers and logicians have jeered at Wittgenstein's asking, what's so great about consistency? Could we not do perfectly good mathematics from an inconsistent basis?" Ian Hacking, <i>Why is there Philosophy of Mathematics at all? </i>(Cambridge, 2014).<br />
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Totality (as crawling forth):<br />
"Alain Connes is a Platonist. He thinks there is a totality of arithmetical truths, simply given with the number series itself. Thanks to Gödel we know that totality cannot be characterized by any recursive axiom system adequate to express its own syntax. This is not an argument for Platonism. It is an enrichment of Platonism with a new depth of understanding. As an attitude to reality and to incompleteness, this seems to me to be impeccable. But to avoid misunderstanding... as an argument for the existence of an archaic arithmetical reality, <i>with all its truths intact</i>, it begs the question" Hacking, <i>Why is there Philosophy of Mathematics </i>(actually no mere pudding-headed Argumentum Fistulatorium as sworn)<i>.</i><br />
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Consistency & Totality (to be fretted and fumed inwardly):<br />
"Nothing <i>capable of proof</i> ought to be accepted in science without proof," Richard Dedekind, as quoted in Hacking, <i>Why is there Philosophy of Mathematics</i>.<br />
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Rêve et perception extracorporelle (not <i>anglicé</i>):<br />
"Même s'il est souvent déclenché involontairement par une sensation physique, le souvenir permet de se dématérialiser, d'échapper en partie aux déterminations temporelles et spatiales... Quant au rêve, il nous offre un témoignage plus vigoureux encore du dédoublement puisque la vivacité des images que l'on en rapporte semble mal s'accorder ave l'état d'inertie corporelle qui en est la condition. Moins courantes, enfin, sont ces situations de dissociation extrême induites par les hallucinations, les insensibilités temporaires comme l'extase ou la catalepsie, voir ces expériences de perception extracorporelle associées à la prise de psychotropes ou aux cas de quasi-mort..."<br />
Philippe Descola, <i>Par-delà nature et culture</i><br />
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See also:<br />
- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html">actual infinite falling (against Carlo Rovelli's pseudo-problem)</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html" target="_blank">the dogma of semantic uniformity & Python Gored Naturalism</a>;<br />
<span style="text-align: start;">- </span><a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html" style="text-align: start;">the only three types of ingenuity</a><span style="text-align: start;">;</span><br />
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- <a href="https://aletche.blogspot.com/2019/02/why-self-help-books-are-not-to-be.html">why self-help books are not to be dismissed</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/01/the-most-auspicious-tetrahedron-two.html">the most auspicious tetrahedron</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html">what is REAL space? what is REAL number?</a></div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/12/timothy-leary-in-1990s-how-to-talk.html">Timothy Leary in the 1990s</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html">5G?! Get real...</a></div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/10/list-of-two-charming-scientists-under.html">list of charming scientists/engineers</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html" target="_blank">view from Berthe Trépat's apartment</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">list des déclencheurs musicaux</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/03/structuralism-poststructuralism.html">Structuralism, Poststructuralism</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">List des figures du chaos primordial (Deleuze)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism (Viveiros de Castro vs. Haroldo de Campos)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2015/12/piano-playing-kochevitsky.html">Piano Playing (Kochevitsky)</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">L'Affirmation de l'âne (review of Smolin/Unger's <i>The Singular Universe</i>)</a>;</div><div style="text-align: start;">- <a href="https://arxiv.org/abs/quant-ph/9801057" target="_blank">What is quantum mechanics trying to tell us? (N. David Mermin)</a>; </div><div style="text-align: start;">- <a href="https://www.jstor.org/stable/40231740" target="_blank">Chaos and Indeterminism (Jesse Hobbs/Canadian Journal of Philosophy, 1991)</a>; </div><div style="text-align: start;"><br /></div>
<div>
<div style="text-align: justify;">
And also (with the whole of it):</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html" target="_blank">Dogen with Hagakure</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2015/07/larticulation-blanchotienne-des-notions.html" target="_blank">L'articulation (Maurice Blanchot)</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2016/01/lintelligence-des-fleurs-maeterlinck.html" target="_blank">L'intelligence des fleurs</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2012/07/blog-post.html" target="_blank">Spooky Blue</a>;</div>
<div style="text-align: justify;">
- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900" target="_blank">Interactive while indifferent—Kinds & Phantasmagoria circa 1900</a>;</div><div style="text-align: justify;">- <a href="http://www.aphex.it/public/file/Content20141117_22.APhEx7,2013ProfiliGodelBruni.pdf" target="_blank">Profili Kurt Godel (Riccardo Bruni, Aphex 7, 2013)</a>; </div><div style="text-align: justify;"><div>- <a href="https://www.academia.edu/20620553/Mathematics_is_Metaphysics_Fernando_Zalamea" target="_blank">Mathematics is Metaphysics (Fernando Zalamea)</a>; </div><div>- <a href="https://www.erudit.org/en/journals/philoso/2010-v37-n1-philoso3706/039718ar/" target="_blank">La vision unificatrice de Grothendieck (Mathieu Bélanger)</a>; </div><div>- <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=1421&context=tme" target="_blank">The Mathematical Continuum: A Haunting Problematic (Elizabeth de Freitas)</a>; </div><div>- <a href="https://www.academia.edu/57393028/Infinitesimal_how_a_dangerous_mathematical_theory_shaped_the_modern_world" target="_blank">Infinitesimal (review of Amir Alexander's book)</a>;</div><div>- <a href="http://periodicos.uefs.br/index.php/sitientibusBiologia/article/view/8081" target="_blank">Metamorphoses of insects as described by Guilherme Piso (1658) (Argus Vasconcelos de Almeida & Carlos Romero Ferreira de Oliveira, Sitientibus/2008)</a>;</div><div>- <a href="https://www.ucl.ac.uk/taxome/jim/pap/JoronMalletTREE98.pdf" target="_blank">Diversity in mimicry: paradox or paradigm? (Mathieu Joron & James L. B. Mallet, Perspectives, 1998)</a>;</div><div>- <a href="https://centaur.reading.ac.uk/91225/1/miha+09.pdf" target="_blank">Survival benefits in mimicry: a quantitative framework (Alexey Mikaberidze & Masudul Haque, Journal of Theoretical Biology, 2009)</a>;</div><div>- <a href="https://www.science.org/doi/10.1126/sciadv.aaw4967" target="_blank">Deep learning on butterfly phenotypes tests evolution's oldest mathematical model (Jennifer Hoyal Cuthill et. all)</a>; </div><div><br /></div><div>*****extremely useful site for reviewing almost all mathematical concepts and skills in a systematic and organized way (Sal Khan's Academy): <a href="https://www.khanacademy.org/math" style="text-align: left;">https://www.khanacademy.org/math</a>; </div></div>
</div>
</div>
</div>
</div>
</div>
</div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com2tag:blogger.com,1999:blog-30487535.post-84728235943756239692019-02-10T14:50:00.084-08:002024-03-12T13:26:15.710-07:00the only three types of ingenuity when the parameter is infinity: the limited, the false & the genuine<div class="separator" style="clear: both; text-align: center;"><a href="#" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"></a><a href="#"></a></div><div class="separator" style="clear: both;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRHDvygvvVkIUNUhyphenhyphenyxPWzDa6lckj2U6WTSZnOp69x1RT3ztw4t_88D_oedTp_1P8B5zwte0qbUyiez028aHyFVUeSvp6vwjpQkuNoxZ61sWxKevs8sVhOL8zq0cdxNlSWQpZ5Xg/s400/bolzano_logo.jpg" /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/1E11nubEIcA" width="320" youtube-src-id="1E11nubEIcA"></iframe></div><div class="separator" style="clear: both;"><br /><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/cf15qYStKbA" width="320" youtube-src-id="cf15qYStKbA"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/0HaBNdmUWXY" width="320" youtube-src-id="0HaBNdmUWXY"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/BRRolKTlF6Q" width="320" youtube-src-id="BRRolKTlF6Q"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oc0M1o8tuPo" width="320" youtube-src-id="oc0M1o8tuPo"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/92wXQYcYLMg" width="320" youtube-src-id="92wXQYcYLMg"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8D_ThIqoJL8" width="320" youtube-src-id="8D_ThIqoJL8"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7nUbFG1wpnE" width="320" youtube-src-id="7nUbFG1wpnE"></iframe></div><div><br /></div>
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Bernhard Bolzano, picture taken from the Internet;<br />Duchamp in Maya Deren's Witch's Cradle (1943); <br />Georg Cantor et les infinis, par Patrick Dehornoy (SMF/Youtube 2009);<div>The Subtle Reason Taylor Series Work (Morphocular/Youtube 2024); <br /><div>Problems with Zero (Numberphile/Youtube);</div><div>Indeterminate: the hidden power of zero divided by zero (Mathologer/Youtube); </div><div><span style="text-align: justify;">Secret Kinks of Elementary Functions (Imaginary Angle/Youtube 2024); </span></div><div>L'étonnant puzzle fractal de von Koch (Mickaël Launey/Youtube); <br /><div>El Problema indemostrable (Mates Mike/Youtube); <br /><div>The Great Abyss Inframince (A/Z 2018, <a href="https://www.blogger.com/">for more see here</a>); <div><br /></div><h4 style="text-align: left;">Foundation out of the common track:</h4><div>
<br />"E pois, te digo, as estrelas, <br />no céu imenso espalhadas, <br />são a metade e outro tanto <br />das mesmas por Deus criadas; <br />e, se imaginas que minto <br />na quantidade que dei, <br />te desafio a contá-las... <br />para ver que não errei!"<br />Cancioneiro Guasca</div><div style="text-align: justify;">"... but I'm prejudiced. I have loved Cantor's hierarchy of cardinals ever since I was exposed to it at a tender age."</div><div>Ian Hacking (Why Is There Philosophy of Mathematics At All?)</div><div><br /></div><div><div style="text-align: justify;">"<span style="text-align: left;">... the objects of transfinite set theory... clearly do not belong to the physical world and even their indirect connection with physical experience is very loose (owing primarily to the fact that set-theoretical concepts play only a minor role in the physical theories of today)... </span>The set-theoretical paradoxes are hardly any more troublesome for mathematics than deceptions of the senses are for physics... <span style="text-align: left;">The mere psychological fact of the existence of an intuition which is sufficiently clear to produce the axioms of set theory and an open series of extensions of them suffices to give meaning to the question of the truth or falsity of propositions like </span><span style="text-align: left;">Cantor's continuum hypothesis...</span><span style="text-align: left;">"</span></div><div><a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html" target="_blank">Der Herr Warum</a> (What is Cantor's Continuum Problem?/Supplement to the Second Edition)</div></div><div><div style="text-align: right;"><div style="text-align: justify;">"Es treten in uns fortwährend neue Vorstellungs-massen auf, welche sehr rasch aus unserm Bewusstsein wieder verschwinden. Wir beobachten eine stetige Thätigkeit unserer Seele. Jedem Act derselben liegt etwas Bleibendes zu Grunde, welches sich bei besonderen Anlässen (durch die Erinnerung) als solches kundgiebt, ohne einen dauernden Einfluss auf die Erscheinungen auszuüben. Es tritt also fortwährend (mit jedem Denkact) etwas Bleibendes in unsere Seele ein, welches aber auf die Erscheinungswelt keinen dauernden Einfluss ausübt. Jedem Act unserer Seele liegt also etwas Bleibendes zu Grunde, welches mit diesem Act in unsere Seele eintritt, aber in demselben Augenblick aus der Erscheinungswelt völlig verschwindet. Von dieser Thatsache geleitet, mache ich die Hypothese, dass der Weltraum mit einem Stoff erfüllt ist, welcher fortwährend in die ponderablen Atome strömt und dort aus der Erscheinungswelt (Körperwelt) verschwindet..."</div></div><div style="text-align: justify;">Bernhard Riemann (Neue mathematische Prinzipien der Naturphilosophie)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Considerer une infinité dénombrable d'objets à travers leur représentation finie idéale pouvait déjà paraître dépasser les possibilités humaines, mais Pythagore découvrit l'insuffisance de cette donnée, selon laquelle tout segment aurait dû être commensurable avec tout autre. Dès lors surgissaient sur la droite idéale, elle-même substitut d'une infinité dénombrable de droites, une infinité de points non rationnels, dont on apprit, avec Cantor, que l'ensemble cessait d'être dénombrable. En ce qui concerne les radicaux carrés et les expressions rationnelles d'un nombre fini de radicaux carrés, la doctrine des idées permit de résoudre entièrement le problème, dans la mesure où elle admit les constructions par la règle et le compass. Mais, résolu sur ce point, le scandale devait renaître avec les autres nombres algébriques, puis avec les nombres transcendants."</div><div style="text-align: justify;">"[Dans la projection téréographique sur la sphère de Riemann] P peut être choisi comme représentant du nombre complexe x + iy... quand P se dirige vers N, Q tend à s'éloigner de l'origine et Ne peut être regardé comme le représentant unique de tous les point à l'infini du plan imaginaire, points qui deviennent uniques et perdent ainsi, dans la représentation intuitive de Riemann, le privilège qu'ils conservaient dans celle d'Argand-Cauchy. La conformité de la représentation est conservée quand on passe du plan à la sphère complexe."</div><div>Jules Vuillemin (La philosophie de l'algèbre) </div><div><br /></div><div style="text-align: justify;">"We know the difference that separates the Hilbertian conception of mathematics from that of Russell and Whitehead’s Principia Mathematica (1910). Hilbert has replaced the method of genetic definitions with that of axiomatic definitions, and far from claiming to reconstruct the whole of mathematics from logic, introduced on the contrary, by passing from logic to arithmetic and from arithmetic to analysis, new variables and new axioms which extend each time the domain of consequences. Here is, for example, according to Bernays, who in the complete works of Hilbert published a study of all his work on the foundations of mathematics, all that is necessary to be given to formalize arithmetic: the propositional calculus, the axioms of equality, the arithmetic axioms of the ‘successor’ function (a + 1), the recurrence equations for addition and multiplication, and finally some form of the axiom of choice. To formalize analysis, it is necessary to be able to apply the axiom of choice, not only to numeric variables, but to a higher category of variables, those in which the variables are functions of numbers. Mathematics thus presents itself as successive syntheses in which each step is irreducible to the previous step. Moreover, and this is crucial, a theory thus formalized is itself incapable of providing the proof of its internal coherence. It must be overlaid with a metamathematics that takes the formalized mathematics as an object and studies it from the dual point of view of consistency and completion. The duality of planes that Hilbert thus established between the formalized mathematics and the metamathematical study of this formalism has as a consequence that the notions of consistency and completion govern a formalism from the interior of which they are not figured as notions defined in this formalism."</div><div><div style="text-align: justify;">"... it is impossible to consider a mathematical ‘whole’ as resulting from the juxtaposition of elements defined independently of any overall consideration relative to the structure of the whole in which these elements are integrated. There thus exists a descent from the whole towards the part, as a ascent from the part to the whole, and this dual movement, illuminated by the idea of completion, allows the observation of the first aspect of the internal organization of mathematical entities. If one claims to admit that the study of such structural connections is an essential task for mathematical philosophy, one cannot fail to notice the differences that separate mathematical philosophy thus conceived from the entire current of logicist thought that developed after Russell had discovered the paradoxes of set theory. The logicians have since always claimed to prohibit non-predicative definitions, that is, those in which the properties of an element are supportive of the set to which that element belongs. Mathematicians have never been willing to admit the legitimacy of this interdiction, rightly showing the necessity, to define certain elements of a set, to sometimes call upon the global properties of this set... We thus hope to make evident this idea that the true logic is not a priori in relation to mathematics but that for logic to exist a mathematics is necessary."</div><div style="text-align: justify;">"Facts are... organized under the unity of the notion that generalizes them. The real ceases to be the pure discovery of the new and unforeseeable fact, in order to depend on the global intuition of a supra-sensible entity. [Pierre] Boutroux [<i>L'Ideal scientifique des mathématiciens</i>, 1920] takes as an example the reality of the ellipse. The ellipse is for him neither the locus of points such that the sum of their distances to the foci is constant, nor a curve defined by its algebraic equation, nor a curve to the projective properties of conics. It is all that and much more. It is, he says, 'a whole that does not include parts... a sort of Leibnizian monad. This monad is pregnant with the properties of the ellipse; I mean that these properties, even though they have not been explicitly formulated (and they cannot be since they are infinite in number) are contained in the notion of ellipse.'"</div><div style="text-align: justify;">Albert Lautman (Essay on the Notions of Structure and Existence in Mathematics, Simon B. Duffy's translation [it is an ill-fated instance of the malignancy of this world that it happens I don't have the French original of Lautman's essays, & shall therefore by my ashes stand forever indebted to the heroine soul (chaste star!) who peradventure send me, with all her fraternity, the French original of just at least these choicest morsels so I could definitely pen them down here as a seasonable kindness to our whole parish!])</div><div><br /></div><div style="text-align: justify;">"The supermultitudinous character of Peirce’s continuum shows, according to Peirce, that the Cantorian real line is just 'the first embryo of continuity', 'an incipient cohesiveness, a germinal of continuity.' Nevertheless, the cardinal indetermination of Cantor’s continuum inside ZF—a profound discovery of 20th century mathematical logic that Peirce could not imagine—shows that the Cantorian model can also be considered as a valid generic candidate to capture the supermultitudeness of the continuum... The indetermination of 2ˆAleph0 is not well appreciated by the specialists, who consider that the incompleteness of ZF must be repaired. In any of the 'normative' responses given to the cardinal size of the continuum, it ceases immediately to be supermultitudinous since the additional axioms force it to adjust within a determinate level of a hierarchy."</div><div style="text-align: justify;">"... while Cantor and, systematically, most of his followers, try to bound (and bind) the continuum, Peirce tries to unbound it: to approach a supermultitudinous continuum, not restricted in size, truly generic in the transfinite, never totally determined. It comes then, as a most remarkable fact, that many indications of the indeterminacy of the continuum found at the core of contemporary Cantorian set theory (free analysis of the set theoretic universe through disparate filters, using forcing techniques, with many phenomena possibly coexistent) seem to assure in retrospect the appropriateness of Peirce’s vision. The generality of Peirce’s continuum implies, as we shall now see, that it cannot be reconstructed from the 'particular' or the 'existent', and that it must be thought in the true general realm of possibilia."</div><div style="text-align: justify;"><a href="https://www.academia.edu/31948393/ZalameaPeirceCont_pdf" target="_blank">Fernando Zalamea (Peirce's Logic of Continuity)</a></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"When talking about miracles, we should of course bear in mind Lacan's qualification that the only 'irrationality' he admits is that of irrational numbers in mathematics—in a homologous way, the only 'miracles' a radical materialist allows for are mathematical ones."</div><div style="text-align: justify;">"What if, however, we treat this set of elements forever 'open' to addition as a closed totality and posit the infinite as an element of its own, as the external frame of the endless set of elements it contains? The transfinite is thus a number or an element with the paradoxical property of being insensitive to addition or subtraction: whether we add a unit to it or subtract one from it, it remains the same..."</div><div style="text-align: justify;">"... <span style="text-align: left;">the subject as such is hysterical... [it] </span><span style="text-align: left;">is capable of relating to a term that remains outside the limits of the game; indeed, this relationship to a term 'out-of-play' is constitutive of the subject itself..."</span></div><div style="text-align: justify;"><span style="text-align: left;">"When cognitivists from Dennett onwards try to explain consciousness, they enumerate a whole series of specifically human capacities which 'cannot really function without consciousness'</span>—<span style="text-align: left;">what if, however, instead of focusing on 'what we can (only) do with consciousness,' we should shift the terrain and ask: what is the specific point of impossibility of consciousness? What is it that we cannot do with consciousness? How is consciousness related to what we a priori cannot become conscious of?"</span></div></div><div><div style="text-align: justify;">"... the unfinished (ontologically incomplete) character of reality which compels us to include the virtuality of teleiosis in the definition of an object is thus not its limitation, but a positive condition of its actual existence..."</div>Slavoj Zizek (Haunted by A/Z, Feyerabend with vengeance & the New Wave)<br /><div style="text-align: justify;"><br /></div><div>"Nous connaissons qu'il y a un infini, et ignorons sa nature..."</div><div>Pascal (<i>Pensées</i>, 233<i>)</i></div><div style="text-align: justify;">"Ainsi il y a des propriétés communes à toutes choses, dont la connaissance ouvre l'esprit aux plus grandes merveilles de la nature. La principale comprend les deux infinites qui se rencontrent dans toutes: l'une de grandeur, l'autre de petitesse... De même, quelque grande que soit un nombre... Et au contraire, quelque petit que soit un nombre..."</div><div style="text-align: justify;"><i>"</i>Voilà l'admirable rapport que la nature a mis entre ces choses, et les deux merveilleuses infinites qu'elle a proposées aux hommes, non pas à concevoir, mais à admirer..."</div><div style="text-align: justify;">Pascal (<i>Fragments de l'esprit géométrique</i>)</div><div style="text-align: justify;"><span style="text-align: left;">"... la conception d’une quantité finie porte toujours sur l'objet du savoir, sur l’être qui est opposé au savoir et qui constitue l’objet de la connaissance; tandis que l’idée de l’infini... ne peut porter que sur les fonctions mêmes du savoir, où elle introduit la plus haute unité intellectuelle ou la plus haute signification dans la production même de la connaissance de la quantité</span><span style="text-align: left;">."</span></div><div style="text-align: justify;"><span style="text-align: left;">Höené Wronski (<i>Philosophie de l'Infini</i>)</span></div><div style="text-align: justify;">"Quis neget, naturam instinctu solo, sine etiam ratiocinatione, docere geometriam?"</div><div style="text-align: justify;">Johannes Kepler (Stereometria Dolii Austriaci in Specie, Theorema V)</div><div><br />
<div style="text-align: justify;">
"... la majorité est travaillé par une minorité proliférante et non dénombrable qui risque de détruire la majorité dans son concept même, c'est-à-dire en tant qu'axiome... le étrange concept de non-blanc ne constitue pas un ensemble dénombrable... Le propre de la minorité, c'est de faire valoir la puissance du non-dénombrable, même quand elle est composée d'un seul membre. C'est la formule des multiplicités. Femme, nous avons tous à le devenir, que nous soyons masculins ou féminins. Non-blanc, nous avons tous à le devenir, que nous soyons blancs, jaunes ou noirs."</div>
<div style="text-align: justify;">
Deleuze & Guattari (Mille plateaux)</div><div style="text-align: justify;">"Ce qui caractérise le chaos, en effet, c'est moins l'absence de déterminations que la vitesse infinie à laquelle elles s'ébauchent et s'évanouissent: ce n'est pas un mouvement de l'une à l'autre, mais au contraire l'impossibilité d'un rapport entre deux déterminations, puisque l'une n'apparaît pas sans que l'autre ait déjà disparu, et que l'une apparaît comme évanouissante quand l' autre disparaît comme ébauche."</div><div style="text-align: justify;">Deleuze & Guattari (Qu'est-ce que la philosophie)<br />
"Et je reçus de lui de merveilleuses explications et des éclaircissements extrêmement précis sur la façon dont le Peyotl ressuscite dans le trajet entier du moi nerveux, la mémoire de telles vérités souveraines, par lesquelles la conscience humaine, me fut-il dit, ne perd plus, mais au contraire, retrouve la perception de l'Infini."<br />
"Et d'après des vieux Chinois le foie est le filtre de l'inconscient mais la rate est le répondant physique de l'infini."<br />
A. Artaud (Le Rite du Peyotl chez les Tarahumaras)<br />
"This relative freedom of a hero does not violate the strict specificity of the construction, just as the specificity of a mathematical formula is not violated by the presence of irrational or transfinite quantities."<br />Mikhail Bakhtin (Problems of Dostoevsky's Poetics, Caryl Emerson translation)<br />
<span style="text-align: start;"></span><br />"... the world burst into a brilliant but complex series of geometric patterns so elaborate that no mere mortal could even BEGIN to comprehend their true significance. Only God and I understood..."</div><div style="text-align: justify;">James St. James<br />
<div style="text-align: justify;">
"The vistas echoed endlessly, paralleling the way that drum hits, guitar chords, and horn licks were turned into reverb trails by dub producers like King Tubby..."<br />
Simon Reynolds<br />
<div style="text-align: justify;">
"Note the parallels between ordinary awareness, classical physics, and the natural and counting integers..."</div>
<div style="text-align: justify;">
Dean Radin (Real Magic)</div>
</div>
"... interrompidas não porque terminassem, mas porque ninguém podia levá-las a um fim."<br />
Clarice Lispector<br />
"So Art is limited to infinite, and beginning there cannot progress."<br />
Whistler<br />
<br />
"Of course, not everyone in postpunk attended art school, or even college. Self-educated in a scattered, omnivorous fashion, figures like John Lydon or Mark E. Smith of the Fall fit the syndrome of the anti-intellectual intellectual, ravenously well read but scornful of academia and suspicious of art in its institutionalized forms."<br />
Simon Reynolds<br />
"I had been occluded from space-time like an eel's ass occludes when he stops eating on the way to Sargasso... Locked out... Never again would I have a Key, a Point of Intersection... The Heat was off me from here on out... relegated with Hauser and O'Brien to a landlocked junk past where heroin is always twenty-eight dollars an ounce and you can score for yen pox in the Chink laundry of Sioux Falls... Your plan was unworkable then and useless now... Like da Vinci's flying machine plans..."</div>
<div style="text-align: justify;">
William S. Burroughs</div><div style="text-align: justify;"><br />
"Denken wir uns nun einen äußersten Fall: daß ein Buch von lauter Erlebnissen redet, die gänzlich außerhalb der Möglichkeit einer häufigen oder auch nur seltneren Erfahrung liegen, — daß es die erste Sprache für eine neue Reihe von Erfahrungen ist. In diesem Falle wird einfach Nichts gehört, mit der akustischen Täuschung, daß, wo Nichts gehört wird, auch Nichts da ist... Dies ist zuletzt meine durchschnittliche Erfahrung und, wenn man will, die Originalität meiner Erfahrung."<br />
<div style="text-align: justify;">
"Ich komme aus Höhen, die kein Vogel je erflog, ich kenne Abgründe, in die noch kein Fuß sich verirrt hat..."<br />
"Man büßt es teuer, unsterblich zu sein..."</div>
Nietzsche<br />
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Car toutes ces femmes étaient des actrices du monde, et il est vrai que même considérée à ce point de vue, la comtesse Molé n'était pas égale à l'extraordinaire réputation d'intelligence qu'on lui faisait, et qui donnait à penser à ces acteurs ou à ces romanciers médiocres qui à certaines époques ont une situation de génie, soit à cause de la médiocrité de leurs confrères, parmi lesquels aucun artiste supérieur n'est capable de montrer ce qu'est le vrai talent, ou de la médiocrité du public, qui, existât-il une individualité extraordinaire, serait incapable de la comprendre."</div><div style="text-align: justify;">Marcel Proust (le narrateur, La Prisonnière)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">
"... one of the two professors assigned to assess his thesis, doubtless bewildered by the extent of its expertise and scholarship, declared it incomprehensible and threatened not to approve it."</div>
Malcolm Hayes (Anton von Webern)<br />
"N'ayant jamais consenti à vivre dans notre univers salarié, le célèbre linguiste n'avait pas cotisé à la M.G.E.N. Résultat: impossible de le faire soigner dans une clinique sérieuse. N'était-ce pas inadmissible?"<br />
Olga (Les Samouraïs)<br />
"On n'élimine pas, on neutralize en marginalisant..."<br />
Edward (Les Samouraïs)</div>
<div style="text-align: justify;">
"Au-delà de l'erreur, au-delà de la bêtise elle-même: une certaine bassesse de l'âme..."<br />
Deleuze/Nietzsche<br />
"Dans le pain et le vin destinés à sa bouche<br />
Ils mêlent de la cendre avec d'impurs crachats..."<br />
Charles Baudelaire</div><div style="text-align: justify;">"One will know well if ignorance is removed. Those who know well always desire to act."</div><div style="text-align: justify;">Myoe (Mark Unno, Shingon Refractions)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"We do not confine ourselves any more to using infinity as a figure of speech, or as shorthand for the statement that no matter how great a number there is one greater: the act of becoming invokes the infinite as the generating principle for any number; any number is now regarded as the ultra-ultimate step of an infinite process; the concept of infinity has been woven into the very fabric of our generalized number concept."</div><div style="text-align: justify;">"... while Galileo dodged the issue by declaring that the attributes of equal, greater, and less are not applicable to infinite, but only to finite quantities, Cantor takes the issue as a point of departure for his theory of aggregates. And Dedekind goes even further: to him it is characteristic of all infinite collections that they possess parts which may be matched with the whole... The reader will remember Liouville's discovery of transcendentals..."</div>Tobias Dantzig, Number: the language of science</div><div><br /></div><div><div style="text-align: justify;">"In contrast to the possibility of eliminating infinity as just described stand a number of results that show that some finitary statements can only be proved through infinitary considerations. These results originally emerge with Gödel’s incompleteness theorems (1931) but have been recently refined by displaying statements of mathematical interest... establishing the truth of the Gödel sentence and of the new incompleteness results requires appeal to some “infinitary” principles (when the truth of the Gödel sentence G is established through appeal to the statement expressing the consistency of Peano Arithmetic, it is establishing the latter that requires some portion of infinitary reasoning, such as induction up to an infinite ordinal called ε0)."</div><div style="text-align: justify;"><a href="https://plato.stanford.edu/entries/infinity/" target="_blank">Kenny Easwaran et al. (Infinity, Stanford Encyclopedia of Philosophy)</a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"I should advise that by number... there be understood not the class (the system of all mutually similar finite systems), but rather something new (corresponding to this class) which the mind creates. We are of divine species and without doubt possess creative power not merely in material things (railroads, telegraphs), but quite specially in intellectual things... you say that the irrational number is nothing else than the cut itself, whereas I prefer to create something new (different from the cut), which corresponds to the cut..."</div><div>Richard Dedekind (to Heinrich Weber, as quoted in Ian Hacking's Why Is There Philosophy of Mathematics At All?)</div></div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"More surprising still is the fact that dimensionality is not the arbiter of the power of a set. The power of the set of points in a unit line segment is just the same as that of the points in a unit area or in a unit volume—or, for that matter, all the three-dimensional space. (Dimensionality, however, retains some measure of authority in that any one-to-one mapping of points in a space of unlike dimensionality is necessarily a discontinuous mapping.) So paradoxical were some results in point-set theory that Cantor himself on one occasion in 1877 wrote to Dedekind, 'I see it, but I don't believe it'; and he asked his friend to check the proof."</div><div style="text-align: justify;">"Dedekind and Cantor were among the most capable mathematicians, and certainly the most original, of their day; yet neither man secured a top-ranking professional position. Dedekind spent almost a lifetime teaching on the secondary level..."</div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span face="-webkit-standard, serif" lang="EN-US"><sup><o:p></o:p></sup></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span face="-webkit-standard, serif" lang="EN-US"><sup><o:p></o:p></sup></span></p><div style="text-align: justify;">Carl B. Boyer (A History of Mathematics)</div><div><br /></div><div style="text-align: justify;">"Expressions like 1/0, 3/0, 0/0 etc. [that is, divisions by zero] will be for us meaningless symbols. For if division by zero were permitted, we could deduce from the true equation 0.1 = 0.2 the absurd consequence 1 = 2. It is however sometimes useful to denote such expressions by the symbol ∞ (read 'infinity'), provided that one does not attempt to operate with the symbol ∞ as though it were subject to the ordinary rules of calculation with numbers."</div><div style="text-align: justify;">"We cannot include the symbol ∞ in the real number system and at the same time preserve the fundamental rules of arithmetic. Nevertheless the concept of the infinite pervades all mathematics..."</div><div style="text-align: justify;">Richard Courant & Herbert Robbins (What is Mathematics)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Ces constructions montrent de manière exemplaire la dynamique des mathématiques qui engendre la conceptualisation des intervalles. Il s’agit là d’un débat passionnant de longue durée qui nous incite à nous poser la question de la signification de tels outils pour la musique : est-il légitime de faire intervenir des structures mathématiques dans la théorie de la musique sans en connaître la signification ou la portée? Nous voudrions plutôt nous restreindre aux objets ayant uniquement une « carte de séjour des musiciens », et éviter de faire jouer des objets 'étrangers'. Je mets en évidence ce type de réflexe instinctif qui est totalement absent chez les physiciens. Pour ces derniers, les concepts et les théorèmes mathématiques sont non seulement le langage de la nature — depuis Galilée, le 'livre' de la Nature s’écrit avec le 'langage' des mathématiques. Si l’on suit les réflexions de Roger Penrose, les mathématiques sont même une base ontologique — qui diffère peu de l’approche pythagoricienne au final, bien qu’étant infiniment plus complexe. Ce réflexe 'xénophobe' est d’autant plus irritant que les compositeurs, eux, ne montrent pas ces réserves, qu’il s’agisse de Xenakis, Boulez, Stockhausen, Ligeti, ou même Mozart ou Beethoven. J’insiste sur ce point car le débat sur la justification des mathématiques dans la musique doit pénétrer plus profondément au cœur des deux cultures pour créer un enrichissement mutuel. Nous pouvons citer ici de nouveau Novalis : 'Aller Genuss ist musikalisch, mithin mathematisch.'"</div><div style="text-align: justify;">Guerino Mazzola (La vérité du beau dans la musique) </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Walter Benjamin hat 'das Vermögen der Phantasie' als 'die Gabe, im unendlich Kleinen zu interpolieren' definiert. Das beleuchtet blitzhaft die wahre Interpretation. (...) Im dicht gewobenen Zusammenhang des Notentextes sind die minimalen Hohlräume zu entdecken, in denen sinnverleihende Interpretation ihre Zuflucht findet" </div><div style="text-align: justify;">Theodor Adorno, as quoted by Guerino Mazzola</div></div><div style="text-align: justify;">********************************************************************</div></div><div><h4 style="text-align: left;">Memoire presenté à Messieurs les Docteurs de Sorbonne (if to be detected):</h4><div style="text-align: justify;"><br /></div>
<div style="text-align: justify;">In his <i>The Mystery of the Aleph</i> (a book written to the literal edification of this scurvy and disasterous world of ours & in spight of all gentlemen reviewers in England & the Continent), Amir D. Aczel, person (if I mistake not) of no small note and consequence, writes: "Infinity is an intimidating concept—one where our everyday intuition no longer servers to guide us."</div></div>
<div style="text-align: justify;">As you (known by the name of "reader") and I are in a manner perfect strangers to each other, before finding our three types, we shall start by identifying two more general types: the ones who stick to everyday intuition, the ones who dare to face infinity's paradoxes. </div>
<div style="text-align: justify;">
I argue that, in any case, <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html" target="_blank">the paradoxes related to infinity are </a><i><a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html" target="_blank">real</a>. </i></div>
<div style="text-align: justify;">
<div style="text-align: justify;">
Then to stick to everyday intuition is limited or false ingenuity. To face infinity, genuine ingenuity.</div>
<div style="text-align: justify;">
The most clear and distinct example of limited ingenuity is to be found in Descartes. He preferred to stick to everyday intuition, but acknowledged that infinity is (and has to be) real.</div>
<div style="text-align: justify;">
False ingenuity, which should rather be called (your worship) <i>bêtise</i> or <i>deliberate ingenuousness</i> is the case of a person who not only sticks to everyday intuition but denies that the paradoxes of infinity can be real and (wether she was deceiving or deceived in this manner) really hates them. There are so many examples of this dismally lamentable case (trifling in nature, tedious in telling), we fortunately won't need even to give any names (I'm positive). It might just as well be the rule (though in no way becomes me to decide). And since alle Schweiger sind dyspeptisch, choose your own favourite member of whatever academic Kroneckian priesthood you happen to be acquainted with, reverenced scientists (several might do the job), inveterate analytic philosophers (whose number has been lately worn down to a thread), hard-nosed economists, bureaucrats &/or famous CEOs (who presently are legion). Choose and vituperate it out & aloud—with abhorrence.</div>
<div style="text-align: justify;">
Very ordinary people don't count because they are all geniuses in a very Warholian peculiar way: by never raising such questions on their own. Blessed be the Lord, they definitely don't belong to any of our three categories, remaining (with great candor & modesty) baffled & overthrown.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Examples of genuine ingenuity are the following (under construction now made public list) [it was hard to agree on a truly certified census beyond all possibility of doubt, so we left a few ghostly holes in the form of question (& others totally hidden) marks]:</div><div style="text-align: justify;">- Anaximander;</div><div style="text-align: justify;">- Melissos;</div><div style="text-align: justify;">- Zeno; </div><div style="text-align: justify;">- Democritus; </div><div style="text-align: justify;">- Plato (?); </div><div style="text-align: justify;">- Epicuros (?);</div><div style="text-align: justify;">- Archimedes (?); </div><div style="text-align: justify;">- Lucretius (?);</div><div style="text-align: justify;">- Hasdai Crescas (?); </div>
- Nicolas of Cusa;</div><div style="text-align: justify;">- Girolamo Cardano (?);<br />
- Giordano Bruno;</div><div style="text-align: justify;">- Johannes Kepler (?); <br />
- Galileo Galilei (?);</div><div style="text-align: justify;">- Blaise Pascal; </div><div style="text-align: justify;">- Torricelli (?); </div><div style="text-align: justify;">- Girard Desargues (?); </div><div style="text-align: justify;">- John Wallis (?);<br />
- G. W. Leibniz (?);</div><div style="text-align: justify;">- Newton (?); </div><div style="text-align: justify;">- Euler (?);<br />
- Salomon Maimon;</div><div style="text-align: justify;">- Jean Baptiste Bordas-Demoulin; </div><div style="text-align: justify;">- Höené Wronski;<br />
- Bernhard Bolzano;<br />
- Bernhard Riemann (?);<br />
- Kingdon Clifford (?);<br />
- Karl Weierstrass (?);</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/12/modern-literature-and-esotericism.html" target="_blank">Baudelaire! ("Tout cerveau bien conformé porte en lui deux infinis, le ciel et l'enfer...")</a>;<br />
- Nietzsche (?);</div><div style="text-align: justify;">- Charles Sanders Peirce (?);<br />
- Sonja Kowalewski (?);<br />
- Gösta Mittag-Leffler (?);<br /></div><div style="text-align: justify;">
- Richard Dedekind;<br />
- Georg Cantor;</div><div style="text-align: justify;">- David Hilbert (?); <br />
<div>
- Henri Bergson (?);</div><div>- Raymond Roussel (?);</div><div>- Melanie Klein (?);</div><div>- Jacques Lacan (?);<br />- Georges Bataille (?);<br />- Maurice Blanchot (?);<br />- Pierre Klossowski (?);</div><div>
- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html" target="_blank">Der Herr Warum</a>;</div><div>- Andre Weil (?); </div><div style="text-align: justify;">- Albert Lautman;</div><div style="text-align: justify;">- Jules Vuillemin (?);</div>
- Claude Lévi-Strauss (?);</div><div style="text-align: justify;">
- Gilles Deleuze;<br />
- Jacques Derrida ["... l'axiome fondamental de tout ce qu'il dit partout, c'est la <i>divisibilité du point</i>. Tout ce qu'il écrit, tout ce qu'il pense est une protestation contre le point comme indivisible..." Hélène Cixous];<br />
- Julia Kristeva (?);</div><div><div style="text-align: justify;">- Sylvia Leclercq ["Jamais comblée, une différence demeure (cf. Hekhalot, Demeures Célestes, Moradas) toujours entre l'Être et l'ensemble ouvert des 'sujets', des 'singularités', des 'nombres' susceptibles de l'exprimer, et dans lesquels je me dissémine en écrivant et en agissant. J'appartiens à une géométrie qui n'est plus algébrique, mais analytique. Je suis un site du signifiant illimité..."];</div><div style="text-align: justify;">- Alexander Grothendieck (?);</div><div style="text-align: justify;">- Paul Cohen (?);</div><div style="text-align: justify;">- Hugh Woodin (?);</div><div style="text-align: justify;">- Alain Connes (?);</div><div style="text-align: justify;">- Fernando Zalamea (?);</div>
- me (which I own);<br />
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Amir Aczel provides us also with a parable about the fate of genuine ingenuity by giving an account of a set of pitiful misadventures and cross accidents sustained by Bernhard Bolzano throughout his life:</div>
<div style="text-align: justify;">
<div style="text-align: justify;">
"In 1805, Bolzano was ordained a priest and nominated to the chair of the department of the philosophy of religion at the University of Prague. Bolzano had wanted the position for several years but had been passed over for promotion by lesser-qualified but better-connected individuals... A mere decade and a half after his installment as chair, Bolzano was summarily fired and stripped of his priestly rank... One B. Frint had written a textbook which he had hoped would be used by Bolzano in his courses. But Bolzano, in his new position, resisted the pressure and did not adopt the book. Frint successfully turned people against the new chair of the philosophy of religion department. The slow but systematic case against Bolzano was built in a series of state papers documenting what officials considered objectionable elements in Bolzano's sermons. The most offensive infraction was Bolzano's preaching peace to the students... When the first attacks on him occurred, Bolzano had the support of the Archbishop of Prague, and this helped him evade any serious consequences" <i>The Mystery of the Aleph</i> (WSP, 2000).</div>
<div style="text-align: justify;">
To this it may be interesting to juxtapose the following <i>francisé </i>passage from Nietzsche (no muddle-headed): "Il y a des vies où les difficultés touchent au prodige; ce sont les vies des penseurs. Et il faut prêter l'oreille à ce qui nous est raconté à leur sujet, car on y découvre des possibilités de vie, dont le seul récit nous donne de la joie et de la force, et verse une lumière sur la vie de leurs successeurs. Il y a là autant d'invention, de réflexion, de hardiesse, de désespoir et d'espérance que dans les voyages des grands navigateurs; et, à vrai dire, ce sont aussi des voyages d'exploration dans les domaines les plus reculés et les plus périlleux de la vie..." (as quoted by Deleuze in <i>Nietzsche et la philosophie</i>).</div>
<div style="text-align: justify;">
Also, from Ecce Homo: "Wenn trotzdem an mir manche kleine und große Missethat verübt worden ist, so war nicht der 'Wille', am wenigsten der böse Wille Grund davon: eher schon hätte ich mich<span style="text-align: justify;"> —</span>ich deutete es eben an <span style="text-align: justify;">— </span>über den guten Willen zu beklagen, der keinen kleinen Unfug in meinem Leben angerichtet hat."</div>
</div>
<span id="goog_1769680311"></span>
<br />
<h4 style="text-align: left;">Poincaré & Wittgenstein:</h4>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;"><a href="https://www.blogger.com/#">Did Poincaré say set theory is a disease? According to Jeremy Gray, it seems he didn't.</a> </div><div style="text-align: justify;">On Wittgenstein and finitism &/or on the difference between the infinite and the huge (<a href="https://www.blogger.com/#">see also here</a>): "Wittgenstein’s famous matching of finitism and behaviourism, united by their denial of the existence of something (infinite sets and inner states, respectively), in the correct but badly executed attempt to avoid confusion (that between the infinite and a very large quantity, and that between an inner state and a private entity), shows, on this point, the agreement and, at the same time, the distance between the Austrian philosopher’s position and finitism. The denial of the existence of infinite sets is a mistaken way to draw a grammatical distinction which, though it may be opportune, should be done differently: by showing that the grammar of the word “infinite” cannot in the slightest be clarified by taking into account only the picture of something huge, a picture which usually accompanies the use of the word. As Wittgenstien affirms in one of his lectures in 1939: “If one were to justify a finitist position in mathematics, one should say just that in mathematics ‘infinite’ does not mean anything huge. To say ‘There’s nothing infinite’ is in a sense nonsensical and ridiculous. But it does make sense to say we are not talking of anything huge here”... Wittgenstein moves some criticisms against the platonistic interpretation of the true import of Cantor’s proof; nevertheless they do not originate in any way from a presupposed identification of legitimate mathematics with finitist mathematics and, even less so, from the violation, by Cantor’s proof, of the requirements imposed by strict finitism. Once the appropriate clarifications have been made about what, in his opinion, it really demonstrates, Cantor’s proof is more than good enough for Wittgenstein, in spite of the certainly non-finite nature of the “objects” it deals with... proofs which are finitistically (not only strict finitistically) unacceptable are actually accepted by Wittgenstein or are not questioned on the basis of the restriction of admissible mathematical procedures to the finitary ones," Pasquale Frascolla, Wittgenstein's Philosophy of Mathematics (Routledge 1994).</div> <div style="text-align: justify;"><br /></div><div style="text-align: justify;">***Russel & Quine with irony: "[they] were born to be nominalists even if the hard knocks of mathematical and philosophical experience shattered childhood complacency. (Russell actually began as an idealist in the Hegelian manner of late Victorian England, but that was his infancy, not his childhood)," Ian Hacking, Why is there Philosophy of Mathematics at all (Cambridge 2014).</div><div style="text-align: justify;"><br /></div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<div style="text-align: justify;">
<div style="text-align: start;">
See also:</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html" target="_blank">actual infinite falling (against Carlo Rovelli's pseudo-problem)</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html" target="_blank">the dogma of semantic uniformity & Python Gored Naturalism</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html">the odd transformation of Der Herr Warum (Gödel with Resnais)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/02/why-self-help-books-are-not-to-be.html">self-help books & parapsychology</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/01/the-most-auspicious-tetrahedron-two.html">the most auspicious tetrahedron</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html">what is REAL space? what is REAL number?</a></div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/12/timothy-leary-in-1990s-how-to-talk.html">Timothy Leary in the 1990s</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html">5G?! Get real...</a></div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/10/list-of-two-charming-scientists-under.html">list of charming scientists/engineers</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html" target="_blank">view from Berthe Trépat's apartment</a>;<br />
- <a href="https://aletche.blogspot.com/2018/11/the-house-that-jack-builts-simple.html" target="_blank">The House that Jack's Built simple equation</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">list des déclencheurs musicaux</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/03/structuralism-poststructuralism.html">Structuralism, Poststructuralism</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">List des figures du chaos primordial (Deleuze)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2015/12/piano-playing-kochevitsky.html">Piano Playing (Kochevitsky)</a>; </div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">L'Affirmation de l'âne (review of Smolin/Unger's <i>The Singular Universe</i>)</a>;</div>
<div style="text-align: justify;">
And also:</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html" target="_blank">Dogen with Hagakure</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2015/07/larticulation-blanchotienne-des-notions.html" target="_blank">L'articulation (Blanchot)</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2016/01/lintelligence-des-fleurs-maeterlinck.html" target="_blank">L'intelligence des fleurs</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2012/07/blog-post.html" target="_blank">Spooky Blue</a>;</div>
<div style="text-align: justify;">
- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900" target="_blank">Interactive while indifferent—Kinds & Phantasmagoria circa 1900</a>;</div><div style="text-align: justify;"><div>- <a href="https://www.academia.edu/20620553/Mathematics_is_Metaphysics_Fernando_Zalamea" target="_blank">Mathematics is Metaphysics (Fernando Zalamea)</a>; </div><div>- <a href="https://www.erudit.org/en/journals/philoso/2010-v37-n1-philoso3706/039718ar/" target="_blank">La vision unificatrice de Grothendieck (Mathieu Bélanger)</a>; </div><div>- <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=1421&context=tme" target="_blank">The Mathematical Continuum: A Haunting Problematic (Elizabeth de Freitas)</a>; </div><div>- <a href="https://www.academia.edu/57393028/Infinitesimal_how_a_dangerous_mathematical_theory_shaped_the_modern_world" target="_blank">Infinitesimal (review of Amir Alexander's book)</a>;</div><div><br /></div><div>*****extremely useful site for reviewing almost all mathematical concepts and skills in a systematic and organized way (Sal Khan's Academy): <a href="https://www.khanacademy.org/math" style="text-align: left;">https://www.khanacademy.org/math</a>; </div></div>
</div>
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</div></div></div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-4033003941307863072019-02-08T12:43:00.090-08:002023-08-18T19:09:11.078-07:00why self-help books are NOT to be dismissed & why parapsychology is anti-establishment (& always unexpected business to pop upon)<a href="#"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6A_7_CHKftYD-KwQsq1eXBNNuiSRVfrB10ZxVqPDhaF6UFt0XoeqOhiab30-CzRdUqLJZ5KjL12SSjt9lsFiUAJTTZix9VG7XMB6La4zcsIn8A3CDUGZCtQkYFvO1IHC56N-ObA/s400/wolfgang_pauli_montage.jpg" /></a><div> <br />
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Der fürchterliche Pauli as a young student (picture taken from the Internet/<a href="https://cds.cern.ch/record/1221531">CERN</a>);</div><div>Paul Feyerabend interviewed by Rüdiger Safranski; </div><div>Intervista a Paul Feyerabend, per Vittorio Hösle; </div><div>Anna Carolina Regner: Paul Feyerabend, Multiplas racionalidades (IHU/Unisinos, 2014); </div><div>
<div>
<span style="text-align: justify;">Rupert Sheldrake's TED talk;</span></div><div><span style="text-align: justify;">How to Deal with Evil Spirits: Swedenborg & Life (</span>Curtis Childs/<span style="text-align: justify;">Off The Left Eye); </span></div>
<div>
<div style="text-align: justify;">
Stephen E. Braude interview (with Jeffrey Mishlove);<br />
Dean Radin's Google Tech Talk (2008);<br />
"This in some respects augments who and what we think we are. If telepathy is true, it means that what you think of as your private thoughts aren't so private after all. It means that you have to think of your mind as mostly located in here but spread out a little bit in both space and time. And if it is spread out in space and time it means that your thought and other people's thoughts commingle at some stage. That creates a very dramatic change in terms of our personal ontology about who and what we think we are. Another thing is that it challenges the view which says we are completely isolated, we live in a mechanistic world in which mind is brain, and in a completely pointless existence. You see this sometimes in people who have been to the neurosciences in a while, specially students, they become really depressed, because the world view that is presented is 'you are a meaningless zombie, there is not going on and everything is pointless, there is no meaning for anything.' Or as Francis Crick wrote in his book, 'you are nothing but a pack of neurones,'" [my transcription of Dean Radin's "Science and the taboo of psi," a (now made public) 2008 Google Tech Talk, see Youtube video above (one learns, by the way, from the first question raised by the audience, that <a href="https://aletche.blogspot.com/2016/08/facebookers-pokemongoers-francophonie.html" target="_blank">the Google's tech-fanatics corporation-suckers (I'm positive) are looking as always just for hightech applications</a>, that is (beyond all possibility of doubt), <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html" target="_blank">new ways to freakishly control things and make big money out of everything</a>, since this is the only thing that matters to them in this scurvy & disasterous, vile, dirty planet of ours; Radin seems to have a different perspective)];</div><div style="text-align: justify;">X-Ray (Tommy Cash/Youtube); <br />
**************************************************************<br /></div><h4 style="text-align: left;">Vestibule (anecdotes to pick up, incriptions to make out, stories to wave in):</h4><div style="text-align: justify;"><br /></div>
<div style="text-align: justify;"><div style="text-align: justify;">"[Et] Warburg avait bien suggéré que la crainte des demons relève d'un ordre psychique fondamental, tenace en tant même que primitif..."</div><div style="text-align: justify;">Didi-Huberman</div></div><div style="text-align: justify;">"Aber im spleen ist die Zeitwahrnehmung übernatürlich geschärft; jede Sekunde findet das Bewußtsein auf dem Plan, um ihren Chock abzufangen." </div><div style="text-align: justify;">Walter Benjamin (Über einige Motive bei Baudelaire)</div><div><div style="text-align: justify;">"Ultimately the Senders will use telepathic transmitting exclusively..."</div><div style="text-align: justify;">William S. Burroughs</div><div style="text-align: justify;">"... unless his incantations should chance to be thwarted and foiled by the more potent charms of another sorcerer..."</div><div style="text-align: justify;">A. C.</div></div><div style="text-align: justify;">"Joyce cherished the secret hope that, when he got out of the dark night of Finnegans Wake, his daughter would escape from her own darkness."</div><div style="text-align: justify;">Richard Ellmann</div><div style="text-align: justify;">
<div style="text-align: justify;">
"C'est le Diable qui tient les fils qui nous remuent! </div>
<div style="text-align: justify;">
Serré, fourmillant, comme un million d'Héminthes, dans nos cerveaux ribote un peuple de Démons."</div>
<div style="text-align: justify;">
Charles Baudelaire</div><div style="text-align: justify;">"Au lendemain de cette nuit, le petit Joseph est pris soudain de malaises et de crampes, et meurt en peu d'heures."</div><div style="text-align: justify;">Nietzsche (traduction by Klossowski)</div></div><div style="text-align: justify;">"Se as pessoas mentem, por que as cartas não iriam mentir?"</div><div><div style="text-align: justify;">Mária Timofêievna (as translated into Portuguese by Paulo Bezerra)</div><div style="text-align: justify;">"The fulfillment of prophecies, I said, was a curious business. Often they did not come true literally, but suggestively. Fulfillment might be a bit wide of the mark, open to question and yet unmistakable."</div><div style="text-align: justify;">Thomas Mann (The History of a Novel, translation by Richard & Clara Winston)</div></div><div style="text-align: justify;"> </div><div style="text-align: justify;">"Coincidences of free events with structural time points have a special luminous character, because the paradoxical nature of truth is at such moments made apparent. Caesurae on the other hand are expressive of the independence (accidental or willed) of freedom from law, law from freedom."</div><div style="text-align: justify;">John Cage (Forerunners of Modern Music)</div><div style="text-align: justify;">"There is always activity but it is free from compulsion, done from disinterest. And we are free to stop brooding and to observe the effects of our actions. (When we are proud, that pride keeps us from observing very clearly). And what do we observe: the effects of our actions on others or on ourselves? on ourselves; for if the effects on us are conducive to less separateness, less fear, more love, we may walk on then regardless of the others."</div><div style="text-align: justify;">"'Follow your principles and keep straight on; you will come to the right place, that is the way' [Meister Eckhart]."</div><div style="text-align: justify;">John Cage (Lecture on Something)</div><div style="text-align: justify;">"Chance, to be precise, is a leap, provides a leap out of reach of one's own grasp of oneself."</div><div style="text-align: justify;">John Cage (45' for a Speaker)</div><div style="text-align: justify;">Não a renúncia</div><div style="text-align: justify;">mas o desprendimento</div><div style="text-align: justify;">Aspirar a tudo</div><div style="text-align: justify;">e não querer nada</div><div style="text-align: justify;"><div>Giacinto Scelsi (Octólogo, citado por Augusto de Campos, Música de Invenção)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Sergiu Celibidache insistait sur l’unicité de chaque interprétation jusqu’au point de ne pas permettre l’enregistrement de ses concerts, craignant de détruire ce moment de déicticité absolue. Cette attitude n’est d’ailleurs pas sans ironie, car après la mort du grand sorcier, on retrouva un grand nombre d’enregistrements secrets de sa part. Néanmoins, chaque écoute d’un tel document sur un CD crée une nouvelle occurrence existentielle, débutant cette fois au bon vouloir de l’auditeur."</div><div style="text-align: justify;">
</div><div><span style="text-align: justify;">Guerino Mazzola (La vérité du beau dans la musique) </span></div><div><br /></div><div><div style="text-align: justify;">"And though we may string ever so many clauses into a single compound sentence, motion leaks everywhere, like electricity from an exposed wire."</div><div style="text-align: justify;">"All truth has to be expressed in sentences because all truth is the transference of power. The type of sentence in nature is a flash of lightning. It passes between two terms, a cloud and the earth. No unit of natural process can be less than this. All natural processes are, in their units, as much as this. Light, heat, gravity, chemical affinity, human will, have this in common, that they redistribute force."</div><div style="text-align: justify;">Ezra Pound (Chinese Character as a Medium for Poetry)</div></div><br /><div style="text-align: justify;">"Si vou voulez vous pousser vous-même en avant pour parvenir, dit le Laozi, cela sera à la fois épuisant et risqué; vous susciterez inévitablement des rivalités, il faudra affronter les autres et s'acharner. Tandis que, si vous vous mettez vous-même modestement en arrière, il pourra en résulter (tout seul) que vous serez poussé en avant, le retrait dans lequel vous choisissez de vous placer conduisant de lui-même à s'inverser..."</div><div style="text-align: justify;">"À la différence de l'effet (visé par l'agir dans un rapport moyens-fin), l'effect n'est pas à 'chercher', en y tendant directement et de façon volontaire; il est appelé à découler 'naturellement' du processus engagé. Toute stratégie consistera, en retour, à savoir impliquer le processus en amont, d'où l'effet sera ensuite conduit de lui-même à venir."</div><div style="text-align: justify;">"... ce n'est pas en s'appliquant à la vertu d'équité qu'on peut parvenir à la droiture continue d'une conduite équitable, ni en exécutant minutieusement les rites qu'on peut parvenir à la pureté du respect rituel..."</div><div style="text-align: justify;">"Il convient d'être 'rond' avant que la situation ne s'actualise, et 'carré' une fois qu'elle s'est actualisée. 'Rond' signifie qu'on reste mobile, ouvert aux différents possibles, sans se raidir dans aucune position, sans offrir d'arête ou d'angle; 'carré' signifie que, une fois qu'on s'est fixé un règle (une direction), on sait faire preuve de détermination et que, calé dans sa position, on ne se laisse plus ébranler... Au stade initial, quand rien n'est encore déterminé, on 'connaît' par la rondeur, grâce à sa parfaite disponibilité à l'égard de tout ce qui peut s'amorcer; puis, quand le processus est engagé, on 'suit' de façon carrée, sans perdre de sa stabilité. Ou encore le ciel, qui initie le cours des choses, est rond et la terre, qui les matérialise, est carré. (De façon technique et en contexte divinatoire: la rondeur renvoie à celle des tiges d'achillée qui glissent entre les doits et permettent d'appréhender l'évolution invisible (im-prévisible); tandis que le carré est celui de la figure de l'hexagramme dont le cadre définitivement établie permet d'indentifier dans sa constance le type de cas rencontré.)"</div><div style="text-align: justify;">François Jullien (Traité de l'efficacité)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"The highest life force does not cling to vitality, for this reason it is vital; </div><div style="text-align: justify;">The lowest life force does not let go of vitality, for this reason it has no vitality...</div><div style="text-align: justify;">To be acquainted with this beforehand is the blossoming of the Way and the first step to becoming a fool."</div><div style="text-align: justify;">Daodejing/38 (Edmund Ryden's translation)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Attention, dit Boehme, à ne pas t'enfoncer, comme en une ténèbre, dans le miroir de tes actes, de tes occupations! Car l'avidité (Geist), inséparable de notre volonté, détruirait l'image de Dieu, image magique, subtile comme un esprit, tellement plus subtile et plus délicate que l'âme même."</div><div style="text-align: justify;">Antoine Faivre, "Pensées de dieu, images de l'homme" (Accès de l'ésoterisme occidental)</div><div style="text-align: justify;">"C'était un excellent garçon, sobre et adroit, mais avec une de ces figures mélancoliques où le regard trop fixe signifie qu'on se fait pour un rien de la bile, même des idées noires."</div><div style="text-align: justify;">Marcel Proust (le narrateur, Sodome et Gomorrhe)</div><div style="text-align: justify;">"O homem olhou um instante para mim e sorriu calmo: ele sabia quanto era belo e sei que sabia que eu não o queria para mim. Sorriu porque não sentiu ameaça alguma... A coragem de viver: deixo oculto o que precisa ser oculto e precisa irradiar-se em segredo."</div><div style="text-align: justify;">Clarice Lispector (Água Viva)</div><div style="text-align: justify;">"Abandone-se, tente tudo suavemente, não se esforce por conseguir — esqueça completamente o que aconteceu e tudo voltará com naturalidade."</div><div style="text-align: justify;">Um médico (A Imitação da Rosa)</div><div style="text-align: justify;">"Outra coisa que o ajudava era saber que nada do que ele fosse durante aquele dia iria realmente alterá-lo. Pois prematuramente — tratava-se de criança precoce — era superior à instabilidade alheia e à própria instabilidade."</div><div style="text-align: justify;">Narrador (Evolução de uma Miopia)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Pour cette fête-ci, les éléments impurs qui s'y conjuguaient me frappaient à un autre point de vue; mais surtout les uns, ceux qui se rattachaient à Mlle Vinteuil et son amie, me parlant de Combray, me parlaient aussi d'Albertine, c'est-à-dire de Balbec, puisque c'est parce que j'avais vu jadis Mlle Vinteuil à Montjouvain et que j'avais appris l'intimité de mon amie avec Albertine, que j'allais tout à l'heure en rentrant chez moi, trouver au lieu de la solitude, Albertine qui m'attendait; et ceux qui concernaient Morel et M. de Charlus, en me parlant de Balbec, où j'avais vu sur le quai de Doncières se nouer leurs relations, me parlaient de Combray et de ses deux côtés, car M. de Charlus c'était un des Guermantes, comtes de Combray, habitant Combray sans y avoir de logis, entre ciel et terre, comme Gilbert le Mauvais dans son vitrail et Morel était le fils de ce vieux valet de chambre qui m'avait fait connaître la dame en rose et permis, tant d'années après, de reconnaître en elle Mme Swann."</div><div style="text-align: justify;">"... ce mélancolique morceau exécuté par les pigeons était une sorte de chant du coq en mineur, qui ne s'élevait pas vers le ciel, ne montait pas verticalement, mais, régulier comme le braiment d'un âne, enveloppé de douceur, allait d'un pigeon à l'autre sur une même ligne horizontale, et jamais ne se redressait, ne changeait sa plainte latérale en ce joyeux appel qu'avaient poussé tant de fois l'allegro de l'introduction et le finale. Je sais que je prononçai alors le mot 'mort' comme si Albertine allait mourir. Il semble que les événements soient plus vastes que le moment òu ils ont lieu et ne peuvent y tenir tout entiers. Certes, ils débordent sur l'avenir par la mémoire que nous en gardons, mais ils demandent une place aussi au temps qui les précède. Certes, on dira que nous ne les voyons pas alors tels qu'ils seront, mais dans le souvenir ne sont-ils pas aussi modifiés?"</div><div style="text-align: justify;">Marcel Proust (le narrateur, La Prisonnière)</div><div><div style="text-align: justify;"><div>"Il est des jours où l'homme s'éveille avec un génie jeune et vigoureux. Ses paupières à peine déchargées du sommeil qui les scellait, le monde extérieur s'offre à lui avec un relief puissant, une netteté de contours, une richesse de couleurs admirables. Le monde moral ouvre ses vastes perspectives, pleines de clartés nouvelles. L'homme gratifié de cette béatitude, malheureusement rare et passagère, se sent à la fois plus artiste et plus juste, plus noble, pour tout dire en un mot. Mais ce qu'il y a de plus singulier dans cet état exceptionnel de l'esprit et des sens, que je le compare aux lourdes ténèbres de l'existence commune et journalière, c'est qu'il n'a été crée par aucune cause bien visible et facile à définir. Est-il le résultat d'une bonne hygiène et d'un régime de sage? Telles est la première explication qui s'offre à l'esprit; mais nous sommes obligés de reconnaître que souvent cette merveille, cette espèce de prodige, se produit comme si elle était l' effet d'une puissance supérieure et invisible, extérieure à l'homme... cet état charmant et singulier, où toutes les forces s'équilibrent, où l'imagination, quoique merveilleusement puissante, n'entraîne pas à sa suite le sens moral dans de périlleuses aventures, où une sensibilité exquise n'est plus torturée par des nerfs malades... est aussi imprévu que le fantôme. C'est une espèce de hantise, mais de hantise intermittente, dont nous devrions tirer, si nous étions sages, la certitude d'une existence meilleure et l'espérance d'y atteindre par l'exercice journalier de notre volonté."</div><div>Baudelaire (Les Paradis artificiels)</div></div><div style="text-align: justify;"><br /></div>
<div><div style="text-align: justify;">"Trabalhava séria, calada, os braços ao longo do corpo. Não precisava aproximar-se de Arlete para brincar com ela... desejo-poder-milagre, desde pequena. A fórmula se realizava tantas vezes: sentir a coisa sem possuí-la."</div><div style="text-align: justify;">Clarice Lispector (Perto do Coração Selvagem)</div><div style="text-align: justify;">"... Il y a dans la prière une opération magique. La prière est une des grandes forces de la dynamique intellectuelle. Il y a là comme une récurrence électrique. Le chapelet est un médium, un véhicule; c'est la prière mis à la portée de tous."</div><div style="text-align: justify;">Charles Baudelaire (Fusées)</div><div style="text-align: justify;">"Ni la cruz ni la bandera, en las varias horas de lucha y confusión, dejaron de estar erecta la una y danzante la otra, en medio a una isla de cruzados que, aunque acribillada, subsistió, compacta, fiel, en torno a esos emblemas en los que, más tarde, todos verían el secreto de la victoria. Porque ni Pedrão ni João Grande, ni la Madre de los Hombres, que llevaba la urna com la cara del Hijo, murieron en la refriega."</div><div style="text-align: justify;">"'Ya aprendiste a sumar', dijo el santo, con una sonrisa, estirando la mano al mercador. Antonio Villanova cayó de rodillas para besar los dedos del recién venido."</div><div style="text-align: justify;">"Cómo han podido hacerlo tan rápido? Pero pasa algo con ellos, en el río. No acaban de cruzarlo. Las cabalgaduras entran al agua y parecen encabritarse, rebelarse, pese a la furia con que son urgidas, azotadas, por las manos, las botas, los sables. Es como si el río las espantara. Se revuelven en media corriente y algunas botan a sus jinetes."</div><div style="text-align: justify;">Vargas Llosa (La guerra del fin del mundo) </div><div style="text-align: justify;">"Julho de 81. No Canecão, o show corria em alto astral. Artista e público trocavam energias, emoções e afeto. A partir de um determinado momento, porém, Ney Matogrosso começou a ser perturbado por uma sensação esquisita, como se alguma ciosa o estivesse furando. Com a sensibilidade à flor da pele, como fica sempre que pisa num palco, captou o ponto da platéia de onde partia a vibração, caminhou naquela direção e, quando chegou na beira do palco, sentiu uma forte emissão de inveja partindo de uma pessoa conhecida. Não teve dúvidas: devolveu na mesma hora tudo o que havia captado de ruim. Até hoje lembra o gesto que fez com a mão dirigindo os dedos como se fossem lanças de emissão ('não tava me envuduzando? eu apenas joguei de volta o mesmo vudu pra ele'), e a surpresa ao saber, dois dias depois, por uma amiga que estava na mesma mesa durante o show, que o tal cara havia quebrado o pé. 'Nossa! Quero morrer sua amiga. Você sabe o que ele estava falando na hora em que você fez aquilo? Que queria que você quebrasse o pé.'"</div><div style="text-align: justify;">Denise Pires Vaz & Ney Matogrosso (Um cara meio estranho)</div><div style="text-align: justify;">"O Dr. Norris assistiu à cena e se aproximou do jovem curandeiro, querendo saber que infusão era aquela que fez efeito tão rápido. Cícero então lhe confessou o truque: 'Apenas água quente salgada com um pouco de camomila, forçando-o a pôr pra fora o que havia ingerido. Quando golfou, joguei uma barata morta no meio do vômito pra ele 'visualizar' a causa do seu mal-estar e sentir definitivamente curado.' Impressionado com aquele mestiço perspicaz sem lenço nem documento, o dr. Norris o convidou a integrar o que seria a maior migração norte-americana da história."</div><div style="text-align: justify;">Rita Lee</div>
<div style="text-align: justify;">"Você está ansioso e isso é muito pouco religioso."</div><div style="text-align: justify;">Caio Fernando Abreu (carta a José Márcio Penido/Zézim)</div><div style="text-align: justify;">"Os portugueses foram os primeiros, na época moderna, a estabelecer relações comerciais e de conquista com as culturas negras da África. E chamaram de feitiço, isto é, coisa feita, aos objetos, bonecos, oferendas, etc. aos objetos que os africanos empregavam com finalidades mágicas e religiosas. Essa palavra portuguesa deu origem ao francês 'fétiche', ao inglês 'fetich', ao alemão 'fetichismus' utilizado por Marx na famosa quarta seção do primeiro capítulo de o capital..."</div><div style="text-align: justify;">Carlos Sandroni (Feitiço Decente)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"Estou começando a ler uma mulher com boa cara chamada Simone Weil. Uma mística das antigas eras mas que o Michel acha que eu estou passando também por uma grande experiência mística na medida em que sou o outro. Imagine uma experiência mística e erótica ao mesmo tempo, mas um erótico nada transcendente e camuflado... Aconteceu um fenômeno incrível essa noite. Depois de começar a ler o tal livro, e ela usa muito a terminologia do vazio pleno, e também outros termos que uso, só que em uma outra concepção etc. e tal. Dormi. Acordei duas vezes à noite e, aterrorizada, percebi uma luz difusa dentro do quarto... no duro e pela primeira vez tremi de horror. Mesmo na Praia da Rasa, quando aconteceu aquele fenômeno, lembra-se, de minha cama ter sido levantada e batida no chão, não tive tal medo... Acho que coisas começam a se remoer dentro de mim e devo passar ainda por grandes transformações! É duro, mas o que se há de fazer?"</div><div>Lygia Clark (carta a Hélio Oiticica)</div></div> <div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... guru é um cara que mostra o caminho. Eu sempre fui a favor de que cada um de nós saiba o caminho que deva seguir. A vida nos dá todas as ferramentas, faz a gente encontrar as pessoas certas, no momento certo, o problema é reconhecer." </div><div style="text-align: justify;">Paulo Coelho (<a href="https://www.blogger.com/#">BBC interview</a>) </div><div style="text-align: justify;">"É uma série de imagens que mudam ao se repetirem. É um tal de política destruindo a liberdade, de medicina destruindo a saúde, de jornalismo destruindo a informação, de advogados e policiais destruindo a justiça, de universidades destruindo o conhecimento, de religiões destruindo a espiritualidade. Confie em Deus, mas tranque o carro."</div><div style="text-align: justify;">Rita Lee</div><div style="text-align: justify;">"Ao que, digo ao senhor, pergunto: em sua vida é assim? Na minha, agora é que vejo, as coisas importantes, todas, em caso curto de acaso foi que se conseguiram — pelo pulo fino de sem ver se dar — a sorte momenteira, por cabelo por um fio, um clim de clina de cavalo."</div><div style="text-align: justify;">Guimarães Rosa (Augusto de Campos, Um Lande de Dês)</div></div><div style="text-align: justify;">
<br />
"We must not reject or deny our protoplasmic core, striving at all times to maintain a maximum of flexibility without falling into the morass of liquefaction."<br />
"I sat back letting my mind work without pushing it. Push your mind too hard and it will fuk up like an overloaded switchboard, or turn on you with sabotage..."<br />
William S. Burroughs</div>
<div style="text-align: justify;">
"I kept the TV on all the time, especially while people were telling me their problems, and the television I found to be just diverting enough so the problems people told me didn't really affect me any more. It was some kind of magic."<br />
"An actress friend told me that after she didn't want money any more and after she didn't want jewels any more, that's when she got money and jewels. I guess it's for our own good that it always happens that way, because after you stop wanting things is when having them won't make you go crazy... Everything becomes distorted when something you really want is sitting in your lap."<br />
"Everybody has problems, but the thing is to not make a problem about your Problem. For example, if you have no money and you worry about it all the time, you'll get an ulcer and have a real problem and you still won't have any money..."<br />
A. W.</div><div style="text-align: justify;">"Et ils priaient Dieu le créateur, l'adorant et confirmant leur foi en Lui, le glorifiant pour son immense bonté, lui rendant grâces pour tout le temps écoulé et se recommandant à sa divine clémence pour tout l'avenir. Cela fait, ils entraient en leur repos."</div><div>Rabelais, Gargantua (translation de Guy Demerson)</div><div>
<br /><div style="text-align: justify;">"... nos plus grandes craintes, comme nos plus grandes espérances ne sont pas au-dessus de nos forces, et nous pouvons finir par dominer les unes et réaliser les autres."</div><div style="text-align: justify;">Marcel Proust (le narrateur, Le Temps retrouvé)</div><div style="text-align: justify;">"My good conduct as a patient, the rapidity of my recovery, which seemed scarcely to befit my age—all this determination to withstand, and the simple fact of my having withstood, a belated and unexpected trial of my constitution—would not all this be secretly exposed to the question "What for?" if it were not for the service of the novel? And had I not summoned so much strength out of my depths in order to go and finish that?"</div><div style="text-align: justify;">Thomas Mann (The History of a Novel, translation by Richard & Clara Winston)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Wenn trotzdem an mir manche kleine und große Missethat verübt worden ist, so war nicht der 'Wille', am wenigsten der böse Wille Grund davon: eher schon hätte ich mich — ich deutete es eben an — über den guten Willen zu beklagen, der keinen kleinen Unfug in meinem Leben angerichtet hat."</div><div style="text-align: justify;">"Insgleichen gehört in diese Zwischenzeit jener Hymnus auf das Leben (für gemischten Chor und Orchester), dessen Partitur vor zwei Jahren bei E. W. Fritsch in Leipzig erschienen ist: ein vielleicht nicht unbedeutendes Symptom für den Zustand dieses Jahres, wo das jasagende Pathos par excellence, von mir das tragische Pathos genannt, im höchsten Grade mir innewohnte."</div><div style="text-align: justify;">"Hier kam mir, auf eine Weise, die ich nicht genug bewundern kann, und gerade zur rechten Zeit jene schlimme Erbschaft von Seiten meines Vaters her zu Hülfe, — im Grunde eine Vorbestimmung zu einem frühen Tode. Die Krankheit löste mich langsam heraus: sie ersparte mir jeden Bruch, jeden gewaltthätigen und anstössigen Schritt. Ich habe kein Wohlwollen damals eingebüsst und viel noch hinzugewonnen. Die Krankheit gab mir insgleichen ein Recht zu einer vollkommnen Umkehr aller meiner Gewohnheiten; sie erlaubte, sie gebotmir Vergessen; sie beschenkte mich mit der Nöthigung zum Stillliegen, zum Müssiggang, zum Warten und Geduldigsein… Aber das heisst ja denken!…"</div><div style="text-align: justify;">"... Ich bleibe zunächst bei der Psychologie des guten Menschen stehn. Um abzuschätzen, was ein Typus Mensch werth ist, muss man den Preis nachrechnen, den seine Erhaltung kostet, — muss man seine Existenzbedingungen kennen. Die Existenz-Bedingung der Guten ist die Lüge —: anders ausgedrückt, das Nicht-sehn-wollen um jeden Preis, wie im Grunde die Realität beschaffen ist, nämlich nicht der Art, um jeder Zeit wohlwollende Instinkte herauszufordern, noch weniger der Art, um sich ein Eingreifen von kurzsichtigen gutmüthigen Händen jeder Zeit gefallen zu lassen. Die Nothstände aller Art überhaupt als Einwand, als Etwas, das man abschaffen muss, betrachten, ist die niaiserie par excellence, ins Grosse gerechnet, ein wahres Unheil in seinen Folgen, ein Schicksal von Dummheit —, beinahe so dumm, als es der Wille wäre, das schlechte Wetter abzuschaffen — aus Mitleiden etwa mit den armen Leute. <span style="text-align: left;">In der grossen Ökonomie des Ganzen sind die Furchtbarkeiten der Realität (in den Affekten, in den Begierden, im Willen zur Macht) in einem unausrechenbaren Maasse nothwendiger als jene Form des kleinen Glücks, die sogenannte 'Güte'; man muss sogar nachsichtig sein, um der letzteren, da sie in der Instinkt-Verlogenheit bedingt ist, überhaupt einen Platz zu gönnen. </span><span style="text-align: left;">Ich werde einen grossen Anlass haben, die über die Maassen unheimlichen Folgen des Optimismus, dieser Ausgeburt der homines optimi, für die ganze Geschichte zu beweisen."</span></div><div style="text-align: justify;">Nietzsche (Ecce Homo)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Berg wrote to his wife: 'after the first and last movements, I felt exactly as one would after an adrenalin injection. I could not stand up.' Two days later Schoenberg and his wife were also present. 'I sat with Schoenberg,' Berg wrote to Helene. 'He had not thought it possible. Webern's achievement is such that all doubts about his ability, even those of Mathilde, were swept away to be replaced by unreserved admiration...' The triumvirate of Schoenberg, Webern and Berg was admittedly something of a mutual admiration society: an understandable situation, given the hostility that their music had almost always encountered outside a friendly circle of supporters. Even so, neutral reports of the two concerts indicate that the performances were indeed remarkable..."</div></div>
<div style="text-align: justify;">
Malcolm Hayes (Anton von Webern)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Since objects in equilibrium, such as rigid objects, electrons and atoms, all adjust themselves to the radius of curvature of the universe, it is only natural that results of greatest simplicity should be obtained when we select this radius or some definite fraction therof as a gauge at every point."</div><div><div style="text-align: justify;">A. D'abro (The Evolution of Scientific Thought)</div><div style="text-align: justify;">"Among the things that demand explanation, then, are the laws of physics; and not this law or that law only but every single law. Why are the three laws of mechanics as they are and not otherwise? What is the cause of the restriction of extended bodies to three dimensions? And then the general fact that there are laws, how is that to be explained?"</div></div><div style="text-align: justify;">Peirce (Design and Chance)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div style="text-align: left;"><div style="text-align: justify;">"... it is the subjective act of transcendental synthesis which transforms the chaotic array of sensual impressions into 'objective reality.' Shamelessly ignoring the objection that we are confounding ontological and empirical levels, here we must invoke quantum physics: it is the collapse of the quantum waves in the act of perception which fixes quantum oscillations into a single objective reality. And, furthermore, this point must be universalized: every figure of reality is rooted in a determinate standpoint. Even at a level closer to us, we know how different 'reality' appears to a hog or a bird, starting with the different tapestry of colors: each living being perceives (and interacts with) its own 'reality.' And one should push this insight to the extreme of Cartesian doubt: the very notion of greatness should be relativized. How do we know that our Milky Way is not just a speck of dust in another universe?"</div></div><div style="text-align: left;"><div style="text-align: justify;">Slavoj Zizek (Haunted by A/Z, Feyerabend with vengeance & the New Wave)</div></div></div><div style="text-align: justify;"><p class="MsoNormal" style="margin: 0cm;">**************************************************************<br /></p><h4><span face="Calibri, sans-serif" style="text-align: left;">Main hall: Placebo domino (which way could that effect it?)</span></h4><p></p></div></div>
<div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"The tendency for prophecies to be self-fulfilling is well known in the realms of economics, politics, and religion. It is also a matter of practical psychology. Various ways of using these powers are the bases of countless self-help books, showing how avoiding negative attitudes and adopting positive ones help to bring about remarkable successes in politics, business, and love. Likewise confidence and optimism play an important part in the practice of medicine and healing—and in sports, fighting, and many other activities" Rupert Sheldrake (persuasion hung upon his lips!), Seven Experiments That Could Change the World (Riverhead Books, 1995). </div><div style="text-align: justify;">"A survey of a wide range of drug trials has revealed that placebos are, on average, about a third to a half as effective as specific medication—a big effect for blank pills that cost almost nothing. But placebos are not just blank pills. They can also be forms of blank counseling or psychotherapy, or even blank surgery... in medical research, placebo effects are generally regarded as a nuisance. But perhaps the negative attitudes of physicians to placebos is just as well, since it is the other side of the coin of their faith in the special efficacy of their own techniques, which therefore tend to work better—because of the placebo effect!" Sheldrake (to whom I stand indebted), Seven Experiments.</div></div><div style="text-align: justify;">
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<br /></div>
<div style="text-align: justify;">
"In his analysis of the many documents we have about such practices, Levi-Strauss underlines that the fallaciousness involved in them is at the same time acknowledged and simply ignored, brushed aside, by the shamans themselves. What matters to the shamans is the effect they produce in the imagination of the sick, no matter if the instrument they use is a fake one. Actually a clear distinction of what is fake and what is not fake is obstinately eluded by the very characteristics of the procedure... [Walter Cannon's] classic paper “Voodoo Death,” begins exactly with a reference to Portuguese colonizers such as Soares de Souza, who “observed instances of death among the [Brazilian] Tupinambás Indians induced by fright when men were condemned and sentenced by a so-called medicine man.” Although Cannon attributed the cause of such effects to the superstition of the primitive mind (primitive men really believe in witchcraft), he nonetheless acknowledged these effects to be real, and he was very impressed by them, for they can be quite astonishing. Healthy people can die in less than twenty-four hours, if they believe with enough strength that they have been bewitched or if they discover they have eaten some (normal and not poisonous) food they associate with certain well-established taboos in their culture. It should be understood however that the superstition in question would be better characterized not as a naive belief in some falseness at the expense of what reality would truly be. What the shamans do is to theatrically blur fiction and ordinary reality in order to conjure some power coming from what would be a more fundamental source of reality which is not visible and cannot be immediately given. They could thus, correspondingly, accuse someone such as Cannon of actually being more superstitious than they are, exactly because of Cannon’s inability to treat ordinary and visible reality as the fiction it truly is when compared to what would be its fundamental source," Alessandro Zir (a person of no small note and consequence, being meself as I own), <i>Luso-Brazilian Encounters of the Sixteenth-Century</i> (Fairleigh Dickinson Univ. Press, 2011, p. 60-61).</div>
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<br />
<h4>psychokinesis (or when his tobacco pipe snapped short in the middle): </h4>
<br />
"In the physical sciences, although there has been very little empirical research on experimenter effects, there have been many sophisticated discussions of the role of the observer in quantum theory... if the active influence of the experimenter's mind is taken seriously, then many possibilities open up—even the possibility that the observer's mind may have psychokinetic powers," Rupert Sheldrake, <i>Seven Experiments</i>.<br />
"If [subjects with psychic powers] are anxious, uncomfortable, or treated in a formal and detached way by the scientific investigators, they do not perform so well. In fact they may show no significant psychic powers at all... The pioneering parapsychologist J. B. Rhine actually quantified this effect in a series of trials with a gifted subject, Hubert Pearce, having noticed that when someone called in to see Pearce at work his scores at once dropped down," Rupert Sheldrake, <i>Seven Experiments</i>.<br />
"There is a good reason for the conventional taboo against parapsychology, making it a kind of outcast from established science. The existence of psychic phenomena would seriously endanger the illusion of objectivity," Rupert Sheldrake, <i>Seven Experiments</i>.<br />
"An experimenter preparing his apparatus, getting his animals ready, and then leaving them with some feeling of assurance that the experiment will run and the animals will appropriately 'do their thing' cannot but remind us of certain aspects of magic, ritual, or perhaps petitionary prayer... Such circumstances may provide an optimum opportunity for psychokinetic intervention," R. G. Stamford, "An experimentally testable model for spontaneous psi occurrences" (<i>Journal of the American Society for Psychical Research </i>66, as quoted by Sheldrake in <i>Seven Experiments</i>).<br />
"Generally speaking scientists are no Carries, though there might have been a few registered but far less noxious cases such as Wolfgang Pauli and the Pauli effect," Alessandro Zir, <i><a href="https://www.academia.edu/35518313/Thesis_THE_SIXTEENTH-CENTURY_CORPUS_OF_THE_PORTUGUESE_COLONIZERS_OF_BRAZIL_AN_APPROACH_IN_TERMS_OF_STYLES_OF_THINKING_">The Sixteenth-Century Corpus of the Portuguese Colonizers of Brazil</a> </i>(Dalhousie, PhD thesis) [the paragraph of this sentence (which refers also to Ludwik Fleck) wasn't (if I mistake not) incorporated in the book Luso-Brazilian Encounters published in 2011 by FDU Press—an incident not necessarily ranking as a fatal blow to die Geissel Gottes' scholarship (I'm positive)].</div>
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<div style="text-align: justify;">
"I have here reached the limits of what might be knowable in the framework of contemporary knowledge, and I have even approached the realm of 'magic'..." die Geissel Gottes, as quoted in<a href="http://philsci-archive.pitt.edu/940/1/HiddenPauli.pdf" target="_blank"> Harald Atmanspacher's & Hans Primas's "The Hidden Side of Wolfgang Pauli," <i>Journal of Consciousness Studies</i>, 3, 2, 1996, pp. 112-26</a><i><a href="http://./">.</a> </i></div><div style="text-align: justify;">"Impossible de dire quelques mots sur la place de Pauli dans les écrits de Bachelard sans rappeler qu’il était l’homme des boutades et du Witz, c’est-à-dire quelqu’un de profondément 'spirituel'. Lors d’un séminaire, John von Neumann démontrait un théorème au tableau; Pauli l’apostrophe: 'Si faire de la physique, c’était démontrer des théorèmes, tu serais un grand physicien.' C’est ainsi qu’il terrorisait un peu tous les autres physiciens de par le monde, y compris Louis de Broglie ou Werner Heisenberg qui fuyaient littéralement les colloques où il était présent," <a href="https://www.academia.edu/9587795/L_École_de_lETH_dans_lœuvre_de_Gaston_Bachelard" target="_blank">Charles Alunni, L'École de l'ETH dans l'oeuvre de Gaston Bachelard, <i>Revue de synthèse</i>: 5 Série, année 2005/2</a>.<i><br /></i>
<br />
A tale out of the common crack (if unanimously agreed and lamented) of how bitterness caused by envious people can make an off guard good fellow (the Lord have mercy upon us all) to crack: <br />
"Cantor was embarrassed to be associated with a second-rate school... He expected to be called any day to take up a professor ship at the University of Berlin. But Kronecker [malignant culprit in his notions] sensed that if he mounted a strong opposition—and made the attack personal—eventually Cantor would crack... Kronecker was vilifying Cantor, calling him a charlatan and a corrupter of youth, and referring to his work as 'humbug.' Cantor was besieged, lonely, angry, and frustrated... Cantor became more enraged. He sought to retaliate against Kronecker, and in despair came up with a bizarre plan. He was now convinced that he could never obtain a professorship in Berlin since Kronecker, entrenched and powerful, would always stand in his way. So Cantor decided to apply for a professorship anyway, for the mere purpose of annoying his enemy... Cantor wrote Mittag-Leffler of his ploy and its results: 'I knew precisely the immediate effect this would have, that in fact Kronecker would flare up as if stung by a scorpion, and with his reserve troops would strike up such a howl that Berlin would think it had been transported to the sandy deserts of Africa, with its lions, tigers, and hyenas. It seems that I have actually achieved this goal!' But Kronecker's turn to strike back at Cantor. Kronecker wrote to Mittag-Leffler asking to publish in his journal, <i>Acta Mathematica</i>. Kronecker was shrewdly trying to push Cantor out of the only mathematical journal that had a sympathetic editor interested in his work. Cantor suspected that Kronecker's paper would constitute an attack on his own work published in <i>Acta Mathematica</i>, the journal he considered his home turf, and would discredit him there, where it would hurt him the most. In frustration and fear, Cantor wrote to his friend Mittag-Leffler threatening to stop sending him his work... As it turned out, Kronecker had no paper to send, he had simply pretended to want to publish in the journal in order to upset Cantor... Cantor's response eroded his relationship with one of his few remaining fiends, Mittag-Leffler... The strain of these battles, which Cantor never stood a chance of winning, was taking its toll on his health. In May 1884, Cantor had his first nervous breakdown, lasting over a month..." Amir D. Aczel, The Mystery of the Aleph (WSP 2000).<br />
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More:</h4><div style="text-align: justify;"><br /></div>
"When I received a grant in 1968 from the Royal Society to go and study tropical plants in Malaysia, at the University of Malaya, I traveled through India on the way there. I found India a very exciting place to be, and as I traveled through that country I encountered gurus and ashrams and temples, which opened my eyes to a range of phenomena I was completely unfamiliar with. When I got back to England I got interested in exploring consciousness, and I had various psychedelic experiences, which convinced me that the mind was vastly greater than anything I'd been told about in my scientific education," <a href="https://thebestschools.org/features/rupert-sheldrake-interview/" target="_blank"><i>Rupert Sheldrake's interview</i> (TBS)</a>;<br />
"... contemporary physics imbues the venerable and therapeutically useful term ‘psychodynamic’ with rigorous neurophysical efficacy. This new theory of the mind–brain connection is supportive of clinical practice. Belief in the efficacy of mental effort in emotional self-regulation is needed to subjectively access the phenomena (e.g. belief in the efficacy of effort is required to sustain mindfulness during stressful events)," <a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank">"Quantum physics in neuroscience and psychology: a neurophysical model of mind–brain interaction,"</a> by Jeffrey M. Schwartz, Henry P. Stapp and Mario Beauregard (<i>Philosophical Transactions of the Royal Society </i>2005);<br />
"The question of the observer and observed was raised, for example, to say that they were not really separate. I felt from quantum mechanics this must be very significant. Krishnamurti was applying it to the human being himself, saying that the human being as observer was not different from human being as observed... these two are actually one. The confusion that they are separate is the cause of tremendous misery, at least that was saying. I had sort of an intuitive feeling this was right. He was also hinting at something much deeper, some ground, some emptiness in a wholeness ground which everything came, which if we could contact that, then we would sort of rise beyond all these daily problems into a totally different area..." David Bohm (a person of no small note and consequence, whose opinions we, in this cyclopedia of ours, wish to give proper vent), <a href="https://www.aip.org/history-programs/niels-bohr-library/oral-histories/32977-7" target="_blank">conversation with Maurice Wilkins</a>;<br />
"Gurdjieff used to invite people to eat with him and he would prepare enormous elaborate meals and drink, and even those who did not want, he would press on them. He would get them to go along with him against their will, showing that they really had no will. He did not say that, but the ultimate meaning of it was they had not any. Through this, they would be awakened into looking at their real reactions, what is really going on," David Bohm, <a href="https://www.aip.org/history-programs/niels-bohr-library/oral-histories/32977-7" target="_blank">conversation with Maurice Wilkins</a>;<br />
"Not that I favored thought, but I am saying that thought would win and produce all sorts of destructive effects because it could just keep at it, like Stalin, day after day, putting in his men here and there and sort of knocking out everybody else. When I felt it was really necessary to really understand the workings of thought, the nature of thought beyond just simply the content, but actually the process, how it operates and this irrational destructive way," David Bohm, <a href="https://www.aip.org/history-programs/niels-bohr-library/oral-histories/32977-7" target="_blank">conversation with Maurice Wilkins</a>;<br />
"... thought imposes a show in consciousness, a show of reality. Every thought contains not only the image and the imagination, but also all sorts of feelings and neural chemistry. The thought that somebody is your enemy will contain various neuro chemicals that will stir you up. Comforting thoughts will produce endorphins and you feel nice. Then you remove those comforting thoughts and the brain demands to have them back. You are sort of hooked on them... we call them props... as in the case of morphine..." David Bohm, <a href="https://www.aip.org/history-programs/niels-bohr-library/oral-histories/32977-7">conversation with Maurice Wilkins</a>;</div>
<div style="text-align: justify;">
"... there would be a way of being without this self-centered thought, which the mind would be intelligent, quiet, alert, and silent... It is like a sleepwalker, as Ouspensky was saying, that the sleepwalker is dreaming that he is awake and looking at it and directing it, and so on. The point is therefore you need an awareness, an attention to all this, to see the actual process of putting on the show as such, because the show is put on in such a way to conceal the fact that it is a show... The props are part of it. Also, insensitivity is part of it, and dullness... science is part of the props for the show, religion is another part" David Bohm, <a href="https://www.aip.org/history-programs/niels-bohr-library/oral-histories/32977-7">conversation with Maurice Wilkins</a>;<br />
<br /><h4><b>
***To baffle & overthrown: an appelation aside (so every side can sing Te Deum) on Ian Hacking, Charles Sanders Peirce & Stephen Braude (since otherwise alle Schweiger sind dyspeptisch):</b></h4><div style="text-align: justify;"><br /></div>
In his relatively well-known article about telepathy and statistics [Telepathy: Origins of Randomization in Experimental Design/ <i>Isis</i>, vol. 79, no. 3, Sep. 1988, pp. 427-45], Hacking portraits Peirce as being very unsympathetic to the way probability was used in parapsychological studies such as Gurney, Myers & Frank Podmore's <i>Phantasms of the Living</i> (1886). That is fair enough (I'm positive). He quotes this passage from a criticism Peirce published in the <i>Proceedings of the American Society for Psychical Research</i> [I: 150-157, Dec. 1887]: "[the authors of <i>Phantasms of the Living</i>] cipher out some very enormous odds in favor of the hypothesis of ghosts. I shall not cite these numbers, which captivate the ignorant, but which repel thinking men, who know that no human certitude reaches such figures as trillions, or even billions to one." Peirce then proceeded giving many detailed reasons why the authors' probabilistic inferences (grounded on an analysis of 31 favourable cases out of 300.000) was simply preposterous. But one should note that Peirce is not writing against the idea defended by the authors, and he doesn't give the impression of being himself a skeptic, quite on the contrary. At some point he says the following (which Hacking too manifestly doesn't quote, and not because it was tedious telling): "Although there is not a single one of the 31 cases considered which can be accepted for the purpose of the argument, yet some of them may be genuine for all that. It can only be guess-work to say how many; but in my opinion not more than two or three." A few years later than he wrote the paper on telepathy, Hacking wrote another one [Some Reasons for not Taking Parapsychology Very Seriously/ <i>Dialogue</i>, vol. 32, issue 3, Summer 1993, pp. 587-594] which is considered to be much more villainous & explicitly critical of parapsychology, and has been qualified as "pseudo-skeptical" (for dismissing parapsychology outrightly without a more careful and substantial analysis of the literature, which was totally unurbane argument). The point is tricky and bitter (if trifling in nature). This 1993 Hacking's paper is a reaction to Stephen Braude's reaction (or so goes the train of vexatious disappointments) to the way the mainstream academia would have (regularly, in a set of misadventures & cross accidents I and many others not to any man's rule sustained) by the bye very much too manifestly mishandled scientific evidence in favour of psychic phenomena. Hackings' stance seems slippery (<a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900" target="_blank">as I suggest in another place, in relation to other related subjects, as accounts to reconcile</a>). In <i>Rewriting the Soul </i>(1996) he reassesses similar issues (criticising other of Braude's books) and says: "One way to silence a topic of research is to treat it as a curiosity or turn it into a marvel. Science abhors a marvel, not because marvels are vacuous, empty of meaning, but because they are too full of meaning, of hints, of feeling. Marvels are meanings out of control. You can expel a topic from science by making it a marvel. Conversely, if you are forced to look a marvel in the face, the thing to do is to bring it into the laboratory. There it will languish and die until the laboratory itself is cast out of science." Now, whether Hacking was in this manner deceived or deceiving (which in no way becomes me to decide), and if this is a criticism of marvels, it is (by the destinies! upon good and reasonable notice) <i>also a criticism of science</i>. At least in a Feyerabendian perspective (& then beyond all possibility of doubt, or so I own). As however you (known by the name of "reader") and I are in a manner perfect strangers to each other, and as my life and opinions are likely to make some noise in this scurvy and disasterous world of ours, there is a further anecdote I shall make public for the better clearing up of this point and as seasonable a kindness to the whole parish. The Brazilian philosopher who first brought my attention to the work of Hacking (while I was still an undergraduate—not worn down to this thread), <a href="https://www.lume.ufrgs.br/bitstream/handle/10183/135093/000568033.pdf" target="_blank">Anna Carolina K. P. Regner, person of no small note and consequence, had her work supervised by Feyerabend at Berkeley (aera fixed)</a>. And the truth of the story is that I (who am not suffered to go on quietly) will never be able to see Hacking's philosophy (with all his fraternity) without these out of the common track aforesaid peculiar glasses. Everything Hacking says about scientific realism sounds to me, always (the very opposite of 'ever and anon'), as an opportunity for amplification of the eccentricities of a, by God's blessing, Feyerabend. And I always dream people like Feyerabend will win with revenge against their detractors (which Hacking somewhat also is or at least sometimes poses malignantly to be). In what matters Anna Carolina (to dive only deep enough into the first causes of human ignorance and confusion), besides being a very serious, obsessive but also open-minded scholar, she was, in the simplicity of her heart, an ethical person who ended being abominably ostracized upon false cries and tokens <a href="https://aletche.blogspot.com/2016/10/b4-trump-turns-real-banality-of-evil-in.html" target="_blank">in Brazilian mainstream academic environment</a> (there is such a body still in the Continent), but who nonetheless heroined under heaven & by her ashes so as to never compromise her principles and standards (and shall make no apology for it when turning back).</div><div style="text-align: justify;">
By the way, anyone seriously interested in the topic of Charles Sanders Peirce and the paranormal should read <a href="https://userpages.umbc.edu/~braude/pdfs_pubd/braude--Peirce%20on%20the%20Paranormal.pdf" target="_blank">Stephen E. Braude's excellent paper: "Peirce on the Paranormal" (Transactions of the Charles S. Peirce Society, Winter, 1998, vol XXXIV, n. 1, pp. 203-224)</a>.</div><div style="text-align: justify;"><br /></div>
<div style="text-align: justify;">
Other very interesting and important articles and papers (the ones by Jessica Utts seem specially valuable):<br />
- "Is Precognition Real? Cornell University Lab Releases Powerful New Evidence that the Human Mind can Perceive the Future," by <a href="http://hplusmagazine.com/2010/11/04/precognition-real-cornell-university-lab-releases-powerful-new-evidence-human-mind-can/" target="_blank">Ben Goertzel (<i>Humanity Plus Magazine</i>)</a>;<br />
- "Replication and Meta-Analysis in Parapsychology," by <a href="https://www.ics.uci.edu/~jutts/UttsStatPsi.pdf" target="_blank">Jessica Utts (<i>Statistical Science</i>, vol. 6, n. 4, 1991, 363-403)</a>;<br />
- "The Significance of Statistics in Mind-Matter Research," by <a href="https://www.ics.uci.edu/~jutts/JSE1999.pdf" target="_blank">Jessica Utts (<i>Journal of Scientific Exploration, </i>vol. 13, n. 4, 1999, p. 615-638)</a>;<br />
- "The Paranormal: the evidence and its implications for consciousness," by <a href="http://www.tcm.phy.cam.ac.uk/~bdj10/psi/tucson.html" target="_blank">Jessica Utts & Brian D. Josephson (originally published in <i>Times Higher Education Supplement</i>, April 5th 1996)</a>;<br />
- "The Physics of Mind and Thought," Brian D. Josephson <a href="https://www.researchgate.net/publication/328968105_The_Physics_of_Mind_and_Thought" target="_blank">(Preprint of article to be published in the Festschrift celebrating the 90th birthday of Henry P. Stapp)</a> [see also Josephson's <a href="https://www.researchgate.net/publication/321012944_How_observers_create_reality" target="_blank">"How Observers Create Reality"</a>];<br />
- "Biological Utilization of Quantum Non-Locality," <a href="https://www.researchgate.net/publication/227061153_Biological_Utilization_of_Quantum_Nonlocality" target="_blank">Brian D. Josephson & Fotini Pallikari-Viras (<i>Foundations of Physics</i> 21(2), 1991, p. 197-207)</a>;<br />
- "Evidence for Consciousness-Related Anomalies in Random Physical Systems," <a href="http://ww.w.leyline.org/papers/pdf/REG.meta-analysis.1989.pdf" target="_blank">Dean I. Radin & Roger D. Nelson (<i>Foundations of Physics, </i>vol. 19, n. 12, 1989)</a>;<br />
- "Electrocortical Activity Prior to Unpredictable Stimuli in Meditators and Nonmeditators," <a href="http://deanradin.com/evidence/Radin2011NondualMed.pdf" target="_blank">Dean I. Radin, Cassandra Vieten, Leena Michel, and Arnaud Delorme (<i>Explore</i>, September/October 2011, Vol. 7, No. 5)</a>;</div>
<div style="text-align: justify;">
- "Experimental Evidence Suggestive of Anomalous Consciousness Interactions," <a href="http://www.tcm.phy.cam.ac.uk/~bdj10/psi/delanoy/delanoy.pdf" target="_blank">Deborah L. Delanoy (in Ghista, Dhanjoo N. <i>Biomedical and Life Physics</i>:<i> </i>Proceedings of the Second Gauss Symposium, 2-8 August, 1993, Munich, pp. 398-410)</a>:<br />
- "The Fear of Psi: It's the Thought that Counts," <a href="https://www.academia.edu/2643579/_The_Fear_of_Psi_Its_the_Thought_that_Counts._" target="_blank">Stephen E. Braude (in G. Taylor, <i>Darklore</i>, Vol. 2, Daily Grail Publishing, Brisbane, 2008, pp. 99-111)</a>;<br />
- "Can Mind Affect Matter Via Active Information?" <a href="http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.643.7352&rep=rep1&type=pdf" target="_blank">Basil J. Hiley & Paavo Pylkkänen (<i>Mind & Matter</i>, vol. 3, n. 2, 2005, pp. 7–27)</a>;<br />
- "Effects of Mass Consciousness: Changes in Random Data During Global Events," <a href="http://www.deanradin.com/evidence/GCPNelsonBancel011.pdf" target="_blank">Roger Nelson and Peter Bancel (<i>Explore</i>, vol. 7, n. 6, 2011, pp. 373-383)</a>;</div>
<div style="text-align: justify;">
- "Mind control, levitation and no pain: the race to find a superman in sport," <a href="https://www.theguardian.com/books/2019/apr/18/superhuman-sport-cold-war-mind-power-men-on-magic-carpets-ed-hawkins-extract" target="_blank">Ed Hawkins (<i>The Guardian</i>, 18 Apr 2019)</a>;<br />
<br /></div><div style="text-align: justify;"><div>***To raise the dead— &/or evidence for the villainous affair, the tale of family disonour, Romish church's pact with the devil (considered the greatest outrage against sense and decency, to be plagued and pestered, though solemnly ratified, à Dieu rien n'est impossible, menteur avéré, nom d'un chien)<span face="Calibri, sans-serif">:</span></div><div><span face="Calibri, sans-serif">"</span>Although Greek names were sometimes applied to the church modes and the principle of diatonic octave scales is found in both systems, certain significant discrepancies seem to belie any direct historical connection. Most conspicuous is the different meaning attributed to the names of the Greek octave species and of the church modes. Comparing the two systems provides a plausible explanation: medieval theorists apparently assumed wrongly that the Greek octave species were named in ascending rather than descending order. The Greek octave species Dorian (E–E), Phrygian (D–D), Lydian (C–C), and Mixolydian (B–B) thus appeared in the church modes as Dorian (D–D), Phrygian (E–E), Lydian (F–F), and Mixolydian (G–G)," (from <a href="https://www.britannica.com/art/mode-music" target="_blank">"Mode," entry in Brittanica, by Mieczyslaw Kolinski</a>);</div><div><br /></div></div>
<div style="text-align: justify;">
See also:<br />
- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html">actual infinite falling (against Carlo Rovelli's pseudo-problem)</a>;</div>
</div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<div style="text-align: justify;">
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html" target="_blank">the dogma of semantic uniformity & Python Gored Naturalism</a>; </div>
</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html">the odd transformation of Der Herr Warum (Gödel with Resnais)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html">the only three types of ingenuity</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/01/the-most-auspicious-tetrahedron-two.html">the most auspicious tetrahedron</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html">what is REAL space? what is REAL number?</a></div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/12/timothy-leary-in-1990s-how-to-talk.html">Timothy Leary in the 1990s</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html">5G?! Get real...</a></div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/10/list-of-two-charming-scientists-under.html">list of charming scientists/engineers</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html" target="_blank">view from Berthe Trépat's apartment</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">list des déclencheurs musicaux</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/03/structuralism-poststructuralism.html">Structuralism, Poststructuralism</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">List des figures du chaos primordial</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism (Viveiros de Castro vs. Haroldo de Campos)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2015/12/piano-playing-kochevitsky.html">Piano Playing (Kochevitsky)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">L'Affirmation de l'âne (review of Smolin/Unger's <i>The Singular Universe</i>)</a>;</div>
<div style="text-align: justify;">
And also (with the whole of it):</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html" target="_blank">Dogen with Hagakure</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2015/07/larticulation-blanchotienne-des-notions.html" target="_blank">L'articulation (Maurice Blanchot)</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2016/01/lintelligence-des-fleurs-maeterlinck.html" target="_blank">L'intelligence des fleurs</a>;</div>
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2012/07/blog-post.html" target="_blank">Spooky Blue</a>;</div>
<div style="text-align: justify;">
- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900" target="_blank">Interactive while indifferent—Kinds & Phantasmagoria circa 1900</a>;</div><div style="text-align: justify;">- <a href="https://www.ufmg.br/revistaufmg/downloads/22/11-Artigo-11-p142-159.pdf" target="_blank">"O Cosmo Segundo os Yanomami" (by Davi Kopenawa)</a><span style="text-decoration: underline;">;</span></div><div style="text-align: justify;">- <a href="https://www.academia.edu/19967748/_Toward_a_Magical_Enlightenment_Notes_on_Brunos_Magic_Walking_the_Worlds_Vol_2_No_1_Winter_2015_pp_96_109" target="_blank">"Toward a Magical Enlightenment: Notes on Bruno's Magic" (Edward Butler)</a>; </div><div style="text-align: justify;"><span style="text-align: start;">- </span><a href="https://periodicos.unespar.edu.br/index.php/vortex/article/view/430/320" style="text-align: start;" target="_blank">"An introduction to the poetics of sacred sound in twentieth-century music" (Luigi Irlandini, Revista Vórtex)</a><span style="text-align: start;">; </span><br />
<br />
*****List of books on "the power of affirmations" and "positive thinking"<br />
(taken from Dean Radin's <i>Real Magic</i>, Harmony/Penguin 2018, p. 69-72):<br />
- James Allen, <i>As a Man Thinketh </i>(1903);<br />
- Roy Herbert Jarrett, <i>It Works! </i>(1926);<br />
- Dale Carnegie, <i>How to Win Friends and Influence</i> (1936);<br />
- Napoleon Hill, <i>Think and Grow Rich </i>(1937);<br />
- Neville Goddard, <i> How to Manifest Your Desires </i>(1948);<br />
- Norman Vincent Peale, <i>The Power of Positive Thinking </i>(1952);<br />
- Earl Nightingale, <i>The Strangest Secret </i>(1956);<br />
- Frederick Bailes, <i>Hidden Power fof Human Problems</i> (1957); </div>
- Joseph Murphy, <i>The Power of Your Subconscious Mind </i>(1963);<br />
- Esther Hicks, <i>Ask and It Is Given: Learning to Manifest Your Desires</i> (2004);<br />
- Rhonda Byrne, <i>The Secret </i>(2007);<br />
- Larry Dossey, <i>The Extraordinary Healing Power of Ordinary Things </i>(2007);<br />
- Richard Bandler, <i>The Secrets to Quick and Lasting Life Change with Neuro-Linguistic Programming</i> (2008);<br />
- Lissa Rankin, <i>Mind over Medicine: Scientific Proof That You Can Heal Yourself</i> (2013);<br />
<br />
More from Radin's book (in case you didn't get to this journey's end too miserably spent):<br />
- on the "Universal Self" [which can be referred to in several ways, such as "cosmic consciousness," or <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html" target="_blank">"the source and Ground of all being," as says Aldous Huxley in <i>The Devils of Loudun </i>(Harper, 2009, p. 70, 90</a>]:<br />
"... the goal of meditation across many traditions is to achieve a state of awareness where one gains the realization that the personal self and the Universal Self are one (in my shorthand, [c] = [C])... Learn to quiet your mind. See the world as it is, not as it appears to be when viewed through multiple layers of cultural conditioning..." (Radin, p. 76-77);<br />
- on affirmations:<br />
"Imagine that [the goal] has already been achieved in the future and it is inexorably headed your way. Write the goal on a piece of paper to focus your attention... Don't share your goal with others; they may inject doubt" (Radin, p. 78);<br />
- on sigils:<br />
"One meaning of the verb <i>draw </i>is to devise a picture or a symbol; the other is to pull together...(Radin, p. 80);<br />
A point raised by Radin is that magic depends fundamentally upon two things: "maintaining strong belief" [even if you have a psi ability, you have to believe in it in order for it to manifest] and "secrecy" (p. 82, 122-24). I think this must be related also to moral issues, in the following sense: if you are an ethical person, a belief can be strengthened to the exact extent that it connects with willing something that is more profound and impact positively (potentializes) the life of others besides your own. This kind of belief can be more clearly assumed, intensified and it is not something you need to parade about. This is why I also believe that reading substantial, critical literature (like say Dostojevski, Proust, Joyce, Thomas Mann, <a href="https://aletche.blogspot.com/2015/08/augusto-meyer-and-machado-de-assis.html" target="_blank">Machado de Assis</a> & many others) or the works of authentic philosophers and mystics (Spinoza, Swedenborg, etc.), in the long run stabilizes the ground for one to will things more properly, enhancing significantly the chance of the will to produce synchronicities and other environmental effects.<br />
According to Radin, the most fragile point of our current scientific worldview is its understanding of consciousness (p. 184-85). And he enlists three tenets that hinder the development of a more comprehensive approach: (1) realism (understood in the sense that objects have to have properties completely independent from observers), (2) locality, and (3) causality (which presupposes a linear, simplistic conception of time as an arrow). <br />
Behind the issue of realism might be what others have called <i><a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html" target="_blank">the dogma of semantic uniformity</a>. </i>And it is possible to argue that <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html" target="_blank">people nowadays stick to ideas such as locality and to narrow conceptions of time only out of mere intellectual stubbornness</a>. On the other hand, I prefer to bet on the fact that dichotomies such as mind/matter, intellect/will are in some way or another legitimately to persist (not to imply that Radin wouldn't agree). That is because <a href="https://aletche.blogspot.com/2018/09/defi-du-non-circuncis-le-petit-fils.html" target="_blank">their opposite concepts are indeed pervasive and entangled but ultimately cannot be collapsed</a>. Reality might be information, but <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html" target="_blank">information itself is whimsical</a>. </div>
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</div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com1tag:blogger.com,1999:blog-30487535.post-83136899338141447232019-02-01T10:02:00.022-08:002023-04-03T05:22:53.622-07:00Pânico Total: Nova Ameaça ao Meio-Ambiente: Novo porto em Torres?! Quem se beneficia? Qual a lógica por trás? <div class="separator" style="clear: both; text-align: center;">
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Praia Paraíso/ Fev 2019 (como se sabe, Torres é um município que abarca diversas praias menores; Paraíso é justamente aquela em que se pretende construir o porto);</div>
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Praia Paraíso/Set 2015 (o clima do Rio Grande do Sul como se sabe é bastante instável, modificando-se de forma brusca ao longo de todo o ano; na história muito recente de Torres, há inclusive registro de formação de <a href="https://pt.wikipedia.org/wiki/Ciclone_Catarina">ciclone</a> com característica de furacão);</div><div style="text-align: justify;">Potlatch Invitation & The Colorfool Politicians + Late Classic Maya Clown (Mary Miller & Karl Taube, The Gods and Symbols of Ancient Mexico and the Maya) <a href="https://www.instagram.com/alessandro_zir/" target="_blank">(montage A/Z)</a>;</div><div style="text-align: justify;"><div style="text-align: left;">Chaos économique, blanchiment bancaire? (Gaël Giraud/Thinkerview 2020); </div><div style="text-align: left;">Choc économique: Perspectives alternatives? (Isabelle Delannoy/Thinkerview 2020); </div></div><div style="text-align: justify;"><span style="text-align: left;">Vincent Mignerot: Anticiper l'effondrement? (Thinkerview/Youtube 2017);</span></div><div style="text-align: justify;"> <br />
<a href="https://aletche.blogspot.com/2019/12/agamben-lovelock-greta-thunberg-coluna.html" target="_blank">#ActForTheAmazon</a><br />
<div style="text-align: justify;"></div><div style="text-align: justify;">#ExtinctionRebellion</div><div style="text-align: justify;">#InstinctualRebellion</div><div style="text-align: justify;">#FuckTheAlgorith<br />
#GretaThunberg<br />
#GreenNewDeal</div><div>#Plagued&Pestered<br />#AeraFixed<br />#DameNature</div><div><span style="text-align: left;">************************************************************** </span></div></div>
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<br />
<a href="https://aletche.blogspot.com/2019/01/environmental-issue-brazil-novo-porto.html">[For English version see here]</a><br />
<a href="https://www.facebook.com/naoportodetorres/" target="_blank">[Temos também uma página no Facebook, que é possível seguir]</a><br />
[<a href="https://www.obugio.org.br/petitions/nao-ao-porto-no-litoral-norte-do-rs?share=67463c53-1148-47cd-8f45-348e740325e2&source=rawlink&utm_source=rawlink&share=bbe4aef1-1106-4e23-b2d2-76c95d745194" target="_blank">Petição Pública Não ao Porto No Litoral Norte do RS (Plataforma Greenpeace)</a>]</div>
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Em reportagem publicada no jornal Zero Hora de 9 de janeiro de 2019, a jornalista Jéssica Rebeca Weber revela que "<a href="https://gauchazh.clicrbs.com.br/comportamento/verao/noticia/2019/01/porto-em-torres-proposta-para-construcao-divide-opinioes-cjqpigdre002201k24zsi90tj.html">a idéia é apresentada pelo engenheiro civil Fernando Carrion e pelo senador Luis Carlos Heinze (PP)</a>."</div>
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Quem é o senador?</div>
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Segundo, por exemplo, reportagem publicada no Yahoo notícias em 23 de outubro de 2018:</div>
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<a href="https://br.noticias.yahoo.com/paulo-paim-e-luis-carlos-heinze-repetem-polarizacao-dos-gauchos-no-senado-141344499.html">'Ligado ao setor rural do Rio Grande do Sul (estado que se destaca por sua produção agropecuária), Heinze trabalha em cima de renegociação de dívida de agricultores e – assim como o presidenciável pelo PSL – é crítico da demarcação de novas áreas indígenas. Em 2014, durante audiência pública da Comissão de Agricultura da Câmara em Vicente Dutra (RS), Heinze declarou que quilombolas, homossexuais e índios “são tudo que não presta”, e sugeriu a contratação de segurança privada pelos produtores rurais para manter a posse da terra. Mais tarde ele ponderou à imprensa que suas declarações (gravadas em vídeo divulgado nas redes sociais) foram feitas no “calor do debate” sobre conflitos entre indígenas e agricultores que haviam ocorrido em novembro do anterior. Também em 2014, votou contra a PEC do Trabalho Escravo, projeto que estipulava a desapropriação de terras de latifundiários que fossem flagrados submetendo seus trabalhadores a um regime análogo à escravidão.'</a></div>
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Heize nasceu em 1950, o engenheiro Fernando Carrion ainda antes da metade do século passado, em 1942 (<a href="http://www.fgv.br/cpdoc/acervo/dicionarios/verbete-biografico/fernando-da-silva-machado-carrion">segundo informações num site da Fundação Getúlio Vargas</a>). </div>
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Apesar de pelo menos um dos seus proponentes, o senador Luis Carlos Heinze do PP, se apresentar como defendendo perspectivas opostas aos anteriores governos do PT, em especial o de Dilma Rousseff, para cujo impeachment contribuiu, é patente a semelhança da lógica de um projeto como esse e aquela que foi vigente nos governos anteriores. Pensa-se o crescimento do país, antes de qualquer coisa, a partir de projetos megalomaníacos (pouco importa se ancorados no Estado ou na iniciativa privada), dependentes de estratégias indiferentes (quando não deletérias) ao meio-ambiente, e dentro de uma matriz ultrapassada de desenvolvimento como a produção extrativista em larga escala e exportação de commodities. </div>
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***De acordo com reportagem do Jornal Nacional de 24 de abril de 2018, o PP, partido do senador, <a href="http://g1.globo.com/jornal-nacional/noticia/2018/04/progressistas-e-um-dos-partidos-com-mais-investigados-na-lava-jato.html">"é um dos partidos com mais investigados na Lava Jato."</a> Outro político do PP diretamente envolvido no projeto do porto é o empresário do <i>setor de construção</i>, <a href="http://pioneiro.clicrbs.com.br/rs/economia/caixa-forte/noticia/2019/01/porto-maritimo-em-torres-empresarios-da-serra-se-reunem-com-prefeito-para-discutir-a-ideia-10691510.html" target="_blank">Ovídio Deitos, que é presidente desse partido em Caxias do Sul</a>. Outros empresários desta cidade parecem também estar envolvidos. É preciso observar que Caxias do Sul <i>foi </i>de fato uma cidade industrial importante, com grandes fábricas de metalurgia que estão atualmente <i>em declínio. </i>Esses empresários enfrentam muitos problemas para se adaptar à nova economia mundial globalizada. O porto pode oferecer a eles uma pseudo-alternativa de salvação às custas do meio ambiente da região e da população local. Só a propaganda a seu respeito já é suficiente para atrair todo o tipo de especulação escusa. </div>
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A proposta do "novo" porto não parece senão o velho disfarçado de novo (<a href="https://gauchazh.clicrbs.com.br/opiniao/noticia/2018/07/por-que-torres-precisa-de-um-novo-porto-cjjzu3jic00vt01p6u376i8ps.html">e ela de fato remonta ao século XIX</a>), que vai, como sempre, beneficiar principalmente senão somente uma burocracia estatal preguiçosa e atrasada e/ou meia dúzia de oligarcas da iniciativa privada. Investimento externo viria de onde? China, máfia napolitana?!</div>
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A costa de torres é importante, por exemplo, para lobos marinhos, leões marinhos e baleias francas. Há, na região em que pretendem instalar esse porto, TRÊS reservas ecológicas: o <a href="https://www.sema.rs.gov.br/itapeva">Parque Estadual de Itapeva</a>, o <a href="https://pt.wikipedia.org/wiki/Ref%C3%BAgio_de_Vida_Silvestre_da_Ilha_dos_Lobos">Refúgio da Vida Silvestre Ilha dos Lobos</a>, e o <a href="https://arroiodosal.rs.gov.br/parque-tupancy/">Parque Tupancy</a>. </div>
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">***Como sabem os especialistas, no litoral do RS não há os costões graníticos e as baías protegidas do litoral de Santa Catarina. Isso implica uma série de riscos na construção desse tipo de porto, como a erosão. </div>
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Ainda, a manutenção das infraestruturas já existentes no Brasil, como estradas, tem um enorme déficit. O Rio Grande do Sul, em especial, também há muito que não se destaca mais pela produção agropecuária, tendo perdido terreno para outros estados. É um estado com muitos problemas econômicos. Pretende-se, em meio a esse cenário, construir do zero, um novo porto?! </div>
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Num país em que se tem permitido a ocorrência <a href="https://www.theguardian.com/commentisfree/2018/nov/03/it-was-a-disaster-on-an-almost-inconceivable-scale-then-the-world-moved-on">de desastres da escala daquele ocasionado pela Samarco em Mariana</a>?! E Brumadinho, em menos de três anos?!!</div>
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O senador Heine, voltou a falar sobre o porto em entrevista ao jornal Correio do Povo. Pela convicção que ele expressa da execução da obra, ela certamente deve vir sendo planejada na surdina. Segundo o senador, uma das principais atividades do porto será a EXPORTAÇÃO DE GALINHA & SOJA:</div>
<a href="https://www.correiodopovo.com.br/Verao/2019/1/672267/Porto-privado-em-Torres-tem-projeto-em-andamento,-diz-Heinze">- Porto privado em Torres tem projeto em andamento (Correio do Povo)</a>;<br />
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Notícias Recentes na Imprensa sobre a Situação do Meio-Ambiente no Brasil (governo Bolsonaro):</div><div style="text-align: justify;">- <a href="https://www.theguardian.com/environment/2020/aug/05/tesco-urged-to-ditch-meat-company-over-alleged-links-to-amazon-deforestation" target="_blank">Tesco urged to ditch meat company over links to deforestation (The Guardian)</a>; </div>- <a href="https://www.washingtonpost.com/world/the_americas/brazil-sacks-official-after-soaring-june-deforestation-data/2020/07/13/31c503ae-c550-11ea-a825-8722004e4150_story.html" target="_blank">Brazil Sacks Official After Soaring June Deforestation Data (Washington Post)</a>;<br />- <a href="https://www.theguardian.com/world/2020/jul/13/brazil-firing-amazon-deforestation-data" target="_blank">Outcry from environmentalists as Brazil fires official monitoring deforestation (The Guardian)</a>; <div>
<span style="text-align: justify;">- </span><a href="https://ambiencia.blogfolha.uol.com.br/2020/05/19/burger-king-e-outras-40-empresas-globais-assinam-carta-contra-pl-da-grilagem/" style="text-align: justify;">Burger King e outras 40 empresas assinam carta contra PL da grilagem (Folha de SP)</a><span style="text-align: justify;">; </span><br />
- <a href="https://brasil.elpais.com/brasil/2020-05-11/em-meio-a-pandemia-bolsonaro-acelera-medidas-para-beneficiar-desmatador-armamentista-e-evangelicos.html">Em meio à pandemia, Bolsonaro acelera medidas para beneficiar desmatador (El País)</a>;<br />
- <a href="https://www.lemonde.fr/planete/article/2020/04/22/au-bresil-la-deforestation-augmente-consequence-indirecte-du-covid-19_6037396_3244.html" target="_blank">« Il n’y a plus de limite ! » : au Brésil, la déforestation augmente (Le Monde)</a>;<br />
- <a href="https://www.theguardian.com/world/2020/mar/05/brazil-call-for-boycotts-major-companies-support-jair-bolsonaro">Brazilians call for boycotts of major companies that support Bolsonaro (The Guardian)</a>; <br />
- <a href="https://www.theguardian.com/global-development/2020/mar/10/brazil-amazon-bridge-project-bolsonaro">'Project of Death': alarm at Bolsonaro's plan for Amazon Expanding Bridge (The Guardian)</a>;<br />
- <a href="https://www.americasquarterly.org/content/why-eu-mercosur-deal-hinges-germanys-reaction-bolsonaro" target="_blank">EU-Mercosur Deal Hinges on Germany's Reaction to Bolsonaro (Americas Quarterly)</a>;</div>
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- <a href="https://www.theguardian.com/environment/2020/mar/03/worlds-biggest-meat-company-linked-to-brutal-massacre-in-amazon" target="_blank">World's biggest meat company linked to 'brutal massacre' in Amazon (The Guardian)</a>;<br />
- <a href="https://www.hrw.org/news/2020/01/14/brazil-address-lawlessness-amazon" target="_blank">Brazil: Encouraging Killings by Police Harms Public Safety (Human Rights Watch)</a>;<br />
- <a href="https://www.theguardian.com/environment/2020/jan/13/like-a-bomb-going-off-why-brazils-largest-reserve-is-facing-destruction-aoe" target="_blank">'Like a bomb going off': why Brazil's largest reserve is facing destruction (The Guardian)</a>;<br />
- <a href="https://noticias.uol.com.br/colunas/jamil-chade/2020/01/11/relator-da-onu-denuncia-sensacao-perversa-de-impunidade-no-brasil.htm" target="_blank">"Comunidades estão sendo envenenadas no Brasil", denuncia relator da ONU (UOL)</a>;<br />
- <a href="https://www.nytimes.com/aponline/2019/12/16/world/americas/ap-lt-brazil-environment.html">Brazil's Role Questioned After UN Global Warming Meeting (The New York Times)</a>;<br />
- <a href="https://www.nytimes.com/aponline/2019/12/16/world/americas/ap-lt-brazil-environment.html">Brazil Amazon Deforestation Climbs More Than 100% in November (The New York Times)</a>;<br />
- <a href="https://www.theguardian.com/environment/2019/dec/14/indigenous-boy-15-murdered-on-brazils-amazon-border?CMP=share_btn_fb&fbclid=IwAR3-v1xeY1f3L0_ZiuFYFDjAgjvL3BMk8ZmQHRZf4_yavMjIngH9Ur-8b1s">Indigenous boy, 15, murdered on Brazil's Amazon Border (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/nov/27/jair-bolsonaro-international-criminal-court-indigenous-rights" target="_blank">Indict Jair Bolsonaro over indigenous rights, international court is urged (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/oct/22/brazil-oil-spill-beaches-bolsonaro-volunteers" target="_blank">Brazilians rally to clean beaches amid outrage at Bolsonaro's oil spill inaction (The Guardian)</a>;<br />
- <a href="https://piaui.folha.uol.com.br/vazamento-de-oleo-avanca-plano-de-controle-patina/" target="_blank">Vazamento de Óleo Avança, Plano de Controle Patina (Folha de São Paulo/Piauí)</a>;<br />
- <a href="https://www.reuters.com/article/us-brazil-environment/deforestation-in-brazils-amazon-rainforest-surges-through-september-idUSKBN1WQ206" target="_blank">Deforestation in Brazil's Amazon rainforest surges through September (Reuters)</a>;<br />
<span style="text-align: justify;">- </span><a href="https://www.nytimes.com/2019/09/21/sunday-review/bolsonaro-amazon-fire.html" style="text-align: justify;" target="_blank">Imagine Jair Bolsonaro Standing Trial for Ecocide at The Hague (The New York Times)</a><span style="text-align: justify;">; </span><br />
- <a href="https://www.newyorker.com/news/daily-comment/at-the-united-nations-jair-bolsonaro-presents-a-surreal-defense-of-his-amazon-policies" target="_blank">Bolsonaro Presents a Surreal Defense of His Amazon Policies (The New Yorker)</a>;<br />
- <a href="https://time.com/5676877/indigenous-leader-amazon-brazil/" target="_blank">'It Is Our Very Governments Who Are Killing the Earth' (Time)</a>;</div>
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- <a href="https://www.theguardian.com/environment/2019/sep/16/amazon-deforestation-brazil-crime-report-human-rights-watch" target="_blank">Amazon deforestation are driven by criminal networks, report finds (The Guardian)</a>;<br />
- <a href="https://www.bbc.com/portuguese/brasil-49657447" target="_blank">O agrotóxico que matou 50 milhões de abelhas em Santa Catarina em um só mês (BBC)</a>;<br />
- <a href="https://brasil.elpais.com/brasil/2019/09/12/opinion/1568300730_780955.html" target="_blank">"A noticia é essa: o Xingu vai morrer!" (Eliane Brum/El Pais)</a>;<br />
- <a href="https://www.theguardian.com/environment/2019/sep/05/amazon-fires-are-true-apocalypse-says-brazilian-archbishop" target="_blank">Amazon fires are 'true apocalypse', says Brazilian archbishop (The Guardian)</a>; </div>
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- <a href="https://www.theguardian.com/commentisfree/2019/sep/02/amazon-destruction-earth-brazilian-kayapo-people" target="_blank">We, the peoples of the Amazon, are full of fear (Raoni Metuktire/The Guardian)</a>;<br />
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- <a href="http://br.rfi.fr/franca/20190901-deputados-franceses-e-ongs-publicam-manifesto-visando-soja-e-carne-brasileiras" target="_blank">Deputados franceses e ONGs publicam manifesto visando soja e carne brasileiras (RFI)</a>; </div>
- <a href="https://www.latimes.com/opinion/story/2019-08-26/amazon-fires-brazil-bolsonaro-rainforests-ranching">Brazil’s politics are making the Amazon fires worse (Los Angeles Times)</a>;<br />
- <a href="https://www.aljazeera.com/news/2019/08/brazil-tops-list-countries-highest-deforestation-rate-190826194626495.html" target="_blank">Brazil tops list of countries with highest deforestation rate (Aljazeera)</a>;<br />
- <a href="https://www.aljazeera.com/news/2019/08/brazil-reject-g7-offer-22m-aid-fight-amazon-fires-190827060022860.html">Brazil to reject G7 offer of $22m aid to fight Amazon fires (Aljazeera)</a>; <br />
- <a href="https://www.france24.com/en/20190827-brazil-Jair-Bolsonaro-g7-aid-wildfires-amazon-rainforest-emmanuel-macron">Brazil rejects G7 aid for Amazon fires (France 24)</a>; <br />
- <a href="https://www.theguardian.com/world/2019/aug/27/amazon-fires-brazil-to-reject-20m-pledged-by-g7">Amazon rainforest fires: Brazil to reject $20m pledged by G7 (The Guardian)</a>; <br />
- <a href="https://www.cbsnews.com/news/amazon-wildfires-brazil-spurns-20-million-aid-offer-from-g-7-nations-fight-amazon-wildfires/">Brazil spurns $20 million in aid to fight Amazon wildfires (CBS News)</a>; <br />
- <a href="https://www.theguardian.com/world/2019/aug/26/brazil-amazon-fire-day-warning">Brazil officials failed to act after warning of 'fire day’ in Amazon (The Guardian)</a>;<br />
- <a href="https://www.economist.com/the-americas/2019/08/23/jair-bolsonaro-shrugs-as-the-amazon-burns?fsrc=scn/tw/te/bl/ed/jairbolsonaroshrugsastheamazonburnsforestapocalypse">Jair Bolsonaro shrugs as the Amazon burns (The Economist)</a>;<br />
- <a href="https://www.theguardian.com/environment/2019/aug/22/brazilian-minister-booed-at-climate-event-as-outcry-grows-over-amazon-fires" target="_blank">Brazilian minister booed at climate event as outcry grows over Amazon fires (The Guardian)</a>;</div>
<div>
<div>
- <a href="https://www.bbc.com/news/world-latin-america-49433437" target="_blank">Brazil environment minister heckled over Amazon fire (BBC)</a>;<br />
- <a href="https://www.irishtimes.com/news/environment/amazon-burning-brazil-reports-record-surge-in-forest-fires-1.3992951" target="_blank">Amazon burning: Brazil reports record surge in forest fires (The Irish Times)</a>;<br />
- <a href="https://www.aljazeera.com/news/2019/08/brazil-groups-dispute-bolsonaro-claim-ngos-amazon-fires-190821193510317.html" target="_blank">Amazon burning: NGOs dispute Bolsonaro's claim (Aljazeera)</a>;<br />
- <a href="https://www.bloomberg.com/news/articles/2019-08-19/bees-are-dropping-dead-in-brazil-and-sending-a-message-to-humans" target="_blank">Bees Are Dropping Dead in Brazil and Sending a Message to Humans (Bloomberg)</a>;<br />
- <a href="https://www.ecowatch.com/brazil-pesticides-bees-bolsonaro-2639936373.html" target="_blank">Environmentalists Mourn 500 Million Dead Bees in Brazil (EcoWatch)</a>;<br />
- <a href="https://www.reuters.com/article/us-brazil-environment-norway/norway-stops-amazon-fund-contribution-in-dispute-with-brazil-idUSKCN1V52C9" target="_blank">Norway stops Amazon fund contribution in dispute with Brazil (Reuters)</a>; </div>
<div>
- <a href="https://www.theguardian.com/world/2019/aug/16/norway-halts-amazon-fund-donation-dispute-brazil-deforestation-jair-bolsonaro" target="_blank">Norway halts Amazon fund donation in dispute with Brazil (The Guardian)</a>;</div>
- <a href="https://www.france24.com/en/20190816-norway-stops-subsidy-brazil-amazon-broke-agreement-deforestation-bolsonaro" target="_blank">Norway to stop €30 million Amazon protection subsidy (France 24)</a>;<br />
<div>
- <a href="https://www.dw.com/en/amazon-deforestation-prompts-germany-to-suspend-brazil-forest-projects/a-49982647" target="_blank">Amazon deforestation prompts Germany to suspend Brazil forest projects (DW)</a>;<br />
- <a href="http://news.trust.org//item/20190811182835-c9ylm/" target="_blank">Germany to cut 35 mln euros in funds to Brazil for Amazon preservation (Reuters)</a>;<br />
- <a href="https://www.economist.com/leaders/2019/08/01/deathwatch-for-the-amazon" target="_blank">Deathwatch for the Amazon (The Economist)</a>;<br />
- <a href="https://www.nytimes.com/2019/07/27/world/americas/brazil-miners-amapa.html" target="_blank">Miners Kill Indigenous Leader in Brazil during Invasion of Protected Land (The New York Times)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/jul/25/amazonian-rainforest-near-unrecoverable-tipping-point?" target="_blank">Amazon deforestation accelerating towards unrecoverable 'tipping point' (The Guardian)</a>;<br />
- <a href="https://www.cbsnews.com/news/amazon-rainforest-rare-footage-awa-tribe-brazil-threatened-by-loggers/" target="_blank">Video appears to show rare Brazilian tribe threatened by loggers (CBS News)</a>;</div>
<div>
- <a href="https://www.dw.com/en/brazils-bolsonaro-restricts-drugs-policy-council-legalizes-agritoxins/a-49708371" target="_blank">Brazil's Bolsonaro restricts drugs policy council, legalizes agritoxins (Deutsche Welle)</a>;<br />
- <a href="https://www.newscientist.com/article/2210621-deforestation-in-brazil-has-rocketed-since-bolsonaro-became-president/" target="_blank">Deforestation in Brazil has rocketed since Bolsonaro became president (New Scientist)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/jul/19/jair-bolsonaro-brazil-amazon-rainforest-deforestation" target="_blank">Bolsonaro declares 'the Amazon is ours' and calls deforestation data 'lies' (The Guardian)</a>; </div>
<div>
- <a href="https://www.reuters.com/article/us-brazil-environment/brazil-deforestation-soars-in-july-threatening-eu-trade-deal-idUSKCN1UD20X" target="_blank">Brazil deforestation soars in July, threatening EU trade deal (Reuters)</a>; </div>
<div>
- <a href="https://www.reuters.com/article/us-brazil-environment-norway/major-donor-norway-frets-over-brazil-deforestation-idUSKCN1U00ZL" target="_blank">Major donor Norway frets over Brazil deforestation (Reuters)</a>;<br />
- <a href="https://www.bbc.com/news/av/world-latin-america-48845015/amazon-rainforest-indigenous-people-in-fight-for-survival" target="_blank">Amazon rainforest indigenous people in fight for survival (BBC)</a>;<br />
- <a href="https://www.bbc.com/news/science-environment-48827490" target="_blank">Football pitch of Amazon Forest lost every minute (BBC)</a>;<br />
- <a href="https://www.bbc.com/news/world-latin-america-46039996" target="_blank">Bolsonaro plans threaten Amazon, says experts (BBC)</a>;<br />
- <a href="https://www.theguardian.com/environment/2019/jun/12/hundreds-new-pesticides-approved-brazil-under-bolsonaro" target="_blank">Hundreds of new pesticides approved in Brazil (The Guardian)</a>;<br />
- <a href="https://www.bbc.com/portuguese/brasil-48463000?ocid=socialflow_facebook&fbclid=IwAR3wfw7f2DGtGAsMMoSMbCoBKMr72baawhXoery0Ww0wEDng-Pd__JpNDGw#" target="_blank">Brasil e EUA lideram retrocessos ambientais (BBC)</a>;<br />
- <a href="https://noticias.uol.com.br/meio-ambiente/ultimas-noticias/redacao/2019/05/29/camara-muda-codigo-florestal-e-garante-desmate-a-grandes-produtores-rurais.htm" target="_blank">Câmara muda Código Florestal e garante desmate a grandes produtores rurais (Uol)</a>;<br />
- <a href="https://noticias.uol.com.br/meio-ambiente/ultimas-noticias/redacao/2019/05/17/com-bolsonaro-liberacao-de-agrotoxicos-cresceu-42-diz-estudo.htm" target="_blank">Com Bolsonaro, liberação de agrotóxicos cresceu 42%... (Uol)</a>;<br />
- <a href="https://epoca.globo.com/como-ricardo-salles-tem-desmontado-agenda-verde-em-favor-do-agronegocio-23652038?fbclid=IwAR00r1Pfw0oJbzgMUyRxqPmzB89atZT7nwhG0ddwlaqEu50HBE2B0qV40hI" target="_blank">Como Ricardo Salles tem desmontado a agenda verde (Época)</a>;<br />
- <a href="https://g1.globo.com/natureza/noticia/2019/05/08/ex-ministros-do-meio-ambiente-se-reunem-para-discutir-politica-ambiental.ghtml" target="_blank">A governança socioambiental do Brasil está sendo desmontada (Globonews)</a>;<br />
- <a href="https://www.reuters.com/article/us-brazil-environment/ex-ministers-blast-bolsonaro-for-dismantling-brazils-environment-protections-idUSKCN1SE2IQ" target="_blank">Ex-ministers blast Bolsonaro for dismantling Brazil's environment protections (Reuters)</a>;<br />
- <a href="https://www.gazetadopovo.com.br/republica/ministro-cancela-viagens-pela-europa-apos-criticas-sobre-desmatamento/">Ministro cancela ‘roadshow’ pela Europa após críticas (Gazeta do Povo)</a>;<br />
- <a href="https://politica.estadao.com.br/noticias/geral,governo-esta-promovendo-um-desmonte-total-no-meio-ambiente-afirma-marina,70002804795">‘Governo está promovendo um desmonte total no Meio Ambiente’ (Estadão)</a>; <br />
- <a href="https://www.bloomberg.com/news/articles/2019-04-12/natural-history-museum-won-t-roll-out-red-carpet-for-bolsonaro">Natural History Museum Won't Roll Out Red Carpet for Bolsonaro (Bloomberg)</a>; <br />
- <a href="https://sustentabilidade.estadao.com.br/blogs/ambiente-se/servidores-escrevem-carta-acusando-salles-de-destruicao-da-gestao-ambiental/">Servidores escrevem carta acusando Salles (Estadão)</a>;<br />
- <a href="https://mobile.reuters.com/article/amp/idUSKCN1RO29H?__twitter_impression=true">Bolsonaro says Brazil rainforest reserve may be opened (Reuters)</a>; <br />
- <a href="https://www.theatlantic.com/science/archive/2019/04/amnh-under-fire-hosting-brazils-jair-bolsonaro/587068/">A natural-history museum is under fire for hosting Brazil's new president (The Atlantic)</a>; <br />
- <a href="https://www.theguardian.com/world/2019/apr/12/american-museum-of-natural-history-gala-jair-bolsonaro?CMP=Share_iOSApp_Other">US natural history museum gala to honor Brazil's far-right president (The Guardian)</a>;<br />
- <a href="https://www1.folha.uol.com.br/ambiente/2019/03/ibama-exonera-servidor-que-multou-bolsonaro-por-pesca-irregular.shtml">Ibama exonera servidor que multou Bolsonaro por pesca irregular (Folha de São Paulo)</a>;<br />
- <a href="https://www.dw.com/pt-br/o-projeto-de-mefist%C3%B3feles/a-47784823">O Projeto de Mefistóteles (Deutsche Welle)</a>;<br />
- <a href="https://politica.estadao.com.br/noticias/geral,bispos-se-opoem-a-politicos-em-evento,70002715226?utm_source=estadao%3Afacebook&utm_medium=link&fbclid=IwAR2cEDInXHVt7fzIMEbqy7RUxtD8QdRIoZIu0AzcHJticmqqoR5xleDHspE">Bispos se opõem a políticos em evento (Estadão)</a>; <br />
- <a href="https://www.theguardian.com/world/2019/feb/12/brazil-environment-ministers-dismissal-of-slain-amazon-defender-stirs-outrage">Brazil environment minister's dismissal of slain Amazon defender stirs outrage (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/feb/01/it-smells-dirty-scandals-loom-over-bolsonaro-after-first-month-in-office">‘It smells dirty’: scandals loom over Bolsonaro (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/jan/22/brazils-government-reveals-plans-to-privatize-key-shipping-route">Brazil reveals plans to privatize key stretches of Amazon highways (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/jan/22/jair-bolsonaro-alarms-environmental-activists-with-pro-business-speech">Jair Bolsonaro alarms climate activists with pro-business speech (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/jan/16/brazil-environment-chief-accused-of-war-on-ngos-as-partnerships-paused">Brazil environment chief accused of 'war on NGOs' (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/jan/14/gisele-bundchen-bad-brazilian-bolsonaro-agricultural-minister-tereza-cristina-diaz?CMP=share_btn_fb&fbclid=IwAR0XY87tXBfPKrvgvpEJWO2LER3VWtavsBQ0lXhhUcL8uyjVa-B-0VBTpbM">Gisele Bündchen is a 'bad Brazilian', says Bolsonaro's agriculture minister (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/jan/02/brazil-jair-bolsonaro-amazon-rainforest-protections">Jair Bolsonaro launches assault on Amazon rainforest protections (The Guardian)</a>; <br />
- <a href="https://www.theguardian.com/environment/2018/nov/06/bhp-billiton-facing-5bn-lawsuit-from-brazilian-victims-of-dam-disaster">BHP Billiton facing £5bn lawsuit from Brazilian victims of dam disaster (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/commentisfree/2018/nov/03/it-was-a-disaster-on-an-almost-inconceivable-scale-then-the-world-moved-on">It was a disaster on an almost inconceivable scale (The Guardian)</a>;<br />
<br />
Notícias na Imprensa sobre Brumadinho e outros rompimentos de barragens recentes:<br />
- <a href="https://graphics.reuters.com/VALE-DISASTER/0100B29R1CC/index.html" target="_blank">Vale misled public on dangerous dams, prompting Brazil probe (Reuters)</a>; </div>
<div>
- <a href="https://g1.globo.com/ro/ariquemes-e-vale-do-jamari/noticia/2019/03/30/rompimento-de-barragem-em-rondonia-o-que-se-sabe-ate-agora.ghtml">Rompimento de barragens em Rondônia: o que se sabe até agora (Globonews)</a>;- <a href="https://www1.folha.uol.com.br/cotidiano/2019/03/ministerio-publico-investiga-rompimento-de-barragens-em-rondonia.shtml">Ministério Público investiga rompimento de barragens em Rondônia (Folha de São Paulo)</a>;<br />
- <a href="https://www.nytimes.com/aponline/2019/03/30/world/americas/ap-lt-brazil-dam-collapse.html">New Dam Collapse in Brazil (Rondonia) (Associated Press)</a>; <br />
- <a href="https://www.economist.com/business/2019/02/02/a-brazilian-tragedy-is-a-deepwater-horizon-moment-sort-of">A Brazilian tragedy is a Deepwater horizon moment (The Economist)</a>;<br />
- <a href="https://g1.globo.com/mg/minas-gerais/noticia/2019/02/06/vale-ja-sabia-de-problemas-nos-sensores-da-barragem-de-brumadinho-dois-dias-antes-do-rompimento.ghtml?fbclid=IwAR1vZZcHWOAJvB4Kdd0IGuiAFnAjHT4_S2ID_Uiu30aLijLC4qJnTmTR9ng">E-mails indicam que Vale soube de problemas em sensores de Brumadinho(G1)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/feb/03/brazil-dam-collapse-search-body-recovery">Dam collapse: the desperate search at Brazil's 'ground zero' (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/jan/29/the-river-is-dying-the-vast-ecological-cost-of-brazils-mining-disasters">'The river is dying': the vast ecological cost of Brazil's mining disasters (The Guardian)</a>;<br />
- <a href="https://www.lemonde.fr/planete/article/2019/01/28/au-bresil-a-brumadinho-entre-revolte-et-crainte-d-une-nouvelle-catastrophe_5415639_3244.html">Au Brésil, la colère et la crainte d’une nouvelle catastrophe (Le Monde)</a>;<br />
- <a href="https://www.greenpeace.org/international/story/20503/the-city-is-weeping-the-aftermath-of-environmental-disaster-in-brumadinho-brazil/">The city is weeping – the aftermath of environmental disaster in Brumadinho (Greenpeace)</a>;<br />
- <a href="https://www.cbsnews.com/news/brazil-dam-disaster-death-toll-brumadinho-anger-vale-mining-today-2019-01-28/">Brazil dam disaster death toll in nears 60, with hundreds still missing (CBS News)</a>;<br />
- <a href="https://www.bbc.com/news/world-latin-america-47017551">Brumadinho dam collapse: Hope fades for hundreds missing in Brazil (BBC)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/jan/25/brazil-dam-collapse-news-latest-mining-disaster-brumadinho">Brazil dam collapse: 10 bodies found and hundreds missing (The Guardian)</a>;<br />
- <a href="https://www.nytimes.com/2019/01/26/world/americas/brazil-dam-break.html">Hundreds Missing Following Burst Brazil Dam (The New York Times)</a>; <br />
- <a href="https://www.independent.co.uk/news/world/americas/brazil-dam-collapse-disaster-burst-death-toll-rescue-vale-mining-brumadinho-a8747741.html">Brazil dam collapse: Bid to rescue hundreds missing (Independent)</a>;<br />
- <a href="https://www.valor.com.br/empresas/6086685/barragem-da-vale-se-rompe-em-brumadinho-em-minas-gerais">Barragem da Vale se rompe em Brumadinho, em Minas Gerais (Valor)</a>;<br />
- <a href="https://www.wsj.com/articles/dam-bursts-at-vale-mine-in-brazil-11548434014?mod=searchresults&page=1&pos=1">Dam Bursts at Vale Mine in Brazil (The Wall Street Journal)</a>;<br />
<i>Mais Material da Imprensa:</i></div>
<div>
<i>- </i><a href="https://folha.com/isb8y39o" style="font-style: italic;">O Conservador e o Atrasado (Elio Gaspari/Folha de São Paulo)</a><i>;</i><br /><br />Postagens Relacionadas neste mesmo blog:</div><div>- <a href="https://aletche.blogspot.com/2021/02/stop-leveling-down-lifes-multiple.html" target="_blank">The Whole Lunacy of Megalomaniac Billionaires</a>; </div><div>- <a href="https://aletche.blogspot.com/2020/02/am-i-going-to-disney-how-much-is.html" target="_blank">How much is a Parasite Worth in Brazil?</a></div><div><span style="text-align: justify;">- </span><a href="https://aletche.blogspot.com/2019/12/agamben-lovelock-greta-thunberg-coluna.html" style="text-align: justify;" target="_blank">Agamben, Lovelock, Greta Thunberg</a><span style="text-align: justify;">; </span><br />- <a href="https://aletche.blogspot.com/2019/01/blue-crab-siri-azul-torres-brazil-jan.html">Blue Crab/ Siri Azul (Torres, Brazil, Jan 2019)</a>;<br />- <a href="https://aletche.blogspot.com/2016/03/instead-of-revolution-demontage-super.html">Instead of revolution: démontage</a>;<br />- <a href="https://aletche.blogspot.com/2016/10/who-wants-to-be-worlds-5th-largest.html">Who Wants to Be the World's 5th Largest Economy?</a><br />- <a href="https://aletche.blogspot.com/2016/10/b4-trump-turns-real-banality-of-evil-in.html">Banality of Evil in Brazil</a>;<br />- <a href="https://aletche.blogspot.com/2016/09/brazil-after-rousseffs-impeachment.html">Brazil after Rousseff's Impeachment</a>; <br />- <a href="https://aletche.blogspot.com/2015/10/sundays-afterthought-list-of-infamous.html">List of Infamous Brazilian Esquerdofrênicos</a>; <br />- <a href="https://aletche.blogspot.com/2015/11/brazil-most-recent-contribution-to.html">Humanitarian Rhetoric</a>; <br />- <a href="https://aletche.blogspot.com/2017/01/land-of-southern-lapwing.html">Land of the Southern Lapwing</a>; <br />- <a href="https://aletche.blogspot.com/2015/07/blog-post_27.html">Torres (Northeast of Rio Grande do Sul)</a>; <br />- <a href="https://aletche.blogspot.com/2015/01/garbage-plastic-debris-sea-world-brazil.html">Garbage (Plastic Debris, Coast of Rio Grande do Sul)</a>;<br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Outras discussões relacionadas: </div><div style="text-align: justify;"><a href="https://doi.org/10.1007/s13347-023-00617-8">***Ecomodernism and the Libidinal Economy: Towards a Critical Conception of Technology in the Bio‐Based Economy (Roel Veraart, Vincent Block, Pieter Lemmens, Philosophy & Technology/2023);</a></div><div style="text-align: justify;">**************************************************************</div></div><div style="text-align: justify;"><br /></div><div>
<div style="text-align: justify;">
<div style="text-align: justify;">
<div style="text-align: start;">
<div>
<h4 style="text-align: left;">
Ecoturismo como alternativa pro futuro: </h4>
<div style="text-align: justify;">
<br />
Qm aceita construir porto pra colocar reserva em risco?!</div>
<div style="text-align: justify;">
PARQUE DE ITAPEVA eh patrimônio de todos e o FUTURO da região; </div>
<div style="text-align: justify;">
PORTO eh projeto pra salvar meia dúzia de empresários do SÉCULO PASSADO com a corda no pescoço e dar dinheiro pra políticos.</div>
<div style="text-align: justify;">
Reportagem da Zero Hora (Aline Custódio, 6 de fevereiro de 2019):</div>
</div>
<div>
<div style="text-align: justify;">
'São mil hectares da única área que conserva o ambiente original do Litoral Norte gaúcho, dentro do bioma Mata Atlântica. As terras ficam no Parque Estadual de Itapeva, criado em 2002 com foco na conservação da fauna e da flora local.'</div>
<div style="text-align: justify;">
'... o parque não tem apenas florestas. Boa parte dele também contempla as últimas dunas costeiras do Estado, onde há espécies de animais que só vivem nelas e estão ameaçados, como a lagartixa das dunas e o tuco-tuco.'</div>
<div style="text-align: justify;">
'No ano passado, por exemplo, o gestor do parque, o biólogo Paulo Grübler, conta ter recebido turistas da Alemanha, da China, dos Estados Unidos e da Inglaterra.'</div>
<div style="text-align: justify;">
'Até 2010, um camping estadual funcionou nas dependências do parque. Com o fechamento dele, passou-se a discutir a elaboração de regras de visitação. Em maio do ano passado, Itapeva se tornou a primeira unidade de conservação do Estado a ter um plano de uso público, exclusivo e detalhado, para atender aos turistas. Orçado em R$ 7 milhões, o projeto prevê a construção de um centro de visitantes, com estacionamento, lanchonete, lojas de artesanato e um mirante de 12 metros de altura, fixado no ponto mais alto.'</div>
<div style="text-align: justify;">
'Também deverão ser implementadas atividades para potencializar o ecoturismo, como circuito de ciclismo e passeios de caiaque na Lagoa do Simão,' <a href="https://gauchazh.clicrbs.com.br/comportamento/verao/noticia/2019/02/parque-de-itapeva-preserva-fauna-e-flora-no-ultimo-recanto-original-do-litoral-norte-cjrthf45h01ar01tdsc70rcvg.html?fbclid=IwAR3MeYQw3fYfK2ZuKnSK50MNphcgvAYdPNZDVfKwhY_aoK83dw7iuQlwsjg" target="_blank"><i>Parque de Itapeva preserva fauna e flora no último recanto original do Litoral Norte </i>(<i>Zero Hora</i>)</a>.<br />
<br />
<h4>
Argumentos Mostrando a Inviabilidade Econômica do Porto no Litoral Norte do RS: </h4>
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
(Sem nem citar questões ambientais e falta de respeito com veranistas e moradores que tem, ha anos, investido na região.)<br />
- os 5 portos de Santa Catarina nao alcançam juntos 70% da capacidade do porto já existente em Rio Grande (que é, tecnicamente falando, um super porto);<br />
- construção de novo porto afastado no litoral norte vai implicar dragagem específica e permanente;<br />
- há áreas disponíveis perto de Rio Grande para construção de novos terminais (o que aumenta inclusive a eficácia e competitividade do novo empreendimento);<br />
- hidrovia (já aproveitando a existente que passa por Porto Alegre) resolve todas as demandas logísticas de escoamento de forma infinitamente mais barata do que o 1 bilhão estimado para construção do novo porto (cuja manutenção e acesso vão sim demandar, de qualquer forma, e, permanentemente, mais investimento estatal);<br />
*****Entrevista do superintendente do porto de Rio Grande à Rádio Gaúcha (agosto de 2019), ver na íntegra abaixo:</div>
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<iframe allowfullscreen="true" allowtransparency="true" frameborder="0" height="315" scrolling="no" src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fnaoportodetorres%2Fvideos%2F472684010345314%2F&show_text=0&width=560" style="border: none; overflow: hidden;" width="560"></iframe><div><br /></div><div><br /></div><div><div>**************************************************************<div><h4 style="text-align: justify;"><span style="text-align: left;">Brazil's edible plants (from a paper by researches of the University of Leiden): </span></h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Piso indicated that roots [tubers] of S. tuberosa deserved special attention, because of the way they developed underground and their use as a refreshment [water reservoir] for feverish patients and exhausted travelers, as he experimented himself. He and Marcgrave also described how its fruits were valued as food... Currently S. tuberosa, known as Umbu or Umbuzeiro, is an important economic and subsistence food resource for rural communities in semiarid regions of northeast Brazil. Its specialized root system (xylopodia) bears tubers that store liquids, sugars and other nutrients and allow the survival of the tree during the dry seasons of the caatinga and central Brazilian savanna, where this species is endemic. The water or sweet juice of these xylopodia is still used as an emergency thirst quencher in extreme arid areas of the Brazilian sertão..."</div></div><div style="text-align: justify;">"Several rainforest trees were highly valued for its edible fruits or seeds, such as Hymenaea courbaril L. or Lecythis pisonis L., of which the 'seeds (also called chestnuts) were eaten raw or roasted' and 'were considered aphrodisiacs.' The fruit of Macoubea guianensis Aubl. was 'appreciated for its sweetness by the indigenous peoples to eat during their travels, while Europeans used it to treat chest affections.' The fruit of Swartzia pickelii Killip ex Ducke was 'not eaten unless it was cooked, from which the inhabitants made a wholesome delicacy for the stomach called Manipoy.' The same applies to the tomato-like fruits of the African eggplant Solanum aethiopicum L., which were 'eaten cooked, after seasoning with oil and pepper; it has lemon taste'..."</div><div style="text-align: justify;">- <a href="https://www.nature.com/articles/s41598-021-99226-8" target="_blank">Alcàntara-Rodríguez, M., Francozo, M., & Andel, T. R. van. (2021). Looking into the flora of Dutch Brazil: botanical identifications of seventeenth century plant illustrations in the Libri Picturati. Scientific Reports, 11</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><h4><span style="text-align: left;">Degradation of Brazilian's flora </span><span style="text-align: left;">(from a paper by researches of the University of Leiden)</span><span style="text-align: left;">: </span></h4></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"In the past centuries, the Atlantic Forest and savannah regions of northeast Brazil have been severely affected by habitat loss and degradation due to the expansion of urbanization, intensive agriculture, farming and logging. Several plant species that were abundant enough to be noted by European artists around 1640 are not common anymore today. According to the IUCN Red List, eight species in the Libri Picturati, seven in the Theatrum and one in the LP are currently experiencing population decline or are at risk of facing extinction. Several endemic plants from the northeast Atlantic rainforest and caatinga biomes appear in the illustrations. Four species in the Libri Picturati are currently CITES-listed and restricted to trade: the cacti Brasiliopuntia brasiliensis (Willd.) A. Berger, Cereus fernambucensis Lem., Epiphyllum phyllanthus (L.) Haw. and Melocactus violaceus subsp. margaritaceus N. P. Taylor. The latter is an endemic cactus of the coastal sand dunes’ ecoregion in the Atlantic rainforest known as restinga, which is severely threatened by agricultural expansion and urbanization."</div><div style="text-align: justify;">"Some endemic species are classified as Least Concern by the IUCN or the CNC Flora (12 species), while others (13 species) have not been evaluated yet. The MC does not contain threatened species, but includes two endemic trees: Attalea compta Mart. and Eugenia cf. brasiliensis Lam., which are only found in the biodiversity hotspots of the Atlantic rainforest and the cerrado, both greatly affected by habitat loss. The mangrove vegetation along the Brazilian coast has been severely affected by urbanization, pollution by industrial and domestic waste and climate change, threatening the populations of the mangrove trees Avicennia schaueriana Stapf & Leechm. ex Moldenke and Laguncularia racemosa (L.) C. F. Gaertn. The occurrence of anthropogenic impacts and the lack of available data call for the implementation of more in-depth and continuous studies on the conservation status of these vulnerable populations."</div><div style="text-align: justify;">- <a href="https://www.nature.com/articles/s41598-021-99226-8" target="_blank">Alcàntara-Rodríguez, M., Francozo, M., & Andel, T. R. van. (2021). Looking into the flora of Dutch Brazil: botanical identifications of seventeenth century plant illustrations in the Libri Picturati. Scientific Reports, 11</a>;</div><div style="text-align: justify;"><br /></div></div></div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com4tag:blogger.com,1999:blog-30487535.post-76581278081041944912019-01-31T13:40:00.017-08:002023-03-04T09:38:06.867-08:00Blue Crab/ Siri Azul (Torres, Brazil, Jan 2019) & the World Food Club (as they call it)<div class="separator" style="clear: both; text-align: center;">
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Torres, Rio Grande do Sul/Brazil, Jan 2019 (<a href="https://www.behance.net/azir4c5c">for more pictures see here</a>);</div><div>Traces of drugs found in marine life after sewage pumped into British waters (Channel 4, Sept 2022); </div><div>Mammifères marins dans la Seine: mais que se passe-t-il vraiment? (Le Media, Sept 2022); </div><div>Why the EU is failing to prosecute the culprits of environmental disaster (DW, Sept 2022); </div><div>How Contract Workers are exploited (by the Meat Industry) (DW, Sept 2020); <br />Soup & Talk 2020: Vandana Shiva "Poison-free Food and Farming 2030"; <br /> Colin Tudge talk;</div><div style="text-align: justify;">
Colin Tudge interview;<br />
A Message from the Future with Alexandria Ocasio-Cortez (The Intercept);<br />
Greta Thunberg & other young activists (Dazed);</div><div style="text-align: justify;">Como a agricultura industrial molda nossa alimentação [How industrial agriculture shapes our diet] (DW, Ago 2022); <br />
<div style="text-align: justify;">
<br />
<h4>
Preamble &/or how different things could & should be (which in no way becomes me to decide): </h4>
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Sabia que degollar es una especialidad gaucha?"</div><div style="text-align: justify;">El periodista miope (Vargas Llosa, La guerra del fin del mundo)</div><div style="text-align: justify;"><br /></div><div>"The phrase, 'Be kind to Athos,' refers to Bloom's father's dog—and kindness to animals, who are so much like children, and can repay affection only with affection, is another of those quite ordinary and undistinguished aspects of human nature that Joyce underlines. Even the Citizen, like Homer's Cyclops, is good to Garryowen. The kindness of Bloom on June 16, 1904, begins with animals and ends with human beings. So he feeds his cat in the morning, then some sea gulls, and in the Circe episode a dog..."</div><div>Richard Ellmann</div><div><br /></div><div>"— C'est que, dit le petit, le garde me mettrait en prison, s'il trouvait dans mes fagots du bois vivant... Et puis, quand j'ai voulu le faire, comme vous me l'aviez dit, j'entendais l'arbre qui se plaignait.</div><div>— C'est comme moi, dit la petite fille, quand j'emporte des poissons dans mon panier, je les entends qui chantent si tristement, que je le rejette dans l'eau... Alors on me bat chez nous!"</div><div>Gérard de Nerval (La Reine des Poissons)</div><div><br /></div>
"Os tiros ecoavam por todos os lados. Horrorizado, o garoto de quinze anos assistia a uma matança de macacos, que ia deixando um rastro de sangue e de animais agonizantes. Os adultos atiravam simplesmente para treinar a pontaria e pelo prazer de matar, abatendo tudo que passasse pela frente, mesmo que fossem fêmeas ainda carregando os filhotes nas costas. Na cabeça do adolescente, o convite para participar de uma caçada significava, até então, a possibilidade de matar um animal para comer, e não o imenso pesadelo em que aquilo se transformou... 'Naquele momento, alguma coisa aflorou dentro de mim definitivamente, e eu tive consciência do desvario humano de matar animais, e de que não compactuaria com aquela atitude. O estado de choque em que fiquei me fez procurar uma maneira harmônica de conviver com a natureza.'"<br />
Denise Pires Vaz & Ney Matogrosso (Um cara meio estranho)<br />
"Quando íamos de Jeep para o Guarujá, meu pai sempre dava uma paradinha nos vendedores de caranguejo no fim da Anchieta. Os bichos pendurados por um barbante balançavam as perninhas num frenesi alucinado, implorando por água, um horror. Comprava duas fileiras e, chegando em casa, lavava os cascos deles ainda vivos, mergulhava todos num caldeirão com água e fechava a tampa com um peso em cima. Dava para ouvir os bichinhos se debatendo no fogo do inferno, tadinhos. Quando o barulho cessava, imediatamente minha aflição em querer salvá-los dava lugar à gula em comê-los. Charles me ensinou a técnica de dissecar caranguejos: 'Isso é o pulmão, tem gente que come, eu não recomendo. Remova o intestino debaixo da água corrente, quebre a casca com cuidado para não sobrar uma lasquinha da cartilagem e machucar sua gengiva. As patolas e as perninhas a gente quebra, dá um chupão no buraquinho e a carne solta.'"<br />
"Pois no exato dia da mudança de volta a São Paulo, depois de três meses em Ibiúna, vou carregar o Jeep, e quem está no capô tomando sol? Sim, Mouchie & Angel, as benditas cobras do maldito Alice Cooper. As duas me esperavam lá, tipo irmãs boazinhas do Jardim do Éden. 'As férias foram ótimas, mas queremos morar com você, mamãe.'"<br />
Rita Lee</div><div>
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<div style="text-align: justify;">
<div style="text-align: justify;">
"Ces Indians répartis de part de d'autre de la frontière entre l'Équateur et le Pérou ne se distinguent guère des autres tribus de l'ensemble jivaro, auquel ils se rattachent par la langue et la culture, lorsqu'ils disent que la plupart des plantes et des animaux possèdent une âme (wakan) similaire à celle des humains, une faculté qui les range parmi les 'personnes' (aents) en ce qu'elle leur assure la conscience réflexive et l'intentionnalité, qu'elle les rend capables d'éprouver des émotions et leur permet d'échanger des messages avec leurs pairs comme avec les membres d'autres espèces..."<br />
"La forme visible des animaux n'est en effet qu'un déguisement. Lorsqu'ils regagnent leurs demeures, c'est pour se dépouiller de leur apparence, revêtir parures de plumes et ornements cérémoniels, et redevenir de manière ostensible les 'gens' qu'ils n'avaient pas cessé d'être lorsqu'ils ondoyaient dans les rivières et fourrageaient dans la forêt."<br />
"Si les animaux diffèrent des hommes, c'est donc uniquement par l'apparence, une simple illusion des sens puisque les enveloppes corporelles distinctives qu'ils arborent d'ordinaire ne sont que des déguisements destinés à tromper les Indiens. Lorsqu'ils visitent ces derniers en rêve, les animaux se révèlent tels qu'ils sont en réalité... il faut éviter le gâchis, tuer proprement et sans souffrances inutiles, traiter ave dignité les os et la dépouille, ne pas céder aux tartarinades ni même évoquer trop clairement le sort réservé aux proies."<br />
"Comme le confiait le chamane Ivaluardjuk à Rasmussen, 'le plus grand péril de l'existence vient du fait que la nourriture des hommes est tout entière faites d'âmes.'"<br />
Philippe Descola<br />
"In einem solchen Zustande empfand ich einmal die Nähe einer Kuhheerde durch Wiederkehr milderer, menschenfreundlicherer Gedanken, noch bevor ich sie sah: Das hat Wärme in sich..."</div>
<div style="text-align: justify;">
Nietzsche<br />
<br />
<div style="text-align: justify;">
"In the past, most scientific research was carried out by amateurs... Charles Darwin, for example, never held any institutional post; he worked independently at his home in Kent, studying barnacles, writing, keeping pigeons, and doing experiments in the garden with his son Francis... There are now only a handful of independent scientists, the best known being James Lovelock, the leading proponent of the Gaia hypothesis... And although amateur naturalists and freelance inventors still exist, they have been marginalized."</div>
<div style="text-align: justify;">
Rupert Sheldrake</div>
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</div>
<div style="text-align: justify;">
"I think having land and not ruining it is the most beautiful art that anybody could ever want to own."<br />
"There should be supermarkets that sell things and supermarkets that buy things back, and until that equalizes, there'll be more waste than should be... People should be able to sell their old cans, their old chicken bones, their old shampoo bottles, their old magazines. We have to get more organized."<br />
The Philosophy of Andy Warhol<br />
<div style="text-align: justify;">
"In der That, ich habe bis zu meinen reifsten Jahren immer nur schlecht gegessen, — moralisch ausgedrückt 'unpersönlich', 'selbstlos', 'altruistisch', zum Heil der Köche und andrer Mitchristen."</div>
<div style="text-align: justify;">
Nietzsche<br /><br /></div><div style="text-align: justify;">
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<h4>
About the blue crabs in the pictures &/or how things really are (dejection, affliction, villainous affairs):</h4>
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</div>
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<div style="text-align: justify;">
Ordinary people (in their subacid humour towards others) simply kill these animals as they come grabbed to their fishing nets. It doesn't look right to me. They kill them allot, during the Summer, while dragging their nets along the beach. Perhaps boats do even worse and we just don't see. </div>
<div style="text-align: justify;">
"No Brasil, de modo geral, C. sapidus não constitui espécie-alvo de grandes pescarias, sendo basicamente explorada pela pesca artesanal no interior dos estuários, principalmente nas regiões sudeste e sul, bem como nas regiões costeiras como fauna acompanhante da pesca de arrasto de camarões. Geralmente os indivíduos capturados são devolvidos, já mortos, ao mar. Em alguns locais a espécie declinou consideravelmente, mas não existem dados suficientes para estimar o impacto das capturas na população de C. sapidus. Coleta de informações de captura e pesquisas voltadas a biologia pesqueira da espécie bem como o conhecimento do nível de degradação das áreas onde habita são necessárias para a alteração da condição de Dados Insuficientes (DD)," <a href="http://www.icmbio.gov.br/cepsul/images/stories/biblioteca/download/trabalhos_tecnicos/pub_2016_avaliacao_crustaceos_2010_2014.pdf" target="_blank">Avaliação do risco de extinção dos crustáceos no Brasil: 2010-2014 (ICMBIO)</a>;</div>
<div style="text-align: justify;">
<div style="text-align: justify;">
"Nos Estados Unidos há só para o estudo e controle desta pescaria, uma série de comissões, leis, conferências, revistas científicas, livros, etc. Isto mostra a importância atribuída a esse recurso pesqueiro e a garantia da sua preservação," <i><a href="https://gia.org.br/portal/siri-azul-do-atlantico-americano-lixo-ou-tesouro-do-mar/" target="_blank">Siri azul do Atlântico americano: lixo ou tesouro do mar</a>?</i></div>
<br />
See also:<br />
- <a href="https://www.bluecrab.info/">https://www.bluecrab.info</a><br />
And also:<br />
- <a href="https://aletche.blogspot.com/2019/01/environmental-issue-brazil-novo-porto.html" target="_blank">Environmental Issue (Brazil)</a>;<br />
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/10/who-wants-to-be-worlds-5th-largest.html" target="_blank">Who Wants to Be the World's 5th Largest Economy?</a></div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/03/instead-of-revolution-demontage-super.html" target="_blank">Instead of revolution: démontage</a>;</div>
<div style="text-align: start;">
<span style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/01/land-of-southern-lapwing.html" target="_blank">Land of the Southern Lapwing</a>; </span></div>
<div style="text-align: start;">
<span style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/07/blog-post_27.html" target="_blank">Torres (Northeast of Rio Grande do Sul)</a>; </span></div>
<div style="text-align: start;">
<span style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/01/garbage-plastic-debris-sea-world-brazil.html" target="_blank">Garbage (Plastic Debris, Coast of Rio Grande do Sul)</a>;</span></div>
<br />
<div>
<div style="text-align: justify;">[***Obliquity out of the common track: one of the best quality things people living in cities such as Porto Alegre (capital of Rio Grande do Sul, South of Brazil) still have access to, besides alternative movie theatres, are the agroecological markets—relatively big ones, such as the <a href="https://www.facebook.com/feiraecologicadobomfim/">"Feira Agroecológica do Bom Fim" (taking place Saturday mornings at the Av. José Bonifácio)</a> and small ones, such as the <a href="https://www.facebook.com/feiraecologicaauxiliadora/">"Feira Agroecológica da Travessa dos Lanceiros Negros" (Tuesday mornings)</a>. There you can buy a variety of organic fruits and vegetables direct from small producers for very affordable prices. The beach of Torres has an agroecological market as well, <a href="https://www.facebook.com/ecotorres.produtosecologicos">"Ecotorres" (Av. Gen. Osório, 158)</a>.]<br />
**************************************************************</div></div><h4>Other outrages against sense and decency: </h4><div style="text-align: justify;"><br /></div>
<div style="text-align: justify;">
"Tereza Cristina não parece ser a ministra da Agricultura, mas do Envenenamento dos Consumidores. Nos primeiros 50 dias do novo governo, 54 novos agrotóxicos foram aprovados. O Ministério da Agricultura deu sinal verde para que novos fabricantes possam comercializá-los, e que novas combinações químicas entre eles sejam permitidas. Por causa de sua alta toxicidade, alguns desses produtos são proibidos no exterior. Mas isso parece ser secundário, desde que o agronegócio esteja bombando."</div>
<div style="text-align: justify;">
"Em outros países do mundo, procuram-se meios de plantar alimentos de forma mais saudável. Na Alemanha, até 2030, os orgânicos deverão ser plantados sobre 20% das terras agrícolas. Ao mesmo tempo, o mercado de alimentos orgânicos registra crescimento constante ano por ano – só em 2018, foram 5,5%." </div>
<div>
<div style="text-align: justify;">
"Não é o caso do Brasil. A Fundação Oswaldo Cruz analisa 30 alimentos regularmente. Em algumas amostras, é possível encontrar até 15 agrotóxicos diferentes. E o que o legislador faz? Nada. No Congresso circula o chamado 'pacote do veneno', que almeja a aprovação de mais agrotóxicos."</div>
<div style="text-align: justify;">
"A catástrofe ambiental no Rio Grande do Sul passou quase despercebida pela opinião pública. A Associação dos Apicultores Gaúchos contabiliza a perda de 6 mil colmeias, inviabilizando a entrega de 150 toneladas de mel. Em 80% das análises das abelhas mortas, foi constatado algum tipo de agrotóxico presente. Nem a ministra da Agricultura, Tereza Cristina, e muito menos o ministro do Meio Ambiente, Ricardo Salles, se pronunciaram sobre o caso." </div>
<div>
<div style="text-align: justify;">
"Com frequência, os inseticidas chamados de neonicotinoides são responsáveis pela morte das abelhas. Na Europa, os neonicotinoides são proibidos. No Brasil, não. A indústria agrícola é contra. Mais um produto licenciado recentemente é o Sulfoxaflor, igualmente conhecido por envenenar abelhas."</div>
<div style="text-align: justify;">
- <a href="https://www.dw.com/pt-br/o-projeto-de-mefist%C3%B3feles/a-47784823" target="_blank">"O Projeto de Mefistóteles: o novo governo está caminhando para transformar o meio ambiente brasileiro num inferno," Philipp Lichterbeck (Deutsche Welle/Brazil)</a>;<br />
<br />
Other scandalous news:</div><div style="text-align: justify;">'At the beginning of this week the country was second only to the US with 1.88 million confirmed Covid-19 cases and 72,833 deaths. Its powerful agribusiness sector is allied with the country’s far-right president, Jair Bolsonaro, who has dismissed the pandemic as a “little flu”. The beef sector is worth $26bn (£20.7bn), according to the Brazilian Confederation of Agriculture and Livestock (CNA), while its chicken industry is worth another $8bn. Meat plants have stayed open during the pandemic, and staff work closely together, often in refrigerated areas. Other countries, including the US, Canada, Ireland and Germany, have also seen clusters around slaughterhouses...' </div><div style="text-align: justify;">'At a JBS plant in Dourados, in Mato Grosso do Sul state in the centre-west region, more than 4,000 employees were tested and nearly a quarter were positive, prosecutors said. The company suspended 1,600 workers on full pay but did not close the plant. As of 14 July, the town had 3,481 cases, a quarter of the state’s total. The JBS plant in Dourados “was the initial focus for the outbreak”, said Andyane Tetila, an infectious diseases specialist in Dourados who works for the state health service. The JBS plant has 103 indigenous workers, many of whom live in nearby reserves where more than 150 people were subsequently infected, said Indianara Machado, an indigenous nurse who works in the reserve.'</div><div style="text-align: justify;">- <a href="https://www.theguardian.com/environment/2020/jul/15/brazil-meat-plants-linked-to-spread-of-covid-19" target="_blank">‘There's a direct relationship’: Brazil meat plants linked to spread of Covid-19 (The Guardian)</a>; </div><div style="text-align: justify;">
'Undercover footage at the Laboratory of Pharmacology and Toxicology (LPT) near Hamburg, published by Cruelty Free International and Soko Tierschutz, shows technicians with metal prongs grabbing macaque monkeys by the neck. The monkeys are restrained by braces during testing. The footage also shows primates being handled “violently” by technicians: in one incident a monkey has its head smacked against a door frame...'<br />
'Some of the monkeys appeared to be kept alone in metal cages measuring less than a cubic metre and are seen spinning in circles, indicating high levels of distress. They were reportedly forced to stand for long periods. Dogs are pictured laying in what seemed to be their own blood and faeces, with one beagle in a cage appearing to be bleeding. Staff also appeared to mishandle cats.'<br />
- <a href="https://www.theguardian.com/environment/2019/oct/15/barbaric-tests-on-monkeys-lead-to-calls-for-closure-of-german-lab" target="_blank">Barbaric tests on monkeys lead to calls for closure of German lab (The Guardian)</a>;<br />
'Although recent reporting on deforestation has focused heavily on the Amazon, the fact is that the other ancient forests of South America – and elsewhere in the world – are disappearing too. These trees are probably falling to make way for a crop sometimes known as the “wonder bean” or even the “Cinderella bean”: soya. As the plane carries on, the huge soya fields that now patchwork this area unfold beneath us, small strips of forest still clinging on around their margins.'<br />
'The discovery of a stable, cheap source of protein might have been a miracle for farmers – 75% of the world’s soya and maize is now fed to farm animals – but this monoculture is spreading over huge expanses of the Americas, and wiping out forests, wilderness and species as it goes. Soya is one of the four main culprits for deforestation (along with beef, wood and palm oil) and biodiversity loss as farmers clear land to grow this profitable oilseed.'<br />
'... deforestation rate in Argentina is one of the highest in the world. According to Nasa’s Earth Observatory, 20% of the Gran Chaco’s forest, 55,000 square miles – an area larger than England – was lost between 1985 and 2016... The UK and EU don’t grow much soya and so the EU now imports about 15m tonnes of un-ground soya beans, and about 19m tonnes of crushed meal, while in 2017 the UK alone imported 2m tonnes of oilcake. The biggest importer by far however is China, the one-time home of soy. In 2017 China imported a breathtaking 96m tonnes of soya beans. For the exporters, America, Brazil and Argentina, soya is big business.'<br />
- <a href="https://www.theguardian.com/environment/2019/oct/05/soya-rise-wonder-bean-from-deforestation-to-your-plate" target="_blank">Rise of the 'wonder bean': from deforestation to your plate (The Guardian)</a>;</div>
<div style="text-align: justify;">
"In 2009, Walmart, Nike and other global companies vowed to stop buying beef and leather from Brazilian companies operating in the Amazon. They were responding to pressure from the environmental group Greenpeace, which had determined that cattle ranching there had become the largest driver of deforestation in the world, with an average of one acre of the Amazon cleared every eight seconds for grazing."<br />
"... a decade later, the Amazon is in even graver danger, with 17% of its forests already gone and some scientists warning that losing as little as 3% more could begin turning it to savanna because the ecosystem will produce too little rainfall to sustain itself."<br />
"Brazil produces more beef than any other country except the United States and exports more than anywhere else, sending 20% of its production to Hong Kong, China, the European Union and several smaller buyers. The Brazilian company JBS, the world’s largest meatpacker with more than $50 billion in annual revenue, counts Walmart and Costco as major clients."<br />
- <a href="https://www.latimes.com/world-nation/story/2019-10-04/why-the-amazon-continues-to-vanish">Cows are killing the Amazon. Pledges from Walmart and Nike didn’t help save it (Los Angeles Times)</a>;<br />
"Hotspots of antibiotic-resistant superbugs are springing up in farms around the world, the direct result of our overconsumption of meat, with potentially disastrous consequences for human health, a study has found."<br />
"The scientists, reporting on their work in the peer review journal Science, said there was a “window of opportunity” to limit the rise of resistant bacteria “by encouraging a transition to sustainable animal farming practices” around the world, particularly in the countries highlighted."<br />
"The rise of superbugs that are untreatable by even the strongest antibiotics is one of the greatest threats the world faces, according to the UK’s outgoing chief medical officer, Sally Davies, who warned of an “apocalyptic” threat and the end of modern medicine."</div>
<div style="text-align: justify;">
- <a href="https://www.theguardian.com/environment/2019/sep/19/superbug-hotspots-emerging-in-farms-across-globe-study" target="_blank">"Superbugs hotspots emerging in farms across globe" (The Guardian)</a>;<br />
<div style="text-align: justify;">
"Esta era a mensagem que a procuradora da República em Altamira Thais Santi tentava passar aos jornalistas. Os incêndios são graves e devem ser denunciados e combatidos, mas é necessário compreender também que um rio está morrendo. Morrendo. “É ecocídio, e é genocídio”, ela afirma. A procuradora não exagera. Os fatos são eloquentes, investigados e mensurados pelos melhores cientistas da área do Brasil, e também por documentos oficiais. Na história recente da Amazônia, a grande causadora e reprodutora de violências na região do Médio Xingu, onde está a cidade de Altamira, foi e segue sendo a Usina Hidrelétrica de Belo Monte."</div>
<div style="text-align: justify;">
"... É também nesta região que, nos últimos anos, outra gigante, a mineradora canadense Belo Sun, pressiona a população local e assedia políticos de Belém para obter autorização para explorar aquela que seria a maior mina de ouro a céu aberto do Brasil – e também o sepultamento oficial da Volta Grande embaixo de toneladas de rejeitos tóxicos."</div>
<div style="text-align: justify;">
- <a href="https://brasil.elpais.com/brasil/2019/09/12/opinion/1568300730_780955.html" target="_blank">"A notícia é essa: o Xingu vai morrer" Eliane Brum (El Pais)</a>;</div>
"Since President Jair Bolsonaro took office in January, Brazil has permitted sales of a record 290 pesticides, up 27% over the same period last year, and a bill in Congress would relax standards even further... About 40% of Brazil’s pesticides are “highly or extremely toxic,” according to Greenpeace, and 32% aren’t allowed in the European Union. Meanwhile, approvals are being expedited without the government hiring enough people to evaluate them, said Marina Lacorte, a coordinator at Greenpeace Brazil... The fertile nation is awash in chemicals. Brazil’s pesticide use increased 770% from 1990 to 2016, according to the Food and Agriculture Organization of the United Nations." </div>
<div style="text-align: justify;">
- <a href="https://www.bloomberg.com/news/articles/2019-08-19/bees-are-dropping-dead-in-brazil-and-sending-a-message-to-humans?ftag=" target="_blank">Bees Are Dropping Dead in Brazil and Sending a Message to Humans (Bloomberg)</a>; </div>
<div style="text-align: justify;">
"Desses, 16 são classificados pela Anvisa como extremamente ou altamente tóxicos e 11 estão associados ao desenvolvimento de doenças crônicas como câncer, malformação fetal, disfunções hormonais e reprodutivas. Entre os locais com contaminação múltipla estão as capitais São Paulo, Rio de Janeiro, Fortaleza, Manaus, Curitiba, Porto Alegre, Campo Grande, Cuiabá, Florianópolis e Palmas...."<br />
"Os números revelam que a contaminação da água está aumentando a passos largos e constantes. Em 2014, 75% dos testes detectaram agrotóxicos. Subiu para 84% em 2015 e foi para 88% em 2016, chegando a 92% em 2017...."<br />
"Do total de 27 pesticidas na água dos brasileiros, 21 estão proibidos na União Europeia devido aos riscos que oferecem à saúde e ao meio ambiente..."<br />
"... somando todos os limites permitidos para cada um dos agrotóxicos monitorados, a mistura de substâncias na nossa água pode chegar a 1.353 microgramas por litro sem soar nenhum alarme. O valor equivale a 2.706 vezes o limite europeu..." </div>
<div style="text-align: justify;">
- <a href="https://noticias.uol.com.br/reportagens-especiais/coquetel-com-agrotoxicos-esta-presente-na-agua-de-1-a-cada-4-municipios" target="_blank">Coquetel perigoso Levantamento aponta que 1 a cada 4 cidades brasileiras tem água contaminada por 27 tipos de agrotóxicos (Ana Aranha & Luana Rocha, UOL Notícias)</a>;<br />
"“When I was 16, I used to bring a boat here with my uncle,” Ollivro said. “In those days, it was all about natural beauty and you didn’t see seaweed piled up. It’s a shame this place has come to be associated with death.”"<br />
"For decades, potentially lethal green algae have amassed in shallow bays on Brittany’s beautiful north-western coast. Environmentalists say the blossoming of unusually large amounts of green algae are linked to nitrates in fertilisers and waste from the region’s intensive pig, poultry and dairy farming flowing into the river system and entering the sea. When the algae decompose, pockets of toxic gas (hyrogen sulfide) get trapped under its crust — potentially fatal to humans if they step on it."<br />
"This summer, six Brittany beaches were closed because of a mass of dangerous seaweed. The bay of Saint-Brieuc was the focus, with bulldozers piling so much algae into dumper trucks on the beach that an inland treatment centre, where seaweed is dried out and disposed of, briefly closed due to an unbearable stench. The centre blamed the foul odour on the method used to collect the algae, which had mixed in mud and sand. Local residents complained the smell was so bad it woke them up at night."<br />
"Jean-René Auffray, 50, was fit and preparing for a long-distance race when he set out on an afternoon jog from his home near the beach in Hillion. His dog returned alone and his wife and children went out to search for him. The area where he was found had already seen over 30 wild boar die in sludge five years before, with a likely link to rotting seaweed."<br />
- <a href="https://www.theguardian.com/environment/2019/sep/08/it-can-kill-you-in-seconds-the-deadly-algae-on-brittanys-beaches" target="_blank">It can kill you in seconds': the deadly algae on Brittany's beaches (Angelique Chrisafis/The Guardian)</a>; </div>
</div>
</div>
</div>
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">
**************************************************************<br />
<h4>
the World Food Club:</h4>
<br />
<div style="text-align: justify;">
<span><span style="font-size: 14.666667px;">"</span></span>The world's food supply chain and hence the world at large are being seriously screwed up by the powers-that-be: governments, corporates, and the experts and intellectuals who advise and serve them (scientists, economists, lawyers, and professional bureaucrats known as MBAs)," <a href="https://web.archive.org/web/20160401205420/http://www.paricenter.com/library/papers/tudge01.php" target="_blank">Colin Tudge's </a><i><a href="https://web.archive.org/web/20160401205420/http://www.paricenter.com/library/papers/tudge01.php" target="_blank">The World Food Club</a>.</i></div>
<div style="text-align: justify;">
"The aim of the WORLD FOOD CLUB is to replace the present food supply chain with something far better, controlled and answerable to people at large. The new food chain will be designed expressly to promote human wellbeing and cultural diversity, hugely to improve animal welfare, and to sustain and create landscapes that remain rich, diverse, and beautiful,<span style="text-align: justify;">" </span><a href="https://web.archive.org/web/20160401205420/http://www.paricenter.com/library/papers/tudge01.php" style="text-align: justify;" target="_blank">Colin Tudge's </a><i style="text-align: justify;"><a href="https://web.archive.org/web/20160401205420/http://www.paricenter.com/library/papers/tudge01.php" target="_blank">The World Food Club</a>.</i><br />
<i style="text-align: justify;"><br /></i></div>
Existing Initiatives: <br />
- <a href="https://www.soilassociation.org/what-we-do/better-food-for-all/transforming-the-way-we-all-farm/an-introduction-to-agroecology/">Soil Association</a>; <br />
- <a href="https://www.slowfood.com/">Slow Food International</a>;<br />
- <a href="https://www.ciwf.org.uk/">Compassion in World Farming</a>; <br />
- <a href="https://www.foei.org/">Friends of the Earth</a>;<br />
- <a href="https://www.fairtrade.net/">Fairtrade International</a>; <br />
- <a href="https://www.forumforthefuture.org/">Forum for the Future</a>; <br />
- <a href="https://www.paricenter.com/">The Pari Center</a>; <br />
- <a href="https://www.oclt.org.uk/">Oxfordshire Community Land Trust</a>;<br />
<br />
<div style="text-align: justify;">
"Pigs, sheep and goats all have "voices", distinguishing each individual from the herd, scientists have discovered in the past few years. This week, researchers at the University of Sydney added cows to the list... Taken together, the research suggests we need to think about barnyard animals less as a herd and more as a collection of individuals with their own characteristics (scientists in the field carefully avoid the word "personalities") and social bonds," <a href="https://www.smh.com.au/national/here-is-the-moos-study-finds-cow-s-lows-are-unique-way-of-saying-hi-20191217-p53kof.html" target="_blank">"Here is the moos: Study finds cows' lows are unique way of saying 'hi'" (The Sidney Morning Herald)</a>; </div>
</div>
<div style="text-align: justify;">
<div style="text-align: justify;">
"In the new report, released today, the European Food Safety Authority (EFSA) concluded that the welfare of rabbits is lower in conventional cages, compared to other systems. The key welfare issue for adult rabbits is that their movement is restricted. EFSA also concludes that organic systems are generally good," <a href="https://www.ciwf.eu/news/2020/01/eu-food-safety-agency-criticizes-rabbit-cages" target="_blank">"EU Food Safety Agency Criticizes Rabbit Cages" (Compassion in World Farming)</a>; </div><div style="text-align: justify;"><br /></div>
**************************************************************<br />
<h4>
On the "Ecological Apocalipse" and how to avoid it: </h4>
</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
"For Isra, when it comes to discussing the environment, it’s crucial to talk about environmental racism – i.e., environmental and climate change issues that specifically affect black and brown communities. “There’s a pipeline being built in my state (Minnesota) and it’s going straight through indigenous treaty lands and sacred wild rice beds,” she explains. “This pipeline will destroy their water and their sacred wild rice and also just ruin their land. Some places are more privileged than others.” More than anything, we should make sure people “recognise their privilege in the movement”."</div>
<div style="text-align: justify;">
"As far as US Youth Climate Strike is concerned, Isra says, “we try and avoid things like sit-ins or a lot of marches, only because we deal with so many minors – we don’t want any of them to get arrested – especially with youth of colour. We try and focus on really safe forms of activism so everybody can participate.”"</div>
<div style="text-align: justify;">
"Everybody gets there at their own pace. It took me some time – it probably takes everybody some time. And whether or not you get media coverage or you get a great response it doesn’t mean what you’re doing is wrong. You should know what’s best for you and what you believe in, and nobody should be able to tell you any different.”"</div>
<div style="text-align: justify;">
"“It is a lot to handle, and it’s a full-time job,” says Isra, who is a high school student, juggling her school work along with her activism. “You have to make sure you balance time and that you get your priorities right.” Self-care is a must. “There are so many things that need to be tackled, but also you come first – make sure that you are OK enough to partake in that activism,”" <a href="https://www.dazeddigital.com/politics/article/44390/1/how-to-fight-for-climate-action-isra-hirsi-climate-strike-ilhan-omar">"How to fight for climate action, according to Isra Hirsi" (Niellah Arboine/<i>Dazed</i>, 05/13/2019)</a>;</div>
<div style="text-align: justify;">
'The political class, as anyone who has followed its progress over the past three years can surely now see, is chaotic, unwilling and, in isolation, strategically incapable of addressing even short-term crises, let alone a vast existential predicament.'</div>
<div style="text-align: justify;">
'Even when broadcasters cover these issues, they carefully avoid any mention of power, talking about environmental collapse as if it is driven by mysterious, passive forces, and proposing microscopic fixes for vast structural problems. The BBC’s Blue Planet Live series exemplified this tendency.'</div>
<div style="text-align: justify;">
'Our system – characterised by perpetual economic growth on a planet that is not growing – will inevitably implode.'</div>
<div style="text-align: justify;">
'... for a peaceful mass movement to succeed, a maximum of 3.5% of the population needs to mobilise.'</div>
<div style="text-align: justify;">
'When a committed and vocal 3.5% unites behind the demand for a new system, the social avalanche that follows becomes irresistible,' <a href="https://www.theguardian.com/commentisfree/2019/apr/15/rebellion-prevent-ecological-apocalypse-civil-disobedience">"Only rebellion will prevent an ecological apocalypse" (George Monbiot, The Guardian, 04/15/2019)</a>;</div>
<div style="text-align: justify;">
'“We have shown that we are strong, we are determined,” she said. “I have never – I’ve been a police officer for 36 years – I have never known an operation, a single operation, in which over 700 people have been arrested.''Max Wedderburn, a 13-year-old from Milton Keynes, addressed crowds at the bridge and received cheers and applause. “We are getting bigger, we are getting stronger, we are gathering momentum. Together we can change the future,” he said.'</div>
<div style="text-align: justify;">
'Speaking afterwards, he said he became inspired to fight against climate change after learning about it from his mother. He explained: “My lifelong dream is to become a zoologist but I feel there is no point if half of the animals are all dead by the time I reach that goal.”'</div>
<div style="text-align: justify;">
'Around 20 activists, most of them aged under 17, had staged a brief demonstration on roads near Heathrow Airport on Friday morning and were arrested.</div>
<div style="text-align: justify;">
“One thing that is unusual about this demonstration is the willingness of those participating to be arrested and also their lack of resistance to the arrests,” said a spokesperson,' <a href="https://www.independent.co.uk/news/uk/home-news/extinction-rebellion-latest-london-protests-climate-change-police-cell-arrests-space-a8879036.html">"Extinction Rebellion: More than 750 protesters arrested as climate change activists block London roads for sixth day" (Independent, 04/21/2019)</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div style="text-align: left;">**************************************************************<div><h4 style="text-align: justify;"><span style="text-align: left;">Brazil's edible plants (from a paper by researches of the University of Leiden): </span></h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Piso indicated that roots [tubers] of S. tuberosa deserved special attention, because of the way they developed underground and their use as a refreshment [water reservoir] for feverish patients and exhausted travelers, as he experimented himself. He and Marcgrave also described how its fruits were valued as food... Currently S. tuberosa, known as Umbu or Umbuzeiro, is an important economic and subsistence food resource for rural communities in semiarid regions of northeast Brazil. Its specialized root system (xylopodia) bears tubers that store liquids, sugars and other nutrients and allow the survival of the tree during the dry seasons of the caatinga and central Brazilian savanna, where this species is endemic. The water or sweet juice of these xylopodia is still used as an emergency thirst quencher in extreme arid areas of the Brazilian sertão..."</div></div><div style="text-align: justify;">"Several rainforest trees were highly valued for its edible fruits or seeds, such as Hymenaea courbaril L. or Lecythis pisonis L., of which the 'seeds (also called chestnuts) were eaten raw or roasted' and 'were considered aphrodisiacs.' The fruit of Macoubea guianensis Aubl. was 'appreciated for its sweetness by the indigenous peoples to eat during their travels, while Europeans used it to treat chest affections.' The fruit of Swartzia pickelii Killip ex Ducke was 'not eaten unless it was cooked, from which the inhabitants made a wholesome delicacy for the stomach called Manipoy.' The same applies to the tomato-like fruits of the African eggplant Solanum aethiopicum L., which were 'eaten cooked, after seasoning with oil and pepper; it has lemon taste'..."</div><div style="text-align: justify;">- <a href="https://www.nature.com/articles/s41598-021-99226-8" target="_blank">Alcàntara-Rodríguez, M., Francozo, M., & Andel, T. R. van. (2021). Looking into the flora of Dutch Brazil: botanical identifications of seventeenth century plant illustrations in the Libri Picturati. Scientific Reports, 11</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><h4><span style="text-align: left;">Degradation of Brazilian's flora </span><span style="text-align: left;">(from a paper by researches of the University of Leiden)</span><span style="text-align: left;">: </span></h4></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"In the past centuries, the Atlantic Forest and savannah regions of northeast Brazil have been severely affected by habitat loss and degradation due to the expansion of urbanization, intensive agriculture, farming and logging. Several plant species that were abundant enough to be noted by European artists around 1640 are not common anymore today. According to the IUCN Red List, eight species in the Libri Picturati, seven in the Theatrum and one in the LP are currently experiencing population decline or are at risk of facing extinction. Several endemic plants from the northeast Atlantic rainforest and caatinga biomes appear in the illustrations. Four species in the Libri Picturati are currently CITES-listed and restricted to trade: the cacti Brasiliopuntia brasiliensis (Willd.) A. Berger, Cereus fernambucensis Lem., Epiphyllum phyllanthus (L.) Haw. and Melocactus violaceus subsp. margaritaceus N. P. Taylor. The latter is an endemic cactus of the coastal sand dunes’ ecoregion in the Atlantic rainforest known as restinga, which is severely threatened by agricultural expansion and urbanization."</div><div style="text-align: justify;">"Some endemic species are classified as Least Concern by the IUCN or the CNC Flora (12 species), while others (13 species) have not been evaluated yet. The MC does not contain threatened species, but includes two endemic trees: Attalea compta Mart. and Eugenia cf. brasiliensis Lam., which are only found in the biodiversity hotspots of the Atlantic rainforest and the cerrado, both greatly affected by habitat loss. The mangrove vegetation along the Brazilian coast has been severely affected by urbanization, pollution by industrial and domestic waste and climate change, threatening the populations of the mangrove trees Avicennia schaueriana Stapf & Leechm. ex Moldenke and Laguncularia racemosa (L.) C. F. Gaertn. The occurrence of anthropogenic impacts and the lack of available data call for the implementation of more in-depth and continuous studies on the conservation status of these vulnerable populations."</div><div style="text-align: justify;">- <a href="https://www.nature.com/articles/s41598-021-99226-8" target="_blank">Alcàntara-Rodríguez, M., Francozo, M., & Andel, T. R. van. (2021). Looking into the flora of Dutch Brazil: botanical identifications of seventeenth century plant illustrations in the Libri Picturati. Scientific Reports, 11</a>;</div><div style="text-align: justify;"><br /></div></div></div><div style="text-align: justify;">See also:</div><div style="text-align: justify;">***My and other artists <a href="https://fineartamerica.com/art/animal" style="text-align: left;">animal art</a> at Fine Art America. </div><div style="text-align: justify;">-<a href="https://rebellion.earth/"> Extinction Rebelion</a>; </div>
<div style="text-align: justify;">
- <a href="https://ukscn.org/ys4c">UK Student Climate Network/ Youth Strike For Climate (YS4C)</a>;</div>
A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-20740163255764168922019-01-29T06:13:00.205-08:002024-03-12T13:27:19.305-07:00the most auspicious tetrahedron &/or two pairs of charming mathematicians of celestial extraction<div class="separator" style="clear: both; text-align: center;">
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text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/g7L_r6zw4-c" width="320" youtube-src-id="g7L_r6zw4-c"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/vfyUU_prh9s" width="320" youtube-src-id="vfyUU_prh9s"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/f5liqUk0ZTw" width="320" youtube-src-id="f5liqUk0ZTw"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/IpkzNeS8G20" width="320" youtube-src-id="IpkzNeS8G20"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/f079K1f2WQk" width="320" youtube-src-id="f079K1f2WQk"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4MmSZrAlqKc" width="320" youtube-src-id="4MmSZrAlqKc"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/92wXQYcYLMg" width="320" youtube-src-id="92wXQYcYLMg"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9PzqXua-g14" width="320" youtube-src-id="9PzqXua-g14"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nOSoLOIQhRg" width="320" youtube-src-id="nOSoLOIQhRg"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/dOKwcuX9rJQ" width="320" youtube-src-id="dOKwcuX9rJQ"></iframe></div><br /><div><br /></div><div class="separator" style="clear: both; text-align: justify;">Abel, Galois, Riemann, Clifford; </div><div class="separator" style="clear: both; text-align: justify;">Some very basic equations and notions of analytic geometry (which goes back to Fermat and Descartes); </div><div class="separator" style="clear: both; text-align: justify;">Discovery/Invention of Imaginary Numbers (by Gödelian Neoplatonists); </div><div class="separator" style="clear: both; text-align: justify;">Charles Fourier, Le reveur sublime: une vie une oeuvre (avec René Scherer et Simone Debout/France Culture, 2002); </div><div class="separator" style="clear: both; text-align: justify;">Jean-Pierre Serre & Alain Connes: Alexandre Grothendieck (Fondation Hugot du Collège de France/Youtube<span style="text-align: left;">);</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">The Quadratic Formula: Why do we Complete the Square? (Presh Talwalkar/Youtube);</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Transforming Algebraic Function (Professor Dave Explains/Youtube); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Shifting, Stretching, and Reflecting Parent Function Graphs (Mario's Math Tutoring/Youtube);</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Graphing Polynomials (Eddie Woo/Youtube); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Graphing Cubic Functions (Eddie Woo/Youtube); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">500 Years of NOT Teaching the Cubic Formula (Burkard Polster, Mathologer/Youtube); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">The Subtle Reason Taylor Series Work (Morphocular/Youtube 2024); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Group and Abelian Group [this is an useful and clear explanation with examples, not a proof] (Neso Academy/Youtube); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Group Definition: Abstract Algebra (Socratica/Youtube); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Algebraic Structures: Groups, Rings, and Fields (James Hamblin/Youtube); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">What is a Tensor? (Dan Fleisch/Youtube); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Intro to the Fundamental Group: Algebraic Topology (Trefor Bazett & Tom Crawford/ Youtube); </span></div><div style="text-align: justify;">Necessity of Complex Numbers (Barton Zwiebach, MIT/Youtube, Spring 2016) [an open minded, honest & serious nutshell explanation of a fundamental question in physics & mathematics many scientists would rather not talk about];</div><div style="text-align: justify;"><div>Imaginary Numbers Are Real: Riemann Surfaces (Welch Labs/Youtube); </div><div>Secret Kinks of Elementary Functions (Imaginary Angle/Youtube 2024); </div></div><div style="text-align: justify;"><span style="text-align: left;">Colon Nancarrow's Study for Player Piano n. 41a (Youtube); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Algebraic Operations & Geometrical Constructions on a Plane (Gödelian Neoplatonists, A/Z 2022); </span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">Understanding Exponentiation and Multiplication with Negative Numbers (A/Z 2022, <a href="https://www.juststructontologin.com/video.html" target="_blank">for more see here</a>);</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;"><br /></span></div><h4 style="text-align: justify;"><span style="text-align: left;">en exergue: accounts to reconcile, anecdotes to pick up, inscriptions to make out with the truth of the story or</span><span style="text-align: justify;">—</span>fracas (!):</h4><div class="separator" style="clear: both; text-align: justify;"><br /></div>
<div style="text-align: justify;">"Ce qui m'a donné le plus de peine a été de toucher le fond au sujet de la conception de l'espace apportée par le cubisme: problème qui touche profondément non seulement à la métaphysique mais aux dernières conceptions de la physique: de Riemann, Einstein jusqu'à Jeans et Edington. J'ai fait là très attention et j'espère que le cubisme est bien montré en ce sens: qu'il fut une véritable révolution de la conception de l'espace dans la peinture, chose aussi importante sur le plan esthétique que le furent la Réforme et le Jansénisme sur le plan théologique."</div><div style="text-align: justify;">André Masson (Lettre à Daniel-Henry Kahnweiler, 1939/Écrits, anthologie établie par Françoise Levaillant)</div><div style="text-align: justify;">"Les notes musicales deviennent des nombre, et si votre esprit est doué de quelque aptitude mathématique, la mélodie, l'harmonie écoutée, tout en gardant son caractère voluptueux et sensuel, se transforme en une vaste opération arithmétique, où les nombres engendrent les nombres, et dont vous suivez les phases et la génération avec une facilité inexplicable et une agilité égale à celle de l'exécutant."</div><div style="text-align: justify;">Baudelaire (Les Paradis artificiels)</div><div style="text-align: justify;">"As the little world of abstract mathematicians is set a-quiver by some young Frenchman's deductions on the functions of imaginary values—worthless to applied science of the day—so is the smaller world of serious poets set a-quiver by some new subtlety of cadence. Why?"</div><div style="text-align: justify;">Ezra Pound (The Wisdom of Poetry) </div><div style="text-align: justify;">"The Divine Spirit found a sublime outlet in that wonder of analysis, that portent of the ideal world, that amphibian between being and not-being, which we call the imaginary root of negative unity."</div><div style="text-align: justify;"><div>Leibniz on imaginary numbers as quoted by Morris Kline (who has no understanding whatsoever of Leibniz's nature)</div><div><br /></div></div><div style="text-align: justify;">"In the open debate between formalist and intuitionist, since the discovery of the transfinite, mathematicians have become accustomed to summarily designate under the name Platonism any philosophy for which the existence of a mathematical entity is taken as assured, even though this entity could not be built in a finite number of steps. It goes without saying that this is a superficial knowledge of Platonism, and that we do not believe ourselves to be referring to it. All modern Plato commentators on the contrary insists on the fact that Ideas are not immobile and irreducible essences of an intelligible world, but that they are related to each other according to the schemas of a superior dialectic that presides over their arrival. The work of Robin, Stenzel and Becker has in this regard brought considerable clarity to the governing role of Ideas–numbers which concerns as much the becoming of numbers as that of Ideas. The One and the Dyad generate Ideas–numbers by a successively repeated process of division of the Unit into two new units. The Ideas–numbers are thus presented as geometric schemas of the combinations of units, amenable to constituting arithmetic numbers as well as Ideas in the ordinary sense."</div><div style="text-align: justify;">Albert Lautman (Essay on the Notions of Structure and Existence in Mathematics, Simon B. Duffy's translation [it is an ill-fated instance of the malignancy of this world that it happens I don't have the French original of Lautman's essays, & shall therefore by my ashes stand forever indebted to the heroine soul (chaste star!) who peradventure send me, with all her fraternity, the French original of just at least these choicest morsels so I could definitely pen them down here as a seasonable kindness to our whole parish!])</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... Ceci montre déjà que notre étude relève de la théorie des permutations entre <i>n</i> éléments, théorie qui remonte à Lagrange et Galois, et qui a été poussée assez loin depuis."</div><div style="text-align: justify;">André Weil (Sur l'étude algébrique de certains types de lois de mariage/Lévi-Strauss, Les Structures Élémentaires de la Parenté)</div><div style="text-align: justify;"><div style="text-align: right;"><div style="text-align: justify;">"Es treten in uns fortwährend neue Vorstellungs-massen auf, welche sehr rasch aus unserm Bewusstsein wieder verschwinden. Wir beobachten eine stetige Thätigkeit unserer Seele. Jedem Act derselben liegt etwas Bleibendes zu Grunde, welches sich bei besonderen Anlässen (durch die Erinnerung) als solches kundgiebt, ohne einen dauernden Einfluss auf die Erscheinungen auszuüben. Es tritt also fortwährend (mit jedem Denkact) etwas Bleibendes in unsere Seele ein, welches aber auf die Erscheinungswelt keinen dauernden Einfluss ausübt. Jedem Act unserer Seele liegt also etwas Bleibendes zu Grunde, welches mit diesem Act in unsere Seele eintritt, aber in demselben Augenblick aus der Erscheinungswelt völlig verschwindet. Von dieser Thatsache geleitet, mache ich die Hypothese, dass der Weltraum mit einem Stoff erfüllt ist, welcher fortwährend in die ponderablen Atome strömt und dort aus der Erscheinungswelt (Körperwelt) verschwindet..."</div></div><div>Bernhard Riemann (Neue mathematische Prinzipien der Naturphilosophie)</div><div><br /></div><div><div>"For both Riemann and Helmholtz, the problem of hearing was a significant part of their larger enterprises, an intermediate zone in which waves, geometry, and sensation met... questions of hearing must have seemed very important to Riemann if he set them next to or even ahead of his other ambitious projects in electrodynamics, gravitation, and number theory... we can read Riemann’s 'Mechanism of the Ear' as a nascent essay 'On the Hypotheses that Lie at the Foundations of Hearing,' comparable to his earlier work on the hypotheses he considered fundamental to geometry... Though in his 1854 lecture Riemann held that 'color and the position of sensible objects are perhaps the only simple concepts whose instances form a multiply extended manifold,' by 1866 he seems poised to treat hearing as a further example of such a manifold... Where Helmholtz took evidence from hearing and seeing into his geometric investigations, Riemann traversed an opposite course, applying geometric insights to model the functioning of the ear."</div><div class="separator" style="clear: both;">Peter Pesic (<a href="https://www.academia.edu/4818961/Helmholtz_Riemann_and_the_Sirens" target="_blank">Helmholtz, Riemann, and the Sirens</a>)</div></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;">"Riemann is clearly concerned that science at the time—based on Newtonian notions of causality—was heading in the wrong direction. He draws a distinction between Newton’s approach, which he characterizes as 'synthetic', and that of the philosopher Herbart, which he calls 'analytic'. Riemann had in fact studied Herbart’s work closely, and one can say they both subscribed to a similar idealistic outlook, with roots reaching back to Plato... Another idealist who was part of Riemann’s philosophical circle, Gustav Fechner was deeply concerned with trying to understand how all physical stimuli—whether vibration amplitude, sound, light, smell, pressure, or anything else—were transformed into percepts in the mind... <span style="text-align: left;">Riemann infers that sensations need to be considered in terms of quantitative relations or measurements (that is, making use of Fechner’s law) and that we can learn about per- ception by studying the manifold structure of the higher-dimensional spaces described by these quantities... He </span><span style="text-align: left;">lists four physical processes, at the top of the list being 'The absorption of elastic fluids by liquids' and the last of which is 'Galvanic currents,' which no doubt means nerve firings... </span><span style="text-align: left;">Put simply, hearing involves the mind reaching out through the ear to per- ceive vibrations in the external world."</span></div><div class="separator" style="clear: both; text-align: left;">Andrew Bell, Bryn Davies, & Habib Ammari (<a href="https://link.springer.com/article/10.1007/s10699-021-09813-1" target="_blank">Riemann, the Ear and an Atom of Consciousness</a>)</div></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Le fondateur de la théorie des fonctions algébriques d’une variable aurait sans doute été Galois s’il avait vécu; c’est ce que permettent de penser les indications qu’on trouve sur ce sujet dans sa célèbre lettre-testament, écrite à la veille de sa mort, d’où on peut conclure qu’il touchait déjà à quelques-unes des principales découvertes de Riemann. Peut-être aurait-il donné à cette théorie une allure algébrique, conforme à l’esprit des travaux contemporains d’Abel et de ses propres recherches d’algèbre pure. Au contraire, Riemann, l’un des moins algébristes sans doute parmi les grands mathématiciens du XIXème siècle, mit la théorie sous le signe du 'transcendant' (mot qui, pour le mathématicien, s’oppose à 'algébrique', et désigne tout ce qui appartient en propre au continu)."</div><div style="text-align: justify;">"C’est Dedekind, ami intime de Riemann, mais algébriste consommé, qui devait le premier tirer parti des analogies en question et en faire un instrument de recherche. Il appliqua avec succès, aux problèmes traités par Riemann par voie transcendante, les méthodes qu’il avait lui-même créées et mises au point en vue de l’étude arithmétique des nombres algébriques ; et il fit voir qu’on peut retrouver ainsi la partie proprement algébrique de l’œuvre de Riemann."</div><div style="text-align: justify;">André Weil (De la métaphysique aux mathématiques)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Les travaux qui me valent la bienveillante attention de l’Académie royale datent d’il y a vingt-cinq ans, d’une époque où je faisait partie du milieu scientifique et où je partageais pour l’essentiel son esprit et ses valeurs. J’ai quitté ce milieu en 1970 et, sans renoncer pour autant à ma passion pour la recherche scientifique, je me suis éloigné intérieurement de plus en plus du milieu des scientifiques."</div><div style="text-align: justify;">"Or, dans les deux décennies écoulées l’éthique du métier scientifique (tout au moins parmi des mathématiciens) s’est dégradée à un degré tel que le pillage pur et simple entre confrères (et surtout aux dépens de ceux qui ne sont pas en position de pouvoir se défendre) est devenu quasiment une règle générale, et qu’il est en tout cas toléré par tous, y compris dans les cas les plus flagrants et les plus iniques."</div><div style="text-align: justify;">"Dans ces conditions, accepter d’entrer dans le jeu des prix et des récompenses serait aussi donner ma caution à un esprit et à une évolution, dans le monde scientifique, que je reconnais comme profondément malsains, et d’ailleurs condamnés à disparaître à brève échéance tant ils sont suicidaires spirituellement, et même intellectuellement et matériellement."</div><div style="text-align: justify;">"C’est cette troisième raison qui est pour moi, et de loin, la plus sérieuse. Si j’en fais état, ce n’est nullement dans le but de critiquer les intentions de l’Académie royale dans l’administration des fonds qui lui sont confiés. Je ne doute pas qu’avant la fin du siècle des bouleversements entièrement imprévus vont transformer de fond en comble la notion même que nous avons de la « science », ses grands objectifs et l’esprit dans lequel s’accomplit le travail scientifique. Nul doute que l’Académie royale fera alors partie des institutions et des personnages qui auront un rôle utile à jouer dans un renouveau sans précédent, après une fin de civilisation également sans précédent…"</div><div style="text-align: justify;"><a href="https://sniadecki.wordpress.com/2012/05/20/grothendieck-crafoord/" target="_blank">Alexandre Grothendieck (lettre adressé au secrétaire perpétuel de l’Académie royale des sciences de Suède, publiée en Avril 1988 dans le journal Le Monde)</a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Meanwhile, I attempted a partial translation to English [of <i>El continuo peirceano</i>], which generated four articles that I submitted to the Transactions of the Charles S. Peirce Society (2002). After due reception, the articles vanished in some Editor’s disorder and I never heard them again. I only hope that this anecdote amounts just to a one hundredth of the importance of Évariste Galois’ twice lost papers for the Académie des Sciences (1830)..."</div><div><a href="https://www.academia.edu/31948393/ZalameaPeirceCont_pdf" style="text-align: justify;" target="_blank">Fernando Zalamea (Peirce's Logic of Continuity)</a></div><div><br /></div><div><div style="text-align: justify;">"... we need to acknowledge the true complexity of music. Electronic music, in particular, is not merely a beat machine. It undulates (under envelope control), modulates (under low-frequency oscillator or LFO control), and triggers, as well as beats. These phenomena are the result of many simultaneous clocks and functions of time applied to pitch, timbre, space, etc... Moreover, broken and jagged beats, loops and diced loops are common currency of electronic music discourse. Electronic music can deploy overlapping polyrhythms generated by algorithms and advanced clocking schemes that ambulate around zones of rhythmic morphosis. Moreover, the local temporal context is always functioning within a hierarchy of larger timescales. In all these ways, the art of rhythm is far ahead of science’s ability to track it, much less explain it."</div><div style="text-align: justify;">"The epoch of the 14th-century Ars Nova in music, which saw the introduction of notated tempi, was also the age of the earliest mechanical clocks, which divided time into minutes... The promulgation of Newtonian clockwork time coincided with the birth of the classical masters J. S. Bach, G. F. Handel, and D. Scarlatti, around 1685. In their lifetimes, new musical rules for structuring time came into common practice, including time signatures, bar lines, and tempo indications, which divided time according to a uniform grid."</div><div style="text-align: justify;">"Fundamental to the modern concept of rhythm is the recognition of the continuum between rhythm and tone (i.e., between the infrasonic frequencies—periodic and aperiodic rhythms—and the audible frequencies— pitched and unpitched tones). As mentioned previously, Henry Cowell described this relationship in 1930... More than two decades later, Karlheinz Stockhausen (1955) formulated another theory of the continuum between rhythm and pitch in the context of serial music."</div><div><div style="text-align: justify;">"Conlon Nancarrow (1912–1997) made amazingly precise music using mechanically driven instruments. Operating a custom-built hole-punching machine, he produced piano rolls that drove two synchronized player pianos. Nancarrow was obsessed with the simultaneous layering of multiple tempo strands, where the tempi were related by a mathematical ratio. For example, in his Study for Player Piano 41a (1965), the tempi are related by an irrational factor, and cascades of notes sweep up and down the keyboard at superhuman speed."</div><div style="text-align: justify;">"Complex contrapulsations can lead to chaotic cloud textures whose internal rhythm can only be perceived statistically. A classic example is Ligeti’s Poème Symphonique (1962) for 100 metronomes, where each metronome is set to a different tempo."</div><div><div style="text-align: justify;">"Most European classical and popular music is based on the 12-note ET tuning, in which an octave is divided into 12 equal semitones according to a ratio of approximately 89/84. This translates into a difference between semitones of about 6%. This tuning was invented in the 1600s, but did not achieve dominance in Europe until the mid-1800s. For historical, cultural, and economic reasons, 12-note ET is dominant in global musical culture.</div><div style="text-align: justify;">"A formidable advantage of 12-note ET over its predecessors was the equality of its intervals. For example, an ET 'perfect' fifth interval will sound equivalent no matter which pitches are used to form it; this is not generally true of non-ET tuning systems. Such flexibility means that a composer can write functionally equivalent melodies and chord progressions in any key. It also enables harmonic modulation (i.e., a transition from one key to another by means of a chord common to both). The same flexibility fostered the rise of atonal and serial music and the promulgation of increasingly abstract operations on pitch class sets."</div><div style="text-align: justify;">"In contrast to 12-note ET, a microtonal tuning system is commonly defined as any tuning that is not 12-note ET; the intervals may be smaller or larger than a semitone. Microtonal music is sometimes referred to as xenharmonic music, the term deriving from the Greek xenia (hospitable) and xenos (foreign or strange)."</div><div style="text-align: justify;"><span style="text-align: start;">"The traditional octaviating tunings cycle is at the 2/1 ratio or octave. In contrast, many non-octaviating tunings do not include the octave interval. Their gamut or repetition cycle (if there is one) is less than or greater than 2/1."</span></div><div style="text-align: justify;"><span style="text-align: start;">Curtis Roads, Composing Electronic Music</span></div></div></div><div style="text-align: justify;"><span style="text-align: start;"><br /></span></div><div style="text-align: justify;">"Comprendre un concept comme étant un point requiert un formalisme qui dépasse largement le simple concept d’un point de la géométrie classique... un ton est un point dans un espace de paramètres musicaux, et une partition est composée de notes, représentant des symboles pour les tons. Mais dans une compréhension de sons comme elle est pratiquée en informatique musicale, un tel objet est aussi un point dans un espace vectoriel de fonctions, fussent-elles les ingrédients de la représentation de Fourier, de la synthèse FM, des ondelettes ou de la modélisation physique. Mais déjà la compréhension classique de ce qu’est un ton inclut non seulement les notes, mais les intervalles, les accords, ou les motifs mélodiques..."</div><div style="text-align: justify;">"Pour les mathématiques du vingtième siècle, le concept de point tel qu’Euclide nous le propose ('punctus est cuius pars nulla est'), était devenu obsolète car l’analyse algébrique de la géométrie avait réduit un point à la liste de ses coordonnées. Plus généralement, tous les objets mathématiques furent réduits aux ensembles dont ils sont composés suivant la fondation ensembliste des mathématiques proposée par Georg Cantor. Il n’existait plus de points au sens euclidien: tout objet mathématique, excepté l’ensemble vide, était dès lors un objet ayant des parties... en 1945, les algébristes Samuel Eilenberg et Saunders Mac Lane inventèrent la théorie des catégories, où les aspects ensemblistes furent radicalement positionnés dans l’arrière-plan de la dynamique conceptuelle. Depuis l’invention des catégories, c’étaient les homomorphismes (i.e. les fonctions respectant les structures auxquelles on s’intéressait), qui jouaient le premier rôle sur la scène des mathématiques modernes. Déjà dans le fameux traité Algebra de van der Waerden (modèle pour l’entreprise de Nicolas Bourbaki), on perçoit le désir de l’auteur de se passer des ensembles constitutifs et de mettre en relief les isomorphismes de structures."</div><div style="text-align: justify;">"L'exemple plus élémentaire est la catégorie Ens des ensembles: les objets sont les ensembles, les morphismes sont les fonctions ensemblistes, et l’identité est la fonction identité d’un ensemble. Un exemple typique est la catégorie Grp des groupes: les objets sont les groupes, les morphismes sont les homomorphismes de groupes, la composition est la composition d’homomorphismes de groupes, et l’identité est l’homomorphisme identique d’un groupe. Un autre exemple est la catégorie Top des espaces topologiques: les objets sont les espaces topologiques, les morphismes sont les fonctions continues, la composition est la composition de fonctions, et l’identité est la fonction identique. Un autre exemple est la catégorie GrOr des graphes orientés et de leurs homomorphismes, ou encore la catégorie Schémas des schémas en géométrie algébrique; les exemples sont innombrables et de natures complètement différentes."</div><div style="text-align: justify;">Guerino Mazzola (La vérité du beau dans la musique) </div><div style="text-align: justify;"><span style="text-align: left;">**************************************************************</span></div><h4 style="text-align: left;">main hall (out of the common track): </h4><div style="text-align: justify;"><br /></div><div>
Niels Henrik Abel<br />
Évariste Galois<br />
(pictures taken from the Internet)<br />
What did they do?<br />
Well, conjure the most remarkable consequences of an old ghost (<a href="https://aletche.blogspot.com/2018/09/defi-du-non-circuncis-le-petit-fils.html" target="_blank">Vieta's <i>logistica speciosa</i></a>): "solutions" for the general algebraic equations of degree higher than four.<br />
<br />
- Bernhard Riemann<br />
- Kingdon Clifford<br />
(picture taken from the Internet)<br />
<div style="text-align: justify;">
What did they do?</div>
<div style="text-align: justify;">
Riemann simply solved the following riddle (and by doing so challenged classical and common sense understanding about space, which remains pretty much <i>our understanding till nowadays</i>): <i><a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html" target="_blank">what is real space?</a> </i>[tip from <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html" target="_blank">Gödelian neoplatonists</a>: the real isn't the actual, the real is also and even more the virtual]. </div>
<div style="text-align: justify;">
Clifford understood that.</div>
<div><div style="text-align: justify;">"Riemann's allusions were ignored by the majority of contemporary mathematicians and physicists. His investigations were deemed too speculative and theoretical to bear any relevance to physical space, the space of experience. The only one who allied himself firmly to Riemann was the translator of his works into English, William Kingdon Clifford... already in 1870, Clifford saw in Riemann's conception of space the possibility for a fusion of geometry with physics... Clifford conceived matter and its motion as a manifestation of varying curvature [of space]... For Aristotle, space was an accident of substance; for Clifford... substance is an accident of space... <i>These speculations aroused great opposition among academic philosophers...</i>" (Max Jammer, <i>Concepts of Space</i>, Dover 1993);</div>
<div style="text-align: justify;">
"Riemann came to a deep philosophical conviction that a complete mathematical theory must be established, which would take the elementary laws governing points and transform them to the great generality of the <i>plenum </i>(by which he meant continuously-filled space)... the Riemann Integral calculus is defined as an infinite sum of integrals of step functions. Such infinite sums became the starting points for the study of infinite by Georg Cantor" (Amir D. Aczel, <i>The Mystery of the Aleph</i>, WSP 2000<i>)</i>;</div><div style="text-align: justify;">"... sein einsames Leben und dazu körperliche Leiden haben ihn im höchsten Grade hypochondrisch und misstrauisch gegen die Menschen und gegen sich selbst gemacht, wenn er auch äusserlich ganz freundlich erscheint... er ist ein sehr interessanter, wenn auch schroffer, ja zurückstossender Mensch, der schon viel von der Welt gesehen hat... Man muss Alles aufbieten, um einen so vortrefflichen und wissenschaftlich höchst bedeutenden Menschen wie Riemann aus seinem jetzt höchst unglücklichen Zustande herauszureissen; abet er darf die Absicht nicht gar zu deutlich merken; es war von jeher schwer, ihm einen Gefallen zu thun, und nur dann gelang es, ihn zur Annahme irgend einer Gefälligkeit zu bringen, wenn man ihn uberzeugen konnte, dass man ebensowohl aus Rücksicht auf sich selbst als auf ihn handelte; er hasst es andern Menschen Mühe zu machen. Er hat hier die wunderlichsten Dinge gemacht, blos aus solchen Gründen, weil er glaubt, Niemand mag ihn leiden u.s.w."</div><div style="text-align: justify;">(Description of Riemann written by Richard Dedekind in a letter to Dedekind's sister [3 August 1857], quoted by Detlef Laugwitz in his <i>Bernhard Riemann</i>)</div><div>
<div>
<span style="text-align: left;">**************************************************************</span></div><h4>fundamental ideas of modern mathematics (extracted from Richard Courant & Herbert Robbins's manual, <i>What is Mathematics)</i>: </h4></div><div><div><br /></div><div style="text-align: justify;">The two fundamental operations of arithmetic: addition & multiplication. </div><div style="text-align: justify;">Fundamental properties of addition & multiplication (as applicable to integers): commutative "law" [a + b = b + a; ab = ba], associative "law" [a + (b + c) = (a + b) + c; (ab)c = a(bc)], distributive "law" [a(b + c) = ab + ac] (page 2);</div><div style="text-align: justify;">Pascal's triangle and the binomial theorem (page 17).</div><div style="text-align: justify;">The class of prime numbers (which is important because any integer can be expressed as a product of primes) (page 22).</div><div style="text-align: justify;">Infinity of primes (proved "indirectly", "ad absurdum", "reductio ad impossible" by Euclides) [this should be enough to suggest the narrowness of not accepting the "law" of the excluded middle and double negation in mathematics] (page 22).</div><div style="text-align: justify;">Average distribution of prime numbers among the integers (prime number theorem, conjectured by Gauss: asymptotically equal to 1/log n) (this is important because it suggests an intimate connection between two seemly unrelated mathematical concepts, prime number and function) (page 28-30).</div><div style="text-align: justify;">Gauss notion of congruence (related to the repeated remainders left after the division by a given number, and related also to the geometrical representation of integers) (Fermat's [little] theorem, concerning primes and division, may be expressed with the use of this notion) (page 32-33, 37).</div><div style="text-align: justify;">When going beyond counting and operating with numbers to measure quantities we need to "extend the realm of arithmetic beyond the integers" (page 52). </div><div style="text-align: justify;">Addition and multiplication of rational numbers (which express fractions involving natural numbers) preserve the commutative, associative, and distributive "laws" which hold over the integers). </div><div style="text-align: justify;">It can also be said that as much as the introduction of zero and the negative numbers among the naturals enables unrestricted subtraction, the introduction of the rational numbers (beyond and including the naturals) enables unrestricted division (except in the case of division by zero). </div><div style="text-align: justify;">Sometimes divisions by zero might be denoted "by the symbol ∞ (read 'infinity'), provided that one does not attempt to operate with the symbol ∞ as though it were subject to the ordinary rules of calculation with numbers." </div><div style="text-align: justify;">Addition, subtraction, multiplication and division may be performed unrestrictedly in the domain of the rational numbers and never lead out of it (so this domain is called a field) (page 53-56).</div><div style="text-align: justify;">Although rational numbers represent points which are dense on a line, some lengths on it will turn out to be incommensurable with the unit, and they are represented by irrational numbers (such as √2) (page 59-60). </div><div style="text-align: justify;">"... all the mathematical properties of irrational points <i>may </i>[my emphasis] be expressed as properties of nested sequences of rational intervals" (on the basis of such postulations the arithmetic operations and "laws" previously referred can be said to hold also for the irrationals) (p. 69-70).</div><div style="text-align: justify;">In <i>Stetigkeit and irrationale Zahlen </i>(1872) and <i>Was sind und was sollen die Zahlen</i>, Dedekind defines irrational numbers through the <i>idea</i> (my emphasis) of a <i>cut </i>in the set of all rational numbers (rather than referring to "specific sequence of nested [rational] intervals") (p. 71).</div><div style="text-align: justify;">Cantor defines real numbers as convergent sequences of rational numbers (p. 72).</div><div style="text-align: justify;">"Numbers attached to or coordinated with a geometrical object and characterizing this object completely" is the "fundamental idea of analytic geometry" brought about by Descartes and Fermat (p. 73). </div><div style="text-align: justify;">For some basic equations of analytic geometry, see the picture above.</div><div style="text-align: justify;">"We cannot include the symbol ∞ in the real number system and at the same time preserve the fundamental rules of arithmetic. Nevertheless the concept of the infinite pervades all mathematics..." (p. 77).</div><div style="text-align: justify;">We can identify the equivalence of two finite sets without necessary counting them (by establishing a biunique correspondence). Cantor extended this idea to infinites (p. 78).</div><div style="text-align: justify;">Sets containing infinite many objects might be equivalent to subsets of themselves (for example, it's possible to establish a biunique correspondence between the positive integers and the even integers) (p. 79). </div><div style="text-align: justify;">The set of rational numbers is equivalent to the set of the integers (they are both denumerable, as are the rational points in a line) (p. 80).</div><div style="text-align: justify;">The set of the real numbers (that is, with irrationals) is non-denumerable (it pertains to an infinite whose type is higher than the infinite of rationals and integers) (proved indirectly, that is ad absurdum, by Cantor, with the help of the ingenious diagonal argument) [together with Euclides proof of the infinity of primes, this should be enough to suggest the narrowness of not accepting the "law" of the excluded middle and double negation in mathematics]. The continuum is also non-denumerable, and even a finite segment of the continuum "contains a non-denumerable infinity of points" (p. 81).</div><div style="text-align: justify;">Not all infinite sets are equivalents. There are at least two types of infinity (numerable and non-numerable) (p. 84).</div><div style="text-align: justify;">The cardinal number of the set of points in a square is the same as the cardinal number of the set of points in a line, that is, equivalent to the set of real numbers and the set of points in the continuum (they are all non-denumerable sets) (p. 85).</div><div style="text-align: justify;">Critics such as Kronecker and Poincaré objected to "the vagueness" of the notion of set and pointed to the non-constructive character of indirect, ad absurdum, proofs (that is, proofs relying on the principle of the excluded middle) (p. 86).</div><div style="text-align: justify;">"... the Hypothesis of the Continuum states that there is no set whose cardinal number is greater than that of the set of the integers but less than that of the set of real numbers" (p. 88).</div><div style="text-align: justify;">"For many reasons the concept of number has had to be extended even beyond the real number continuum, by the introduction of the so-called complex numbers..." (p. 88).</div><div style="text-align: justify;">"The process which first requires the use of complex numbers is that of solving quadratic equations..." (rational numbers are enough for linear equations, real numbers are necessary but insufficient "to provide a complete theory of quadratical equations") [see figure above] (p. 89).</div><div style="text-align: justify;">[***Courant & Robbins say the following in page 89: "of course, this object <i>i</i>, the 'imaginary unit,' has nothing to do with the concept of a number as a mean of <i>counting</i>. It is purely a symbol... and its value will depend entirely on whether by this introduction a really useful and workable extension of the number system can be effected." I appreciate the notion of 'imaginary <i>unit'</i>, but what they say on the whole amounts to a very narrow view. First of all, it should apply to the reals themselves. Since Courant and Robbins read Hilbert in a strictly formalistic way (see page 88), and seem to adopt this strictly formalistic view of mathematics themselves, they might accept this consequence (which shows, on the other hand, how strict formalists are in the end completely equivalent to inveterate intuitionists, and we hope their sets are not only both always denumerable but indeed quite finite). <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html" target="_blank">Gödelian Platonists like myself have a very different view</a>. I would rather ignore the villainous and pretentious (not to say malignant, blatantly authoritarian, and antidemocratic) things Courant & Robins say about Leibniz (such as in page 434, but see also the <i>mea culpa </i>at pages<i> </i>518-32), and limit myself to the Deleuzian well-grounded point that notions such as differentiation and derivative have philosophical implications surpassing (although not necessarily contradicting) their strict scientific (or rather positivistic, narrowly-"formalist") formulations (which just by themselves are otherwise: ok).]</div><div style="text-align: justify;">Commutative, associative and distributive "laws" hold for complex numbers (and they form a field, since they are closed under subtraction and division besides addition and multiplication, division by zero as well excluded). The field of the complex numbers includes the field of the reals, and a complex number of the form "<i>0 + bi</i>" is considered an imaginary number (that is, it is just "<i>bi</i>") (p. 90).</div><div style="text-align: justify;">Complex numbers might be interpreted geometrically. People do so by considering its real part an x-coordinate, and its imaginary part an y-coordinate (points on the x-axis correspond then to "<i>x + 0i"</i> and points on the y-axis to "<i>0 + yi"</i>)<i> </i>(p. 92).</div><div style="text-align: justify;">Complex numbers are understood as having "conjugates", which are equivalent to other complex numbers that might be represented in the number plane (when complex numbers are interpreted geometrically) by a mirror reflection over the x-axis. </div><div style="text-align: justify;">The distance of a point <i>z </i>(that is, a point represented by a complex number in the number plane) to the origin of the graphic (0,0 coordinates) is called its "module" (given by a real number) [this is easy to understand if you consider that lines can be expressed by quadratic equations, which when solved enable one to substitute for the imaginary unit i (that is, √-1) a real number].</div><div style="text-align: justify;">When <i>z </i>lies on the x-axis its module is "its ordinary absolute value".</div><div style="text-align: justify;">Complex numbers with module 1 lie on the <i>unit circle</i> (circle with radius 1 and center at the origin of the graphic) (p. 93).</div><div style="text-align: justify;">Complex numbers (as represented in a plane) and their conjugates have angles, the angle of a conjugate is the negation of the angle of its correspondent complex number (these angles are multi-determined since the same position on the plane might be represented by adding or subtracting multiples of 360) (complex numbers can be represented in terms of trigonometric functions) (p. 94-95). </div><div style="text-align: justify;">"... in the field of complex numbers there are exactly <i>n</i> different <i>n</i>th roots of 1" (while in the field of the reals<i> </i>there is only 1 root for three to the power of three, in the complex field there are three) (the so-called "De Moivre's Formula" shows this) (these roots are represented by vertices of "n-sided regular polygons inscribed in the unit circle and having the point <i>z</i> = 1) (p. 98). </div><div style="text-align: justify;">"Every algebraic equation of any<i> </i>degree <i>n </i>with real or complex coefficients has solutions in the field of complex numbers" (fundamental theorem of algebra, proved by Gauss in 1799; Cardano, Tartaglia and others had already established this for equations of the 3rd and 4th degrees, which they solved with the help of formulas similar to the quadratic") (p. 101). </div><div style="text-align: justify;">Algebraic numbers are real or complex numbers that are roots of equations with integers coefficients of 2nd or higher degree (even when they cannot be expressed in terms of radicals). Real non-algebraic numbers are called transcendental (Cantor proved their existence indirectly and Liouville gave a prove that enables one to construct them) (p. 104).</div><div style="text-align: justify;">Through geometrical constructions with rule and compass [on a plane], one can perform "'rational' algebraic processes" (addition, subtraction, multiplication, and division) "of known quantities" [a single unit length would enable the construction of all the rationals]. The totality does obtained is <i>a number field. </i>The extraction of a square root is what enables one to go beyond [to extend] that [given] field (p. 122). </div><div style="text-align: justify;">By using rule and compass [on a plane], one can connect two points [with the rule, by drawing a straight line], one can find "the point of intersection of two lines, drawing a circle with a given radius about a point," and one can find "the points of intersection of a circle with another circle or with a line" (p. 127). </div><div style="text-align: justify;">By using [the rule and] the compass [just the rule by itself is not enough for this], one can extend a field <i>F</i> "by selecting any number <i>k</i> of <i>F</i>, extracting the square root of <i>k</i>, and constructing<i> </i>[when √k wasn't itself already in <i>F</i>] the field <i>F', </i>consisting of the numbers a + b√k, where <i>a</i> and <i>b</i> are in <i>F." </i>One can reach "n" numbers of fields in this way. All numbers constructed in this way are algebraic<i> </i>[if <i>F</i> are rationals, <i>F'</i> are roots of quadratic equations (only the ones which were not already rationals) (is it the case, for instance, of √2, which is an algebraic number of degree 2, but also irrational?) (is it the case, for instance, of 1+ √-1, which is what brings about "imaginary" numbers?), <i>F'' </i>are roots of quartic equations (only the ones which are not roots of quadratic equations) etc.] (p. 131-32)<i>.</i></div><div style="text-align: justify;">One can understand why it is impossible to solve by straightedge and compass old ancient problems such as doubling the cube, by understanding how a solution to equations involved in such problems cannot be obtained by any extension of fields departing from rationals [would such problems always lead to transcendental irrational numbers?] (p. 134).</div><div style="text-align: justify;">"The idea of classifying the different branches of geometry according to the classes of transformation considered was proposed by Felix Klein" (Erlanger Program) (p. 167).</div><div style="text-align: justify;">"A decisive discovery of projective geometry" is that "if we have four points A, B, C, D on a straight line, and project these into A', B', C', D' on another line, then there is a certain quantity, called the cross-ratio of the four points, that retains its value under projection" (p. 173).</div><div style="text-align: justify;">One might define also the also cross-ratio of four coplanar and concurrent straight lines, and of four coaxial planes (p. 176). </div><div style="text-align: justify;">"If a straight line that intersects another is rotated slowly towards a parallel position, then the point of intersection of the two lines will recede to infinity" (p. 180). </div><div style="text-align: justify;">"... if lines are not parallel, they will intersect in an ordinary point, while if the lines are parallel they will intersect in the ideal point (point at infinity) of the two lines... According to our conventions, a point at infinity is determined or is represented by any family of parallel lines, just as an irrational number is determined by a sequence of nested rational intervals..." [projective geometry] (p. 182).</div><div style="text-align: justify;"><i>"</i>In analytic geometry, the 'coordinates' of a geometrical object are any set of numbers which characterize that object uniquely... a point is defined by giving its rectangular coordinates or its polar coordinates, while a triangle can be defined by given the coordinates of its three vertices... a straight line is the geometrical locus of all points whose coordinates satisfy some linear equation <i>ax + by + c = 0</i> [for instance, when a = 0, b = 1 and c = 0, the line is the x-axis]... quadratic equations define 'conic sections..." (p. 192). </div><div style="text-align: justify;">Centrality of the concepts of function and limit to modern mathematics (p. 272). </div><div style="text-align: justify;">Functions of a continuous variable [when the variable's domain is a continuous interval of the real number axis] "are often defined by algebraic expressions" (p. 274). </div><div style="text-align: justify;">"A mathematical function is simply a law governing the interdependence of variable quantities" (p. 276). </div><div style="text-align: justify;">"The character of a function is mostly clearly shown by a simple geometrical graph" (p. 278). </div><div style="text-align: justify;">Jump discontinuity and infinite discontinuity [of functions] (p. 284-85).</div><div style="text-align: justify;">Convergent sequences and limit (definition) (p. 292).</div><div style="text-align: justify;">Monotone increasing and monotone decreasing sequences. "Any monotone increasing sequence that has an upper bound must converge to a limit" (relation to the notions of real number and limit) (p. 295-96).</div><div style="text-align: justify;">Numbers <i>e</i> and π (p. 298-99). </div><div style="text-align: justify;">Limit of a function (of continuous variable) (p. 303, cf. 311) .</div><div style="text-align: justify;">"... a clear understanding and a precise definition of limits had long been blocked by an apparently unsurmountable difficulty... when it comes to checking the existence of a limit in actual scientific procedure it is the (<i>e</i>, ∂)-definition that must be applied... [but both this definition and "the axioms of geometry"] leave out something that is real to the intuition..." (p. 305-306). </div><div style="text-align: justify;">"All polynomials, rational functions, and trigonometric functions are continuous, except for isolated values of <i>x</i> where the function may become infinite" (p. 311).</div><div style="text-align: justify;">"In daily life problems of maxima and minima, of the 'best' and the 'worst,' arise constantly... For example, how should a boat be shaped so as to have the least possible resistance to water?" (p. 329).</div><div style="text-align: justify;">"In its historic development, the differential calculus was strongly influenced by individual maximum and minimum problems..." (p. 342). </div><div style="text-align: justify;">"It is geometrically evident that at a maximum or minimum of a smooth curve <i>y = f(x) </i>the tangent to the curve must be horizontal, that is, its slope must be equal to zero. Thus we have the condition <i>f'(x) = 0</i>, for the extreme values of <i>f(x)" </i>(p. 342). </div><div style="text-align: justify;">"There are problems of maxima and minima that cannot be expressed in terms of a function of one variable. The simplest such case is that of finding the extreme values of a function <i>z = f(x, y)</i> of two variables... We can represent <i>f(x, y) </i>by the heigh <i>z</i> of a surface above the <i>x</i>,<i> y-plane</i>, which we may interpret, say, as a mountain landscape... a minimum to the bottom of a depression or of a lake" (p. 343).</div><div style="text-align: justify;">"... corresponding to types of points with horizontal tangents [such as maxima, minima, and saddle points] we have different types of stationary values <i>f(x, y)</i>" ("intimate connection between the general theory of stationary points and the concepts of topology") (p. 344-45).</div><div style="text-align: justify;">"For the distance between a point <i>P </i>and a closed curve there are (at least) two stationary values, a minimum and a maximum. Nothing new occurs if we try to extend this result to three dimensions, so long as we consider a surface <i>C</i> topologically equivalent to a sphere... But new phenomena appear if the surface is of a higher genus, e. g. a torus..." (p. 345-46).</div><div style="text-align: justify;">Ergodic trajectories (p. 355).</div><div style="text-align: justify;">Riemann's doctoral thesis (1849), solution of extremum problems, existence of a minimum, Dirichlet's principle, Weierstrass' criticism (p. 367-68). </div><div style="text-align: justify;">Independent variables [of a function] which fail to be compact, functions which fail to be continuous (p. 372). </div><div style="text-align: justify;">Euler and Langrange, the calculus of variations (p. 381). </div><div style="text-align: justify;">Fermat, law of refraction of light, principle of geometrical optics (p. 382). </div><div style="text-align: justify;">Hamilton's rediscover and extension of "Euler's variational principles of physics" (p. 383).</div><div style="text-align: justify;">Difficulty of calculating areas bounded not by polygons but by curves, crucial question that went from Archimedes (exhaustion method) to the integral calculus (p. 400).</div><div style="text-align: justify;">The concept of a derivative as formulated in the 17th century by Fermat (while studying maxima and minima of functions) and others. "To characterize the points of maximum and minimum it is natural to use the notion of <i>tangent </i>of a curve. We assume that the graph has no sharp corners or other singularities and that at every point it possesses a definite direction given by a tangent line" (p. 415). </div><div style="text-align: justify;">"The differentiability of a function implies its continuity. For, if the limit of ∆x/∆y exists as ∆x tends do zero, then it is easy to see that the change ∆y of the function <i>f(x)</i> must become arbitrarily small as the difference ∆x tends to zero" (p. 422). </div><div style="text-align: justify;">Importance of the notion of derivative to "calculating the rate of change of some quantity <i>f(t)</i> which varies with the time <i>t" </i>(Newton) (velocity as "instantaneous rate of change" in relation to an "average rate", acceleration as "rate of change of velocity") (p. 423).</div><div style="text-align: justify;">Differentiation and integration as processes inverse to one another (fundamental theorem of the calculus) (p. 436).</div><div style="text-align: justify;"><i>Log x</i> as a "monotone increasing function" (importance of the formula <i>log a + log b = log (ab)) </i>(p. 444). </div><div style="text-align: justify;">Weierstrass' "continuous function whose graph does not have a tangent at any point" (continuous and nowhere differentiable) (p. 464).</div><div style="text-align: justify;">Infinite series as limits of sequences of finite partial sums (when the limit exists the series is convergent, when it doesn't the series is divergent) (p. 472).</div><div style="text-align: justify;">Power series (p. 473).</div><div style="text-align: justify;">Harmonic series (p. 479).</div><div style="text-align: justify;">"In 1964 Paul Cohen proved that the truth of the Continuous Hypothesis depends upon which axioms for set theory are chosen. The situation is similar to that for geometry. The truth or falsity of Euclid's parallel axiom depends upon the type of geometry... Earlier Kurt Gödel had proved that the Continuum Hypothesis is true in some axiomatizations of set theory... there is no distinguished choice of axioms that leads to a unique 'natural' theory of sets" (p. 494). </div><div style="text-align: justify;">Hausdorff-Besicovitch dimension of a set (fractal dimension) (need not to be an integer, and by so differs from Poincaré's conception of dimension) (p. 499).</div><div style="text-align: justify;">Nonstandard analysis and non-Archimedean numbers systems (p. 519-20). </div><div><br /></div><div><div><h4>more on the imaginary system: </h4><div><div><div><br /></div><div style="text-align: justify;">"What, it may be asked, is the nature of the Geometry in which the coordinates of any point may be complex quantities of the form as <i>x + ix', y + iy', z + iz'</i>? Such a Geometry contains as a particular case the Geometry of real points. From it the Geometry of real points may be deduced" [these only apparently pedestrian sentences are certainly worth of <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html" target="_blank">a Gödelian Platonist</a>, and earn many praises to its author]. </div><div style="text-align: justify;">"... given any real straight line I and any real point on it, there are on the straight line an infinite number of pairs of imaginary points. Such a system of points may be termed an imaginary system, base I, centre or mean point 0."</div><div style="text-align: justify;">"A real length and an imaginary length are incommensurable, and do not in themselves involve any relative magnitudes. Like two real incommensurable quantities √2 and 3, whose squares are commensurable, the squares of a real and an imaginary quantity may be commensurable."</div><div style="text-align: justify;">"The position of a real point on a given base can only be determined graphically when the unit is known in which its distance from a given point on the base is expressed. Similarly, the position of an imaginary point is only known when the unit in which its imaginary distance is expressed is also known. The units in the two cases may be regarded as √+1 and √-1. As there is no inherent relation as to magnitude between these units, the relative position of real and imaginary points on the base is indeterminate."</div></div><div style="text-align: justify;">"So long as the lengths considered are all real or all purely imaginary each system may be graphed in the same way, the quantities √+1 and √-1 being regarded as units in which the lengths are expressed, the only difference between these units lying in the fact that in one case the square on a line is regarded as positive and in the other negative."</div><div style="text-align: justify;">"If is a real point on a straight line and P a point on the straight line at a distance √-1 K from 0, the point P may be taken as the centre of an involution."</div><div style="text-align: justify;">"On any real straight line some point may be taken which may be termed a base point. An infinite number of real and an infinite number of imaginary points may be obtained by measuring real or purely imaginary distances from this base point... The imaginary points form a new system of points. An imaginary point of the first system may be taken as a base point and an infinite number of points real with respect to this base point may be obtained and also an infinite number of points imaginary with respect to this base point. The real points with respect to this centre are imaginary points with respect to the base point first taken and are distinct from those obtained from the original base point."</div></div><div style="text-align: justify;">"... imaginary points occur in pairs, viz. in pairs of conjugate imaginary points, and the connector of any pair is the base of the involution of which they are the double points. When an imaginary point is given, the involution of which it is a double point is completely determined, for the centre and constant of the involution are known."</div><div style="text-align: justify;">"A given pair of real points are conjugate points of an infinite number of involutions with imaginary double points. The double points of these involutions are harmonic conjugates of the given pair of points. Hence a given pair of real points has an infinite number of pairs of harmonic conjugates which are pairs of conjugate imaginary points."</div><div style="text-align: justify;">"Two ranges of real or imaginary points are said to be projective when the anharmonic ratio of four points of one range is equal to the anharmonic ratio of the four corresponding points of the other range... there is in each of two projective ranges, one point termed the vanishing point, which corresponds to the point at infinity in the other range. The vanishing points may be real or imaginary."</div></div><div style="text-align: justify;">- John Leigh Smeathman Hatton, <i>The Theory of the Imaginary in Geometry</i></div></div><div><br /></div><h4>from a History of Mathematics (wrote upon strong vellum): </h4></div></div><div><div><div><br /></div><div style="text-align: justify;">"... geometry, like counting, had an origin in primitive ritualistic practice. The earliest geometric results found in India constituted what were called the Sulvasutras, or 'rules of the cord.'These were simple relationships that apparently were applied in the construction of altars and temples. It is commonly thought that the geometric motivation of the 'rope-stretchers' in Egypt was more practical than that of their counterparts in India; but it has been suggested that both Indian and Egyptian geometry may derive from a common source—a protogeometry that is related to primitive rites in somewhat the same way in which science developed from mythology and philosophy from theology." </div><div style="text-align: justify;">''The Egyptians early had become interested in astronomy and had observed that the annual flooding of the Nile took place shortly after Sirius, the dogstar, rose in the east just before the sun. By noticing that these heliacal risings of Sirius, the harbinger of the flood, were separated by 365 days, the Egyptians established a good solar calendar made up of twelve months of thirty days each and five extra feast days..."</div><div style="text-align: justify;">"Recognition by the Egyptians of interrelationships among geometric figures, on the other hand, has too often been overlooked, and yet it is here that they came closest in attitude to their successors, the Greeks."</div><div style="text-align: justify;">"The fertile Nile Valley has been described as the world's largest oasis in the world's largest desert. Watered by one of the most gentlemanly of rivers and geographically shielded to a great extent from foreign invasion, it was a heaven for peace-loving people who pursued, to a large extent, a calm and unchallenged way of life."</div><div style="text-align: justify;">"One is almost tempted to see in it [Babylonian ratio calculations] the genuine origin of geometry, but it is important to note that it was not so much the geometric context that interested the Babylonians as the numerical approximations that they used in mensuration. Geometry for them was not a mathematical discipline in our sense, but a sort of applied algebra or arithmetic in which numbers are attached to figures."</div><div style="text-align: justify;">"It is indeed difficult to separate history and legend concerning the man [Pythagoras], for he meant so many things to the populace—the philosopher, the astronomer, the mathematician, the abhorrer of beans, the saint, the prophet, the performer of miracles, the magician, the charlatan."</div><div style="text-align: justify;">"One of the tantalizing questions in Pythagorean geometry concerns the construction of a pentagram or star pentagon... In each case a diagonal point divides a diagonal into two unequal segments such that the ratio of the whole diagonal is to the larger segment as this segment is to the smaller segment. This subdivision of a diagonal is the well-known 'golden section' of a line segment, but this name was not used until a couple of thousand years later... The construction required is equivalent to the solution of a quadratic equation... Pythagoras could have learned from the Babylonians how to solve this equation algebraically. However, if <i>a</i> is a rational number, then there is no rational number <i>x </i>satisfying the equation. Did Pythagoras realized this?"</div><div style="text-align: justify;">"... when the five diagonals of a regular pentagon are drawn, these diagonals form a smaller regular pentagon, and the diagonals of the second pentagon in turn form a third regular pentagon, which is still smaller. This process can be continued indefinitely, resulting in pentagons that are as small as desired and leading to the conclusion that the ration of a diagonal to a side in a regular pentagon is not rational. The irrationality of this ratio is, in fact, a consequence of the argument... in which the golden section was shown to repeat itself over and over again. Was it perhaps this property that led to the disclosure, possibly by Hippasus, of incommensurability?"</div><div style="text-align: justify;">"The Pythagoreans had assumed that space and time can be thought of as consisting of points and instants; but space and time have also a property, more easily intuited than defined, known as 'continuity.'"</div><div style="text-align: justify;">"... Plato in the <i>Thaetetus</i> says that his teacher, Theodorus of Cyrene—of whom Thaetetus also was a pupil—was the first to prove the irrationality of the square roots of the nonsquare integers from 3 to 17 inclusive."</div><div style="text-align: justify;">"Plato looked upon the dodecahedron as composed of 360 scalene right triangles, for when the five diagonals and five medians are drawn in each of the pentagonal faces, each of the twelve faces will contain thirty right triangles. The association of the first four regular solids with the traditional four universal elements provided Plato in the <i>Timaeus </i>with a beautifully unified theory of matter according to which everything was constructed of ideal right triangles... He emphasized that the reasoning used in geometry does not refer to the visible figures that are drawn but to the absolute ideas that they represent..."</div><div style="text-align: justify;">"Inasmuch as he hesitated to follow Platonic mathematicians into the abstractions and technicalities of the day, Aristotle made no lasting contribution to the subject. He is said to have written a biography of Pythagoras, although this is lost..."</div><div style="text-align: justify;">"Among Euclid's lost works are also one on <i>Surface Loci</i>, another on <i>Pseudaria</i> (or fallacies), and a third on <i>Porisms</i>... The loss of Euclidean <i>Porisms</i> is particularly tantalizing, for it may have represented an ancient approximation to an analytic geometry."</div><div style="text-align: justify;">"Book X of the <i>Elements</i> was, before the advent of early modern algebra, the most admired—and the most feared. It is concerned with a systematic classification of incommensurable line segments... Today we would be inclined to think of this as a book on irrational <i>numbers...</i> Book X contains 115 propositions—more than any other—most of which contain geometric equivalents of what we now know arithmetically as surds."</div><div style="text-align: justify;">"No account of Ptolomy's work would be complete without mention of his <i>Tetrabiblos</i> (or <i>Quadripartitum</i>), for it shows us a side of ancient scholarship that we are prone to overlook..."</div><div style="text-align: justify;">"The full title of [Boethius's] <i>Expositio </i>indicates, in fact, that it is an exposition of mathematical matters useful to an understanding of Plato. It explains, for example, that the tetractys consisting of the numbers 1, 2, 3, and 4 contains all the musical consonances inasmuch as it makes up the ratios 4:3, 3:2, 2:1, 3:1 and 4:1."</div><div style="text-align: justify;">"In a sense it is not fair to criticize Diophantus for being satisfied with a single answer, for he was solving problems, not equations. In a sense the <i>Arithmetica </i>is not an algebra textbook, but a problem collection in the application of algebra."</div><div style="text-align: justify;">"The idea of negative numbers seems not to have occasioned much difficulty for the Chinese since they were accustomed to calculating with two sets of rods—a red set for positive coefficients or numbers and a black set for negatives."</div><div style="text-align: justify;">"Yang Hui's works included also results in the summation of series and the so-called Pascal triangle, things that were published and better known through the <i>Precious Mirror</i> of Chu Shih-chieh..." </div><div style="text-align: justify;">"The Mayas of Yucatan, in their representation of time intervals between dates in their calendar, used a place value numeration, generally with twenty as the primary base and with five as an auxiliary (corresponding to the Babylonian use of sixty and ten respectively)."</div><div style="text-align: justify;">"It should be mentioned also that the Hindus, unlike Greeks, regarded irrational roots of numbers as numbers. This was of enormous help in algebra... Hindu algebra is especially noteworthy in its development of indeterminate analysis, to which Brahmagupta made several contributions... It is greatly to the credit of Brahmagupta that he gave all integral solutions of the linear Diophantine equation, whereas Diophantus himself had been satisfied to give one particular solution of an indeterminate equation."</div><div style="text-align: justify;">"... ultimately the scheme of numeration making use of the Hindu numerals came to be called simply algorism or algorithm, a word that, originally derived from the name al-Khwarizmi, now means, more generally, any peculiar rule of procedure or operation—such as the Euclidean method for finding the greatest common divisor."</div><div style="text-align: justify;">"Omar Khayyam (ca. 1050-1123), the 'tent-maker,' wrote an <i>Algebra</i> that went beyond that of al-Khwarizmi to include equations of third degree."</div><div style="text-align: justify;">"The book in which Fibonacci described the new algorism is a celebrated classic, completed in 1202, but it bears a misleading title—<i>Liber abaci </i>(<i>or Book of the Abacus</i>). It is <i>not </i>on the abacus; it is a very through treatise on algebraic methods and problems in which the use of Hindu-Arabic numerals is strongly advocated."</div><div style="text-align: justify;">"Perhaps through the Arabs Fibonacci had learned what we call 'Horner's method,' a device known before this time in China. This is the most accurate European approximation to an irrational root of an algebraic equation up to that time..."</div><div style="text-align: justify;">"Even more imaginative than Oresme's notations was his suggestion that irrational proportions are possible."</div><div style="text-align: justify;">"In 1545, the solution not only of the cubic but of the quartic as well became common knowledge through the publication of the <i>Ars magna</i> of Geronimo Cardano (1501-1576)."</div><div style="text-align: justify;">"By birth illegitimate, and by habit an astrologer, gambler, and heretic, Cardan nevertheless was a respected professor at Bologna and Milan, and ultimately he was granted a pension by the pope."</div><div style="text-align: justify;">"The solution of cubic and quartic equations [by Cardano] was perhaps the greatest contribution to algebra since the Babylonians, almost four millennia earlier, had learned how to complete the square for quadratic equations."</div><div style="text-align: justify;">"Another immediate result of the solution of the cubic was the first significant glance at a new kind of number. Irrational numbers had been accepted by the time of Cardan, even though they were not soundly based, for they are readily approximated by rational numbers. Negative numbers afforded more difficulty because they are not readily approximated by positive numbers, but the notion of sense (or direction on a line) made them plausible. Cardan used them even while calling them <i>numeri ficti</i>..."</div><div style="text-align: justify;">"Whenever the three roots of a cubic equation are real and different from zero, the Cardan-Tartaglia formula leads inevitably to square roots of negative numbers. The goal was known to be a real number, but it could not be reached without understanding something about imaginary numbers."</div><div style="text-align: justify;">"Physics and astronomy had reached the point where there was increasing need for arguments concerning the infinitely large and small—the subject now known as analysis. Viète had been one of the first to use the word 'analysis' as a synonym for algebra, but he was one of the earliest analysts also in the more modern sense of one who studies infinite processes."</div><div style="text-align: justify;">"Stevin, Kepler, and Galileo all had need for Archimedean methods, being practical men, but they wished to avoid the logical niceties of the method of exhaustion. It was largely the resulting modifications of the ancient infinitesimal methods that ultimately led to the calculus, and Stevin was one of the first to suggest changes."</div><div style="text-align: justify;">"The infinitely small was of more immediate relevance to Galileo than the infinitely large, for he found it essential in his dynamics."</div><div style="text-align: justify;">"Salviati then concludes that by bending the line segment into the shape of a circle, he has 'reduced to actuality that infinite number of parts into which you claimed, while it was straight, were contained in it only potentially,' for the circle is a polygon of an infinite number of sides... Galileo had intended to write a treatise on the infinite in mathematics, but it has not been found." </div><div style="text-align: justify;">"... the world remembers Cavalieri [disciple of Kepler] for one of the most influential books of the early modern period, the <i>Geometria indivisibilibus continuorum</i>, published in 1635."</div><div style="text-align: justify;">"For a number of years Descartes traveled about in conjunction with varied military campaigns, first in Holland with Maurice Prince of Nassau, then with Duke Maximillian I of Bavaria, and later still with the French army at the siege of LaRochelle... The entire universe, he postulated, was made up of matter in ceaseless motion in vortices, and all phenomena were to be explained mechanically in terms of forces exerted by contiguous matter."</div><div style="text-align: justify;">"The work of Descartes far too often is described simply as the application of algebra to geometry, whereas actually it could be characterized equally well as the translation of the algebraic operations into the language of geometry."</div><div style="text-align: justify;">"... it is appropriate to follow Laplace in acclaiming Fermat as the discoverer of the differential calculus, as well as a codiscoverer of analytic geometry. Obviously Fermat was not in possession of the limit concept, but otherwise his method of maxima and minima parallels that used in calculus today..."</div><div style="text-align: justify;">"The result was one of the most unsuccessful great books ever produced. Even the ponderous title was repulsive—<i>Brouillon projet d'une atteinte aux événements des rencontres d'un cone avec un plan </i>(Paris, 1639).... Moreover Girard Desargues used a bizarre new vocabulary full of terms borrowed from botany, a terminology that repelled scholars and practitioners alike."</div><div style="text-align: justify;">"... in 1640, the young Pascal, then sixteen years old, published an <i>Essay pour les coniques</i>. This consisted of only a single printed page—but one of the most fruitful pages in history. It contained the proposition, described by the author as mysterium hexagrammicum, which has ever since been known as Pascal's theorem."</div><div style="text-align: justify;">''On the night of November 23, 1654, from 10:30 to about 12:30, Pascal experienced a religious ecstasy which caused him to abandon science and mathematics for theology."</div><div style="text-align: justify;">"Pietro Mengoli had rediscovered Oresme's conclusion, arrived at by a grouping of terms, that the ordinary harmonic series does not converge, a theorem usually attributed to Jacques Bernoulli in 1689; he also showed the convergence of the reciprocals of the triangular numbers, a result for which Huygens usually is given credit."</div><div style="text-align: justify;">"Even proportion, the stronghold of ancient geometry, Wallis held to be an arithmetic concept. In this his attitude represented the tendency of mathematics for at least the following century, but it should be remarked that such a movement was without a solid foundation, since real numbers had not been defined."</div><div style="text-align: justify;">"[In <i>Arithmetica infinitorum, </i>published in 1655] Wallis arithmetized the <i>Geometria indivisibilibus</i> of Cavalieri, as he had arithmetized the <i>Conics </i>of Apollonius... Wallis abandoned the geometric background after having associated the infinitely many indivisibles in the figures with numerical values. If, for example, one wishes to compare the squares of the indivisibles in the triangle with the squares of the indivisibles in the parallelogram, one takes the length of the first indivisible in the triangle as zero, the second as one, the third as two, and so on up to the last, of length n - 1, if there are n indivisibles."</div><div style="text-align: justify;"><i>"</i>[Among Wallis] most important contributions in infinitesimal analysis [was his anticipation] of Euler on the gamma or factorial function."</div><div style="text-align: justify;">" Thomas Hobbes (1588-1679) was foremost among those who criticized Wallis' arithmetization of geometry, objecting strenuously to 'the whole herd of them who apply their algebra to geometry' and referring to the <i>Arithmetica infinitorum</i> as 'a scab of symbols.'"</div><div style="text-align: justify;">"... it is likely that it was in Italy, through Mengoli and Angeli, that James Gregory came to appreciate the power of infinite series expansions of functions and of infinite processes in general."</div><div style="text-align: justify;">"Newton's first discoveries, dating from the early months of 1665, resulted from his ability to express functions in terms of infinite series—the very thing that Gregory was doing in Italy at about that time."</div><div style="text-align: justify;">"... Newton's indirect approach... made clear to him that one could operate with infinite series in much the same way as with finite polynomial expressions... he had found that the analysis by infinite series had the same inner consistency and was subject to the same general laws as the algebra of finite quantities. Infinite series were no longer to be regarded as approximating devices only; they were alternative forms of the functions they represented... he wrote in <i>De analysi per aequationes numero termonorum infinitas</i>, composed in 1669: '... albeit we Mortals whose reasoning Powers are confined within narrow Limits, can neither express, nor so conceive all the Terms of these Equations as to know exactly from thence the Quantities we want...'"</div><div style="text-align: justify;">"As was the case with Newton, infinite series played a large role in the early work of Leibniz."</div><div style="text-align: justify;">"... it was on reading the letter of Amos Dettonville on <i>Traité des sinus du quart de cercle</i> that<i> </i>Leibniz reported that a light burst upon him. He then realized, in about 1673, that the determination of the tangent to a curve depended on the ration of the <i>differences</i> in the ordinates and abscissas, as these became infinitely small, and that quadratures depended on the sum of the ordinates or infinitely thin rectangles making up the area. Just as in the arithmetic and harmonic triangles the processes of summing and differencing are oppositely related, so also in geometry the quadrature and tangent problems, depending on sums and differences respectively, are inverses of each other. The connecting link seemed to be through the infinitesimal or 'characteristic' triangle, for where Pascal had used it to find the quadrature of sines, Barrow had applied it to the tangent problem."</div><div><div style="text-align: justify;">"Leibniz by 1676 had arrived at the same conclusion that Newton had reached several years earlier, namely, that he was in possession of a method that was highly important because of its generality. Whether a function was rational or irrational, algebraic or transcendental (a word that Leibniz coined), his operations of finding sums and differences could always be applied."</div><div style="text-align: justify;">"Whereas Descartes' geometry had once excluded all nonalgebraic curves, the calculus of Newton and Leibniz showed how essential is the role of these in their new analysis... Moreover, Leibniz seems to have appreciated, as did Newton, that the operations in the new analysis can be applied to infinite series as well as to finite algebraic expressions."</div></div><div style="text-align: justify;">"The ambivalent status of complex numbers is well illustrated by the remark of Leibniz, who was also a prominent theologian, that imaginary numbers are a sort of amphibian, halfway between existence and nonexistence."</div><div style="text-align: justify;">"The fourth and last part [of Jacques Bernoulli's <i>Ars Conjectandi</i>] contains the celebrated theorem that now bears the author's name, and on which Bernoulli and Leibniz had corresponded: the so-called 'Law of large numbers.'"</div><div style="text-align: justify;">"Berkeley [in <i>The Analyst</i>] did not deny the utility of the techniques of fluxions nor the validity of the results obtained by using these; but he had been nettled on having a sick friend refuse spiritual consolation because Halley had convinced the friend of the untenable nature of Christian doctrine."</div><div style="text-align: justify;">"Euler spent almost all of the last seventeen years of his life in total darkness."</div><div style="text-align: justify;">"It may fairly be said that Euler did for the infinite analysis of Newton and Leibniz what Euclid had done for the geometry of Eudoxus and Theaetetus, or what Viète had done for the algebra of Al-Khwarizmi and Cardan. Euler took the differential calculus and the method of fluxions and made them part of a more general branch of mathematics which ever since ha been known as 'analysis'—the study of infinite processes... From 1748 [the time of publication of Euler's <i>Introductio in analysin infinitorum</i>] onward the idea of 'function' became fundamental in analysis. It had been adumbrated in the medieval latitude of forms, and it had been implicit in the analytic geometry of Fermat and Descartes, as well as in the calculus of Newton and Leibniz."</div><div style="text-align: justify;">"The first volume of the <i>Introductio</i> is concerned from start to finish with infinite processes—infinite products and infinite continued fractions, as well as innumerable infinite series. In this respect the work is the natural generalization of the views of Newton, Leibniz, and the Bernoullis, all of whom were fond of infinite series."</div><div style="text-align: justify;">"Opposing the views of Leibiniz and Euler, d'Alembert insisted that 'a quantity is something or nothing; if it is something, it has not yet vanished; if it is nothing, it has literary vanished... d'Alembert held that the differential notation is merely a convenient manner of speaking that depends for its justification on the language of limits. His <i>Encyclopédie</i> article on the differential referred to Newton's <i>De quadratura curvarum</i>, but d'Alembert interpreted Newton's phrase 'prime and ultimate ratio' as a limit rather than as a first or last ratio of two quantities just springing into being... D'Alembert denied the existence of the actually infinite, for he was thinking of geometric magnitudes rather than of the theory of aggregates proposed a century later."</div><div style="text-align: justify;">"In his selection of the unifying principle, however, Carnot made a most deplorable choice. He concluded that 'the true metaphysical principles' are 'the principles of the compensation of errors.' Infinitesimals, he argued, are 'quantités inappréciables" which, like imaginary numbers, are introduced only to facilitate the computation and are eliminated in reaching the final result."</div><div style="text-align: justify;">"The whole motive of [Lagrange's function theory] was not to try to make the calculus more utilitarian, but to make it more logically satisfying... In 1767 Lagrange published a memoir on the approximation of roots of polynomial equations by means of continued fractions; in another paper in 1770 he considered the solvability of equations in terms of permutations on their roots. It was the latter work that was to lead to the enormously successful theory of groups and to the proofs by Galois and Abel of the unsolvability, in the usual terms, of equations of degree greater than four." </div><div style="text-align: justify;">"The new branch of geometry that Gauss initiated in 1827 is known as differential geometry, and it belongs perhaps more to analysis than to the traditional field of geometry. Ever since the days of Newton and Leibniz, men had applied the calculus to the study of curves in two dimensions, and in a sense this work constituted a prototype of differential geometry. Euler and Monge had extended this to include an analytic study of surfaces; hence they sometimes are regarded as the fathers of differential geometry. Nevertheless, not until the appearance of the classical treatise of Gauss, <i>Disquisitiones circa superficies curvas</i>, was there a comprehensive volume devoted entirely to the subject."</div><div style="text-align: justify;">"Roughly speaking, ordinary geometry is interested in the totality of a given diagram or figure, whereas differential geometry concentrates on the properties of a curve or a surface in the immediate neighborhood of a point on the curve or the surface. In this connection Gauss extended the work of Huygens and Clairaut on the curvature of a plane or gauche curve at a point by defining the curvature of a surface at a point... Gauss proceeds to show that the properties of a surface depend only on <i>E</i>, <i>F</i>, and <i>G</i>. This leads to many consequences. In particular, it becomes easy to say what properties of the surface remain invariant. It was in building on this work of Gauss that Bernhard Riemann and later geometers transformed the subject of differential geometry." </div><div style="text-align: justify;">"Oddly enough, however, no one before Wessel and Gauss took the obvious step of thinking of the real and imaginary parts of a complex number <i>a + bi</i> as rectangular coordinates of points in a plane."</div><div style="text-align: justify;">"Functions no longer needed to be of the well-behaved form with which mathematicians had been familiar. Lejeune Dirichlet, for instance, in 1837, suggested a very broad definition of function: If a variable <i>y </i>is so related to a variable <i>x</i> that whenever a numerical value is assigned to <i>x</i>, there is a rule according to which a unique value of <i>y </i>is determined, then y is said to be a function of the independent variable <i>x</i>. This comes close to the modern view of a correspondence between two sets of numbers, but the concepts of 'set' and 'real number' had not at that time been established. To indicate the completely arbitrary nature of the rule fo correspondence, Dirichlet proposed a very 'badly behaved' function: When <i>x</i> is rational, let <i>y</i> = <i>c</i>, and when <i>x</i> is irrational, let <i>y</i> = <i>d </i>≠ c."</div><div style="text-align: justify;">"Rejecting the Taylor's theorem approach of Lagrange, Cauchy made the limit concept of d'Alembert fundamental, but he gave it an arithmetic character of greater precision. Dispensing with geometry and with infinitesimals or velocities, he gave a relatively clear-cut definition of limit... Where many earlier mathematicians had thought of an infinitesimal as a very small fixed number, Cauchy defined it clearly as a dependent variable..."</div><div style="text-align: justify;">"The history of mathematics teems with cases of simultaneity and near simultaneity of discovery, some of which have already been noted. The work by Cauchy that we have just described is another case in point, for similar views were developed at about the same time by Bernhard Bolzano (1781-1848), a Czechoslovakian priest whose theological views were frowned upon by his church and whose mathematical work was most undeservedly overlooked by his lay and clerical contemporaries.... The similarity in their arithmetization of the calculus and of their definitions of limit, derivative, continuity, and convergence was only a coincidence. Bolzano in 1817 had published a book, <i>Rein analytischer Beweis</i>, devoted to a purely arithmetic proof of the location theorem in algebra, and this had required a nongeometric approach to the continuity of a curve or function. Going considerable further in his unorthodox ideas, he disclosed some important properties of infinite sets in a posthumous work of 1850, <i>Paradoxien des Unendlichen</i>."</div><div style="text-align: justify;">"From Galileo's paradox on the one-to-one correspondence between integers and perfect squares, Bolzano went on to show that similar correspondences between the elements of an infinite set and a proper subset are commonplace. For example, a simple linear equation, such as <i>y = 2x</i>, establishes a one-to-one correspondence between the real numbers <i>y </i>in the interval from 0 to 2, for example, and the real numbers <i>x</i> in half this interval. That is, there are just as many real numbers between 0 and 1 as between 0 and 2, or just as many points in a line segment 1 inch long as in a line segment 2 inches long. Bolzano seems even to have recognized, by about 1840, that the infinity of real numbers is of a type different from the infinity of integers, being nondenumerable. In such speculations on infinite sets the Bohemian philosopher came closer to parts of modern mathematics than had his better-known contemporaries. Both Gauss and Cauchy seem to have had a kind of <i>horror infiniti</i>, insisting that there could be no such thing as a completed infinite in mathematics."</div><div style="text-align: justify;">"The name of Cauchy appears today in connection with a number of theorems on infinite series, for, despite some efforts on the part of Gauss and Abel, it was largely through Cauchy that the mathematician's conscience was pricked concerning the need for vigilance with regard to convergence."</div><div style="text-align: justify;">"Through a point <i>C</i>lying outside a line <i>AB</i> there can be drawn more than one line in the plane and not meeting <i>AB</i>. With this new postulate Lobachevsky deduced a harmonious geometric structure having no inherent logical contradictions. This was in every sense a valid geometry, but so contrary to common sense did it appear, even to Lobachevsky, that he called it 'imaginary geometry.'"</div><div style="text-align: justify;">"Bolyai and Lobachevsky were far removed from Paris and Göttingen. Still, presence in Paris did not guarantee success to even the brightest young mathematical minds of the day. The most illustrious examples of men who felt frustrated by their failure to find the recognition they sought in paris are the Norwegian Niels Henrik Abel (1802-1829) and the Frenchman Évariste Galois (1812-1832)."</div><div style="text-align: justify;">"Abel found Paris inhospitable... and wrote home to a friend: 'Every beginner has a great deal of difficulty in getting noticed here. I have just finished an extensive treatise on a certain class of transcendental functions... but Mr Cauchy scarcely deigns to glance at it'... Abel had returned to his native Norway; increasingly weakened by tuberculosis, he kept sending more material to Crelle. He died in 1829, scarcely aware of the interest his publications were creating."</div><div style="text-align: justify;">"Young geniuses whose lives were cut short by death from dueling or consumption are part of the real and fictional literary tradition of the Romantic Age. Someone wishing to present a mathematical caricature of such lives could do no better than to create the characters of Abel and Galois."</div><div style="text-align: justify;">"By the age of sixteen Galois knew what his teachers had failed to recognize—that he was a mathematical genius. He hoped, therefore, to enter the school that had nurtured so many celebrated mathematicians, the École Polytechnique, but his lack of systematic preparation resulted in his rejection. This disappointment was followed by others: A paper Galois wrote and presented to the Academy when he was seventeen was apparently lost by Cauchy..."</div><div style="text-align: justify;">"His letter to Chevalier, published in September 1832, had contained an outline of the main results of the memoir that had been returned by the Academy. Here Galois had indicated what he considered to be the essential part of his theory. In particular, he stressed the difference between adjoining one or all of the roots of the resolvent, and related it to the decomposition of the group <i>G</i> of the equation. In modern terminology, he indicated that an extension of the given field is normal if and only if the corresponding subgroup is a normal subgroup of G."</div><div style="text-align: justify;">"Inspired by Abel's proof of the unsolvability by radicals of the quintic equation, Galois discovered that an irreducible algebraic equation is solvable by radicals if and only if its group—that is, the symmetric group o its roots—is solvable... Lagrange had already shown that the order of a subgroup must be a factor of the order of the group; but Galois went deeper and found relations between the factorability of the group and an equation and the solvability of the equation. Moreover, to him we owe the use in 1830 of the word group in its technical sense in mathematics."</div><div style="text-align: justify;">"Among Jakob Steiner's unpublished discoveries are those relating to the fruitful geometric transformation known as inversive geometry... Inasmuch as there is no outside point <i>P' </i>corresponding to <i>P </i>when <i>P </i>coincides with the center <i>O</i>, one has in a sense a paradox similar to that of Bolzano. The inside of every circle, no matter how small, contains, as it were, one more point than the portion of the plane outside the circle. In a exactly analogous manner one readily defines the inverse of a point in three-dimensional space with respect to a sphere."</div><div style="text-align: justify;">"Another discoverer was A. F. Möbius (1790-1860), also a student of Gauss... He introduced his 'barycentric coordinates' by considering a given triangle <i>ABC</i> and defining the coordinates of a point <i>P</i> as the mass to be placed at <i>A</i>, <i>B</i>, and <i>C</i> so that <i>P</i> is eh center of gravity of these masses. Möbius classified transformations according to whether they were congruences (leaving corresponding figures equal), similarities (corresponding figures similar), affine (corresponding figures preserving parallel lines, or collineations (lines going into lines), and suggested the study of invariants under each family of transformations."</div><div style="text-align: justify;">"The notations and patterns of reasoning of the four inventors of homogeneous coordinates [Plücker, Gergonne, Lamé & Möbius (?)] differed somewhat, but they all had one thing in common—they made use of three coordinates instead of two to locate a point in a plane."</div><div style="text-align: justify;">"Plücker chowed that every curve (other than a straight line) can be regarded as having a dual origin: It is a locus generated by a moving point and enveloped by a moving line, the point moving continuously along the line while the line continues to rotate about the point."</div><div style="text-align: justify;">"Cayley in 1843 had initiated the ordinary analytic geometry of n-dimensional space, using determinants as an essential tool."</div><div style="text-align: justify;">"Non-Euclidean geometry continued for several decades to be a fringe aspect of mathematics until it was thoroughly integrated through the remarkably general views of G. F. B. Riemann (1826-1866). The son of a village pastor, Riemann was brought up in very modest circumstances, always remaining frail in body and shy in manner."</div><div style="text-align: justify;">"[Riemann's <i>Habilitationsschrift</i>] urged a global view of geometry as a study of manifolds of any number of dimensions in any kind of space. His geometries are non-Euclidean in a far more general sense than is Lobachevskian geometry, where the question is simply how many parallels are possible through a point. Riemann saw that geometry should not even necessarily deal with points or lines or space in the ordinary sense, but with sets of ordered n-tuples that are combined according to certain rules."</div><div style="text-align: justify;">"... the fundamental change in geometric thought that Riemann's <i>Habilitationsschrift</i> brought about was Riemann's suggestion of the general study of curved metric spaces, rather than of the special case equivalent to geometry on the sphere, that ultimately made the theory of general relativity possible."</div><div style="text-align: justify;">"The unification of geometry that Riemann had achieved was especially relevant in the microscopic aspect of differential geometry, or geometry 'in the small.' Analytic geometry, or geometry 'in the large,' had not been much changed."</div><div style="text-align: justify;">"The program that Felix Klein gave, which became known as the <i>Erlanger Programm</i>, described geometry as the study of those properties of figures that remain invariant under a particular group of transformations. Hence, any classification of groups of groups of transformations becomes a codification of geometries."</div><div style="text-align: justify;">"Euclidean geometry in Klein's view, is only a special case of affine geometry. Affine geometry in its turn becomes only a special case of a still more general geometry—projective geometry."</div><div style="text-align: justify;">"Analysis, the study of infinite processes, had been understood by Newton and Leibniz to be concerned with continuous magnitudes, such as lengths, areas, velocities, and accelerations, whereas the theory of numbers clearly has as its domain the discrete set of natural numbers."</div><div style="text-align: justify;">"Gudermann had impressed upon the young Weierstrass what a useful tool the power series representation of a function was, and it was in this connection that Weierstrass produced his greatest work, following in the footsteps of Abel."</div><div style="text-align: justify;">"... perhaps no one is more deserving to be known as the father of the critical movement in analysis than is Weierstrass."</div><div style="text-align: justify;">"The importance of work such as that of Weierstrass is felt particularly in mathematical physics, in which solutions of differential equations are rarely found in any form other than as an infinite series."</div><div style="text-align: justify;">"[The Frenchman H. C. R. Charles Méray, the four Germans Karl Weierstrass, H. E. Heine, Georg Cantor and J. W. R. Dedekind]" in a sense represented the climax in half a century of investigation into the nature of function and number that had begun in 1822 with Fourier's theory of heat and with an attempt made in that year by Martin Ohm to reduce all of analysis to arithmetic..."</div><div style="text-align: justify;">"It was in seeking to liberalize Dirichlet's conditions for the convergence of a Fourier series that Riemann developed his definition of the Riemann integral; in this connection he showed that a function f(x) may be integrable in an interval without being representable by a Fourier series. It was the study of infinite trigonometric series that led also to the theory of sets of Cantor..."</div><div style="text-align: justify;">"We have seen that the revolution in geometry took place when Gauss, Lobachevsky, and Bolyai freed themselves from preconceptions of space. In somewhat the same sense the thoroughgoing arithmetization of analysis became possible only when, as Hankel foresaw, mathematicians understood that the real numbers are to be viewed as 'intellectual structures' rather than as intuitively given magnitudes inherited from Euclid's geometry."</div><div style="text-align: justify;">"Bolzano during the early 1830s had made an attempt to develop a theory of real numbers as limits of rational number sequences, but this had gone unnoticed and unpublished until 1962."</div><div style="text-align: justify;">"Weierstrass sought to separate the calculus from geometry and to base it upon the concept of number alone. Like Méray, he also saw that to do this it was necessary to give a definition of irrational number that is independent of the limit concept, inasmuch as the latter had up to this point presupposed the former. To correct Cauchy's logical error, Weierstrass settled the question of the existence of a limit of a convergent sequence by making the sequence itself the number limit."</div><div style="text-align: justify;">"... Now, Dedekind pointed out, the fundamental theorems on limits can be proved rigorously without recourse to geometry. It was geometry that had pointed the way to a suitable definition of continuity, but in the end it was excluded from the formal arithmetic definition of the concept. The Dedekind cut in the rational number system, or an equivalent construction of real number, now has replaced geometrical magnitude as the backbone of analysis."</div><div style="text-align: justify;">"The life of Cantor was tragically different from that of his friend Dedekind. Cantor was born in St. Petersburg of parents who had migrated from Denmark, but most of his life was spent in Germany, the family having moved to Frankfurt when he was eleven. His parents were Christians of Jewish background—his father had been converted to Protestantism, his mother had been born a Catholic. The son Georg took a strong interest in the finespun arguments of medieval theologians concerning continuity and the infinite, and this militated against his pursuing a mundane career in engineering as suggested by his father. In his studies at Zurich, Göttingen, and Berlin the young man consequently concentrated on philosophy, physics, and mathematics—a program that seems to have fostered his unprecedented mathematical imagination."</div></div><div style="text-align: justify;">"Cauchy and Weierstrass saw only paradox in attempts to identify an actual or 'completed' infinity in mathematics, believing that the infinitely large and small indicated nothing more than the potentiality of Aristotle—an incompleteness of the process in question. Cantor and Dedekind came to a contrary conclusion."</div><div style="text-align: justify;">"The set of perfect squares or the set of triangular numbers has the same power as the set of all the positive integers, for the groups can be put into one-to-one correspondence. These sets seem to be much smaller than the set of all rational fractions, yet Cantor showed that the latter set also is countable or denumerable, that is, it, too, can be put into one-to-one correspondence with the positive integers, hence has the same power... The real numbers can be subdivided into two types in two different ways: (1) as rational and irrational or (2) as algebraic and transcendental. Cantor showed that even the class of algebraic numbers, which is far more general than that of rational numbers, nevertheless has the same power as that of the integers. Hence, it is the transcendental numbers that give to the real number system the 'density' that results in a higher power."</div><div style="text-align: justify;">"More surprising still is the fact that dimensionality is not the arbiter of the power of a set. The power of the set of points in a unit line segment is just the same as that of the points in a unit area or in a unit volume—or, for that matter, all the three-dimensional space. (Dimensionality, however, retains some measure of authority in that any one-to-one mapping of points in a space of unlike dimensionality is necessarily a discontinuous mapping.) So paradoxical were some results in point-set theory that Cantor himself on one occasion in 1877 wrote to Dedekind, 'I see it, but I don't believe it'; and he asked his friend to check the proof."</div><div style="text-align: justify;">"Dedekind and Cantor were among the most capable mathematicians, and certainly the most original, of their day; yet neither man secured a top-ranking professional position. Dedekind spent almost a lifetime teaching on the secondary level..."</div></div><div style="text-align: justify;">"Kronecker is said to have asked Lindemann of what use was the proof that <i>pi</i> is not algebraic inasmuch as irrational numbers are nonexistent. Sometimes it is reported that his movement died of inanition. We shall see later that it can be said to have reappeared in a new form in the work of Poincaré and Brouwer."</div><div style="text-align: justify;">"David Hilbert... described the new transfinite arithmetic as 'the most astonishing product of mathematical thought, one of most beautiful realizations of human activity in the domain of the purely intelligible.'"</div><div style="text-align: justify;">"Liouville... constructed an extensive class of nonalgebraic real numbers. The particular class that he developed are known as Liouville numbers, the more comprehensive set of nonalgebraic real numbers being called transcendental numbers."</div><div style="text-align: justify;">"Here, finally, was the answer to the classical problem of the quadrature of the circle. In order for the quadrature of the circle to be possible with Euclidean tools, the number <i>pi</i> would have to be the root of a algebraic equation with a root expressible in square roots. Since <i>pi</i> is not algebraic, the circle cannot be squared according to the classical rules. Emboldened by his success, Ferdinand Lindemann later published several purported proofs of Fermat's last theorem, but they were shown by others to be invalid."</div><div style="text-align: justify;">"Boole carried the formalism to its conclusion. No longer was mathematics to be limited to questions of number and continuous magnitude. Here for the first time the view is clearly expressed that the essential characteristic of mathematics is not so much its content as its form. If any topic is presented in such a way that it consists of symbols and precise rules of operation upon these symbols, subject only to the requirement of inner consistency, this topic is part of mathematics."</div><div style="text-align: justify;">"Boole's <i>Investigation of the Laws of Thought </i>of 1854 is a classic in the history of mathematics, for it amplified and clarified the ideas presented in 1847, establishing both formal logic and a new algebra, known as Boolean algebra, the algebra of sets, or the algebra of logic."</div><div style="text-align: justify;">"De Morgan was a lover of conundrums and witticisms, many of which are collected in his well-known <i>Budget of Paradoxes</i>, a delightful satire on circle-squarers edited after his death by his widow."</div><div style="text-align: justify;">"Just as Lobachevsky had created a new geometry consistent within itself, by abandoning the parallel postulate, so Hamilton created a new algebra, also consistent with itself, by discarding the commutative postulate for multiplication... Hamilton, quite naturally, always regarded the discovery of quaternions as his greatest achievement. In retrospect it is clear that it was not so much this particular type fo algebra that was significant, but rather the discovery of the tremendous freedom that mathematics enjoys to build algebras that need not satisfy the restrictions imposed by the so-called 'fundamental laws,' which up to that time, supported by the vague principle of permanence of form, had been invoked without exception."</div><div style="text-align: justify;">"The concept of an n-dimensional vector space had received detailed treatment in Hermann Grassmann's <i>Ausdehnungslehre</i>, published in Germany in 1844. Grassmann also was led to his results by studying the geometric interpretation of negative quantities and the addition and multiplication of directed line segments in two and three dimensions. He emphasized the dimension concept and stressed the development of an abstract science of 'spaces' and 'subspaces' which would include the geometry of two and three dimensions as special cases."</div><div style="text-align: justify;">"C. S. Peirce continued his father's work in this direction by showing that of all these algebras there are only three in which division is uniquely defined: ordinary real algebra, the algebra of complex numbers, and the algebra of quaternions."</div><div style="text-align: justify;">"In 1870 William Kingdon Clifford wrote a paper 'On the Space-Theory of Matter' in which he showed himself to be a stauch British supporter of the non-Euclidean geometry of Lobachevsky and Riemann."</div><div style="text-align: justify;">"The concept of field was implicit in work by Abel and Galois, but Dedekind in 1879 seems to have been the first one to give an explicit definition of a number field—a set of numbers that form an Abelian group with respect to addition and with respect to multiplication (except for the inverse of zero) and for which multiplication distributes over addition. Simple examples are the system of rational numbers, the real number system, and the complex number field."</div><div style="text-align: justify;">"Not satisfied to leave the basic concepts of arithmetic, hence of algebra, in so vague a state, the German logician and mathematician F. L. G. Frege was led to his well-known definition of cardinal number. The basis his views came from the theory of sets of Boole and Cantor."</div><div style="text-align: justify;">"Frege undertook to derive the concepts of arithmetic from those of formal logic, for he disagreed with the assertion of C. S. Peirce that mathematics and logic are clearly distinct."</div><div style="text-align: justify;">"Peano's aim was similar to that of Frege, but it was at the same time more ambitious and yet more down to earth. He hoped in his <i>Formulaire de mathématiques </i>to develop a formalized language that should contain not only mathematical logic but all the most important branches of mathematics."</div><div style="text-align: justify;">"Poincarés doctoral thesis had been o differential equations... which led to one of his most celebrated contributions to mathematics—the properties of automorphic functions."</div><div style="text-align: justify;">"... as a date for the beginning of the subject [of topology] none is more appropriate than 1895, the year in which Poincaré published his <i>Analysis situs</i>."</div><div style="text-align: justify;">"Poincaré referred to Cantor's <i>Mengenlehre</i> as a disease from which later generations would regard themselves as having recovered."</div><div style="text-align: justify;">"Hilbert's <i>Grundlagen </i>opened with a motto taken from Kant: 'All human knowledge begins with intuitions, proceeds to concepts, and terminates in ideas,' but Hilbert's development of geometry established a decidedly anti-Kantian view of the subject."</div><div style="text-align: justify;">"... the first of [Hilbert's] twenty-three problems... concerned the structure of the real number continuum. The question is made up of two related parts: (1) Is there a transfinite number between that of a denumerable set and the number of the continuum; and (2) can the numerical continuum be considered a well-ordered set? The second part asks whether the totality of all real numbers can be arranged in another manner so that every partial assemblage will have a first element. This is closely related with t he axiom of choice named for the German mathematician Ernst Zermelo..."</div><div style="text-align: justify;">"Efforts to solve the second query of Hilbert led in 1931 to a surprising conclusion on the part of a young Austrian mathematician, Kurt Gödel. Gödel showed that within a rigidly logical system such as Russell and Whitehead had developed for arithmetic, propositions can be formulated that are undecidable or undemonstrable within the axioms of the system."</div><div style="text-align: justify;">"In a sense Gödel's theorem, sometimes regarded as the most decisive result in mathematical logic, seems to dispose negatively of Hilbert's second query. In its implications the discovery by Gödel of undecidable propositions is as disturbing as was the disclosure by Hippasus of incommensurable magnitudes, for it appears to foredoom hope of mathematical certitude through use of the obvious methods."</div><div style="text-align: justify;">"If any one book marks the emergence of point set topology as a separate discipline, it is Hausdorff's <i>Grundzüge</i>. It is interesting to note that although it was the arithmetization of analysis that began the train of thought that led from Cantor to Hausdorff, in the end the concept of number is thoroughly submerged under a far more general point of view. Moreover, although the word 'point' is used in the title, the new subject has a little to do with the points of ordinary geometry as with the numbers of common arithmetic. Topology has emerged in the twentieth century as a subject that unifies almost the whole of mathematics, somewhat as philosophy seeks to coordinate all knowledge."</div><div style="text-align: justify;">"The first volume of Bourbaki's <i>Éléments </i>appeared in 1939, the thirty-first in 1965..." </div><div><div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span face="-webkit-standard, serif" lang="EN-US"><sup><o:p></o:p></sup></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span face="-webkit-standard, serif" lang="EN-US"><sup><o:p></o:p></sup></span></p><div style="text-align: justify;">- Carl B. Boyer, <i>A History of Mathematics</i>: Revised by Uta C. Merzbach; </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Thus, Cardan, in chapter 37 of Ars Magna (1545), sets up and solves the problem of dividing 10 into two parts whose product is 40. The equation is x(l0 - x) = 40. He obtains the roots 5 + √-15 and 5 - √-15, then says, 'putting aside the mental tortures involved,' multiply 5 + √-15 and 5 - √-15; the product is 25 - (-15) or 40."</div><div style="text-align: justify;">"The biggest improvement in arithmetic during the sixteenth and seventeenth centuries was the invention of logarithms."</div><div style="text-align: justify;"><span style="text-align: left;">"Euler had already defined logarithms as exponents and in 1728, in an unpublished manuscript (Opera Posthuma, II, 800-804), introduced 'e' for the base of the natural logarithms."</span></div><div><span style="text-align: justify;">"It would seem that Vieta's successors would immediately have been struck by the idea of general coefficients. But as far as one can judge, the introduction of letters for classes of numbers was accepted as a minor move in the development of symbolism."</span></div><div style="text-align: justify;">"Cardan's proof is geometrical; for Cardan, 't' and 'u' were volumes of cubes whose sides were the cube root of 't' and the cube root of 'u', and whose product was a rectangle formed by the two sides whose area was m/3... There is a difficulty with Cardan's solution of the cubic, which he observed but did not resolve. When the roots of the cubic are all real and distinct, it can be shown that t and u will be complex... Vieta, in De Aequationum Recognitione et Emendatione, written in 1591 and published in 1615, was able to solve the irreducible case of cubics by using a trigonometric identity, and so avoided the use of Cardan's formula. This method is also used today."</div><div style="text-align: justify;">"Of course the cubic equation has three roots. It was Leonhard Euler who, in 1732, gave the first complete discussion of Cardan's solution of the cubic, in which he emphasized that there are always three roots and pointed out how these are obtained."</div><div style="text-align: justify;">"Descartes, in the third book of La Geometrie, said that an equation can have as many distinct roots as the number of dimensions (degree) of the unknown. He said 'can have' because he considered negative roots as false roots. Later, by including imaginary and negative roots for the purpose of counting roots, he concluded that there are as many as the degree."</div><div style="text-align: justify;">"The binomial theorem for positive integral exponents was known by the Arabs of the thirteenth century... The arrangement of numbers in which each number is the sum of the two immediately above it, already known to Tartaglia, Stifel, and Stevin, was used by Pascal (1654) to obtain the coefficients of the binomial expansion... Despite the fact that this arrangement was known to many predecessors, it has been called Pascal's triangle."</div><div style="text-align: justify;">"The work on permutations and combinations is connected with another development, the theory of probability, which was to assume major importance in the late nineteenth century but which barely warrants mention in the sixteenth and seventeenth centuries."</div><div style="text-align: justify;">"Fermat's work in the theory of numbers determined the direction of the work in this area until Gauss made his contributions. Fermat's point of departure was Diophantus."</div><div style="text-align: justify;">"The dependence of algebra on geometry began to be reversed somewhat when Victa, and later Descartes, used algebra to help solve geometric con struction problems. The motivation for much of the algebra that appears in Vieta's In Artem Analyticam lsagoge, is solving geometric problems and systematizing geometrical constructions."</div><div style="text-align: justify;">"Algebra for Vieta meant a special procedure for discovery; it was analysis in the sense of Plato, who opposed it to synthesis."</div><div style="text-align: justify;">"While algebra was to Vieta largely a royal road to geometry, his vision was great enough to see that algebra had a life and meaning of its own."</div><div style="text-align: justify;">"The first differentials dy and dx of a function y = f(x) were legitimized in the nineteenth century, but the higher-order differentials, which the eighteenth-century men used freely, have not been put on a rigorous basis even today."</div><div style="text-align: justify;">"Euler showed how to use complex functions to evaluate real integrals... Euler remarks that every function of z which for z = x + iy takes the form M + iN, where M and N are real functions, also takes on, for z = x - iy, the form M - iN... This he states is the fundamental theorem of complex numbers.</div><div style="text-align: justify;">"A vital step that made the erection of a theory of functions of a complex variable more intuitively reasonable was the geometrical representation of complex numbers and of the algebraic operations with these numbers... Cotes, De Moivre, Euler, and Vandermonde... thought of the solutions as the vertices of a regular polygon."</div><div style="text-align: justify;">"A somewhat different geometric interpretation of complex numbers was given by a Swiss, Jean-Robert Argand (1768-1822). Argand, who was also self-taught and a bookkeeper, published a small book, Essai sur une maniere de representer les quantiles imaginaires dans les constructions geometriques... Argand, like Wessel, showed how complex numbers can be added and multiplied geometrically and applied these geometrical ideas to prove theorems of trigonometry, geometry and algebra."</div><div style="text-align: justify;">"Gauss was more effective in bringing about the acceptance of complex numbers. He used them in his several proofs of the fundamental theorem of algebra. In the first three proofs (1799, 1815, and 1816) he presupposes the one-to-one correspondence of points of the Cartesian plane and complex numbers. There is no actual plotting of x + iy, but rather of x and y as coordinates of a point in the real plane. Moreover, the proofs do not really use complex function theory because he separates the real and imaginary parts of the functions involved. He is more explicit in a letter to Bessel of 1811, wherein he says that a + ib is represented by the point (a, b) and that one can go from one point to another of the complex plane by many paths."</div><div style="text-align: justify;">"Gauss also introduced some basic ideas about functions of a complex variable. In the letter to Bessel of 1811... Gauss pointed out the necessity of taking imaginary (complex) limits into account."</div><div style="text-align: justify;">"Though these observations of Gauss and Poisson are indeed significant, neither published a major paper on complex function theory. This theory was founded by Augustin-Louis Cauchy."</div><div style="text-align: justify;">"Abel knew the work of Euler, Lagrange, and Legendre on elliptic integrals and may have gotten suggestions for the work he undertook from remarks made by Gauss, especially in his Disquisitiones Arithmeticae."</div><div style="text-align: justify;">"The other discoverer of elliptic functions was Carl Gustav Jacob Jacobi (1804-51). Unlike Abel, he lived a quiet life. Born in Potsdam to a Jewish family, he studied at the University of Berlin and in 1827 became a professor at Konigsberg."</div><div style="text-align: justify;">"The im portant point about the periods is that there are two periods (whose ratio is not real), so that the elliptic functions are doubly periodic. This was one of Abel's great discoveries."</div><div style="text-align: justify;">"The successes achieved in the study of the elliptic integrals and the corresponding functions encouraged the mathematicians to tackle a more difficult type, hyperelliptic integrals."</div><div style="text-align: justify;">"The study of a generalization of the elliptic and hyperelliptic integrals was begun by Galois, but the more significant initial steps were taken by Abel in his 1826 paper."</div><div style="text-align: justify;">"Though Abel did not carry the study of Abelian integrals very far, he proved a key theorem in the subject. Abel's basic theorem is a very broad generalization of the addition theorem for elliptic integrals."</div><div style="text-align: justify;">"A new period of discovery in the theory of algebraic functions, their integrals, and the inverse functions is due to Riemann. Riemann actually offered a much broader theory, namely, the treatment of multiple-valued functions, thus far only touched upon by Cauchy and Puiseux, and thereby paved the way for a number of different advances."</div><div style="text-align: justify;">"It seems very likely, on the basis of evidence given by Felix Klein, that Riemann's ideas on complex functions were suggested to him by his studies on the flow of electrical currents along a plane."</div>"The key idea in Riemann's approach to multiple-valued functions is the notion of a Riemann surface..."</div>"It is not possible to represent Riemann surfaces accurately in three dimensional space."</div><div><div style="text-align: justify;">"Riemann thought of his surface as an n-sheeted duplication of the plane, each replica completed by a point at infinity. However, it is difficult to follow all of the arguments involving such a surface by visualizing in terms of the n interconnected planes. Hence mathematicians since Riemann's time have suggested equivalent models that are easier to contemplate. It is known that a plane may be transformed to a sphere by stereographic projection."</div><div><div style="text-align: justify;">"It is important to note that for Riemann the domain of u was any part of a Riemann surface, including possibly the whole surface. In his doctoral thesis he considered surfaces with boundaries and only later used closed surfaces, that is, surfaces without boundaries, such as a torus."</div><div style="text-align: justify;">"... if a surface is simply connected, no cross-cut is necessary and the surface has connectivity connectivity (Grundzahl) 1. A surface is called doubly connected if by one appropriate cross-cut it is changed into a single simply connected surface. Then the connectivity is 2. A plane ring and a spherical surface with two holes are examples. A surface is called triply connected when by two appropriate cross-cuts it is converted into a single simply connected surface. Then the connectivity is 3. An example is the (surface of a) torus with a hole in it."</div><div style="text-align: justify;">"The analysis of Abelian integrals sheds light on what kinds of functions can exist on a Riemann surface. Riemann treats two classes of functions; the first consists of single-valued functions on the surface whose singularities are poles. The second class consists of functions that are one-valued on the surface provided with cross-cuts but discontinuous along each cross-cut."</div><div style="text-align: justify;">"There are also everywhere finite functions on the surface. One can represent such a function by means of functions of the first of the above classes. One can also build up algebraic functions on a surface by combining integrals of the second and third kind. Thus Riemann showed that algebraic functions can be represented as a sum of transcendental functions. Also single-valued functions algebraically infinite in a given number of points can be represented by rational functions."</div><div style="text-align: justify;">"Weierstrass also worked on Abclian integrals during the 1860s. But he and the other successors of Riemann in this field set up transcendental functions from the algebraic functions, the reverse of Riemann's procedure."</div><div style="text-align: justify;">"Galois not only created the first significant coherent body of algebraic theory but he introduced new notions which were to be developed into still other broadly applicable theories of algebra. In particular the concepts of a group and a field emerged from his work and Abel's."</div><div style="text-align: justify;">"Abel read Lagrange's and Gauss's work on the theory of equations and while still a student in high school tackled the problem of the solvability of higher degree equations by following Gauss's treatment of the binomial equation. At first Abel thought he had solved the general fifth degree equation by radicals. But soon convinced of his error he tried to prove that such a solution was not possible (1824-26). First he succeeded in proving the theorem: The roots of an equation solvable by radicals can be given such a form that each of the radicals occurring in the expressions for the roots is expressible as a rational function of the roots of the equation and certain roots of unity. Abel then used this theorem to prove the impossibility of solving by radicals the general equation of degree greater than four."</div><div style="text-align: justify;">"In this last work Abel introduced two notions (though not the terminology), field and polynomial irreducible in a given field. By a field of numbers he, like Galois later, meant a collection of numbers such that the sum, difference, product, and quotient of any two numbers in the collection (except division by 0) are also in the collection. Thus the rational numbers, real numbers, and complex numbers form a field. A polynomial is said to be reducible in a field (usually the field to which its coefficients belong) if it can be expressed as the product of two polinomials of lower degrees and with coefficients in the field. If the polinomial cannot be so expressed it is said to be irreducible."</div><div style="text-align: justify;">"After Abel's work the situation was as follows: Although the general equation of degree higher than four was not solvable by radicals, there were many special equations, such as the binomial equations x to the power of p = a, p a prime, and Abelian equations that were solvable by radicals. The task now became to determine which equations are solvable by radicals. This task, just begun by Abel, was taken up by Evariste Galois (1811-32)."</div><div style="text-align: justify;">"Like Lagrange, Galois makes use of the notion of substitutions or permutations of the roots."</div><div style="text-align: justify;">"Let R be the field formed by rational expressions in p and q and with coefficients in the field of rational numbers... One says with Galois that R is the field obtained by adjoining the letters or indeterminates p and q to the rational numbers. This field R is the field or domain of rationality of the coefficients of the given equation and the equation is said to belong to the field R. Like Abel, Galois did not use the terms field or domain of rationality but he did use the concept."</div><div style="text-align: justify;"><span style="text-align: left;">"... the group of an equation with respect to a field R is the group or subgroup of substitutions on the roots which leave invariant all the relations with coefficients in R among the roots of the given equation (wether general or particular)."</span></div><div style="text-align: justify;">"We may sec from the above discussion that the group of an equation is a key to its solvability because the group expresses the degree of indistinguishability of the roots. It tells us what we do not know about the roots."</div><div style="text-align: justify;">"If all of the successive resolvents are binomial equations, then, in view of Gauss's result on binomial equations, we can solve the original equation by radicals."</div><div style="text-align: justify;"><span style="text-align: left;">"One other development of the middle nineteenth century is both note worthy and instructive. Arthur Cayley, very much influenced by Cauchy's work, recognized that the notion of substitution group could be generalized. Cayley introduced the notion of an abstract group."</span></div><div><div style="text-align: justify;">"In 1822 Gauss won a prize offered by the Danish Royal Society of Sciences for a paper on the problem of finding the analytic condition for transforming any surface conformally onto any other surface... Gauss did not answer the question of whether and in what way a finite portion of the surface can be mapped conformally onto the other surface. This problem was taken up by Riemann in his work on complex function."</div><div style="text-align: justify;">"Until this work surfaces had been studied as figures in three-dimensional Euclidean space. But Gauss showed that the geometry of a surface could be studied by concentrating on the surface itself<span style="text-align: left;">... given these u and v coordinates on the surface and the expression for dsˆ2 in terms of E, F, and G as functions of u and v, all the properties of the surface follow from this expression... </span><span style="text-align: left;">the surface can be considered as a space in itself because all its properties are determined by the dsˆ2."</span></div><div style="text-align: justify;">"Riemann's idea was that by relying upon analysis we might start with what is surely a priori about space and deduce the necessary consequences. Any other properties of space would then be known to be empirical. Gauss had concerned himself with this very same problem but of this investigation only the essay on curved surfaces was published. Riemann's search for what is a priori led him to study the local behavior of space or, in other words, the differential geometric approach as opposed to the consideration of space as a whole as one finds it in Euclid or in the non Euclidean geometry of Gauss, Bolyai, and Lobatchevsky."</div></div><div style="text-align: justify;">"Prior to and during the work on non-Euclidean geometry, the study of projective properties was the major geometric activity. Moreover, it was evident from the work of von Staudt that projective geometry is logically prior to Euclidean geometry because it deals with qualitative and descriptive properties that enter into the very formation of geometrical figures and does not use the measures of line segments and angles. This fact suggested that Euclidean geometry might be some specialization of projective geometry."</div><div style="text-align: justify;">"Independently of Laguerre, Cayley made the next step. He approached geometry from the standpoint of algebra, and in fact was interested in the geometric interpretation of quantics (homogeneous polynomial forms)..."</div><div style="text-align: justify;">"Cayley's work proved to be a generalization of Laguerre's idea. The latter had used the circular points at infinity to define angle in the plane. The circular points are really a degenerate conic. In two dimensions Cayley introduced any conic in place of the circular points and in three dimensions he introduced any quadric surface. These figures he called the absolutes. Cayley asserted that all metric properties of figures are none other than projective properties augmented by the absolute or in relation to the absolute. He then showed how this principle led to a new expression for angle and an expression for distance between two points. He starts with the fact that the points of a plane arc represented by homogeneous coordinates. These coordinates are not to be regarded as distances or ratios of distances but as an assumed fundamental notion not requiring or admitting explanation."</div><div style="text-align: justify;">"It will be noted that the expressions for length and angle involve the algebraic expression for the absolute. Generally the analytic expression of any Euclidean metrical property involves the relation of that property to the absolute. Metrical properties are not properties of the figure per se but of the figure in relation to the absolute... Cayley's idea was taken over by Felix Klein (1849-1 925) and generalized so as to include the non-Euclidean geometries."</div><div style="text-align: justify;">"Klein's major idea was that by specializing the nature of Cayley's absolute quadric surface (if one considers three-dimensional geometry) one could show that the metric, which according to Cayley depended on the nature of the absolute, would yield hyperbolic and double elliptic geometry. When the second degree surface is a real ellipsoid, real elliptic paraboloid, or real hyperboloid of two sheets one gets Lobatchevsky's metric geometry, and when the second degree surface is imaginary one gets Riemann's non Euclidean geometry (of constant positive curvature)."</div><div style="text-align: justify;">"Klein's success in subsuming the various metric geometries under projective geometry led him to seek to characterize the various geometries not just on the basis of nonmetric and metric properties and the distinctions among the metrics but from the broader standpoint of what these geometries and other geometries which had already appeared on the scene sought to accomplish... Klein's basic idea is that each geometry can be characterized by a group of transformations and that a geometry is really concerned with invariants under this group of transformations."</div><div style="text-align: justify;">"Klein also projected the study of invariants under one-to-one continuous transformations with continuous inverses. This is the class now called homeomorphisms and the study of the invariants under such transformations is the subject matter of topology."</div><div style="text-align: justify;">"The computation ofalgebraic invariants did not end with Hilbert's work. Emmy Noether (1882-1935), a student of Gordan, did a doctoral thesis in 1907 'On Complete Systems of lnvariants for Ternary Biquadratic Forms.' She also gave a complete system of covariant forms for a ternary quartic, 331 in all. In 1910 she extended Gordan's result to n variables."</div><div style="text-align: justify;">"This view of real curves with complex points was already familiar from the work in projective geometry. To the theory of birational transformations of the surface corresponds a theory of birational transforma tions of the plane curve... Higher multiple points on curves also correspond to other peculiarities of Riemann surfaces."</div><div style="text-align: justify;">"This work replaces Riemann's determination of the most general algebraic function having given points at which it becomes infinite. Also the Brill-Noether result transcends the projective viewpoint... for the first time the theorems on points of intersection of curves were established algebraically. The counting of constants as a method was dispensed with."</div><div style="text-align: justify;">"The topic which has received the greatest attention over the years is the study of singularities of plane algebraic curves."</div><div style="text-align: justify;">"The subject of algebraic geometry now embraces the study of higher dimensional figures (manifolds or varieties) defined by one or more algebraic equations. Beyond generalization in this direction, another type, namely, the use of more general coefficients in the defining equations, has also been undertaken. These coefficients can be members of an abstract ring or field and the methods of abstract algebra are applied. The several methods of pursuing algebraic geometry as well as the abstract algebraic formulation introduced in the twentieth century have led to sharp differences in language and methods of approach so that one class of workers finds it very difficult to understand another."</div><div style="text-align: justify;">"The critical investigation of geometry extended beyond the reconstruction of the foundations. Curves had of course been used freely. The simpler ones, such as the ellipse, had secure geometrical and analytical definitions. But many curves were introduced only through equations and functions. The rigorization of analysis had included not only a broadening of the concept offunction but the construction ofvery peculiar functions, such as continuous functions without derivatives."</div><div style="text-align: justify;">"However, Jordan's definition of a curve, though satisfactory for many applications, was too broad. In 1890 Peano discovered that a curve meeting Jordan's definition can run through all the points of a square at least once."</div><div style="text-align: justify;">"These examples show that the definition of a curve Jordan suggested is not satisfactory because a curve, according to this definition, can fill out a square. The question of what is meant by a curve remained open. Felix Klein remarked in 1898 that nothing was more obscure than the notion of a curve."</div><div style="text-align: justify;">"By 1900 no one had proved that every closed plane curve, as defined by Jordan and Pcano, encloses an area. Helge von Koch (1870-1924) complicated the area problem by giving an example of a continuous but non-differentiable curve with infinite perimeter which bounds a finite area."</div><div style="text-align: justify;">"...The idea that motivated the creation of functional analysis is that all of these operators could be considered under one abstract formulation of an operator acting on a class of functions. Moreover, these functions could be regarded as elements or points of a space. Then the operator transforms points into points and in this sense is a generalization of ordinary transformations such as rotations. Some of the above operators carry functions into real numbers, rather than functions. Those operators that do yield real or complex numbers are today called functionals and the term operator is more commonly reserved for the transformations that carry functions into functions."</div><div style="text-align: justify;">"... Hilbert did not regard these sequences as coordinates of a point in space, nor did he use geometrical language. This step was taken by Schmidt and Frechet... functions were represented as points of an infinite-dimensional space... Such a space has since been called a Hilbert space."</div><div style="text-align: justify;">"The central part of functional analysis deals with the abstract theory of the operators that occur in differential and integral equations. This theory unites the eigenvalue theory of differential and integral equations and linear transformations operating in n-dimensional space."</div><div style="text-align: justify;">"Though a Banach space is more general than a Hilbert space, because the inner product of two elements is not presupposed to define the norm, as a consequence the key notion of two elements being orthogonal is lost in a Banach space that is not also a Hilbert space. The first and third sets of conditions hold also for Hilbert space, but the second set is weaker than conditions on the norm in Hilbert space..."</div><div style="text-align: justify;">"Quantum mechanical research showed that the observables of a physical system can be represented by linear symmetric operators in a Hilbert space and the eigenvalues and eigenvectors (eigenfunctions) of the particular operator that represents energy are the energy levels of an electron in an atom and corresponding stationary quantum states of the system."</div><div style="text-align: justify;">"... a general theory unifying Hilbert's work and the eigenfunction theory for differential equations was missing. The use of operators in quantum theory stimulated work on an abstract theory of Hilbert space and operators; this was first undertaken by John von Neumann (1903-57) in 1927."</div><div style="text-align: justify;">"Tensor analysis is often described as a totally new branch of mathematics, created ab initio either to meet some specific objective or just to delight mathematicians. It is actually no more than a variation on an old theme, namely, the study of differential invariants associated primarily with a Riemannian geometry."</div><div><div style="text-align: justify;">"Dedekind's under standing of the value of abstraction is noteworthy. He saw clearly in his work on algebraic number theory the value of structures such as ideals and fields. He is the effective founder of abstract algebra."</div><div style="text-align: justify;">"By 1880 new ideas on groups came into the picture. Klein, influenced by Jordan's work on permutation groups, had shown in his Erlanger Programm that infinite transformation groups, that is, groups with infinitely many elements, could be used to classify geometries. These groups, moreover, are continuous in the sense that arbitrarily small trans formations are included in any group or, alternatively stated, the parameters in the transformations can take on all real values."</div><div style="text-align: justify;">"Sophus Lie, who had worked with Klein around 1870, took up the notion of continuous transformation groups, but for other purposes than the classification of geometries. He had observed that most of the ordinary differential equations that had been integrated by older methods were invariant under classes of continuous transformation groups, and he thought he could throw light on the solution of differential equations and classifythem."</div><div style="text-align: justify;">"Though the structures rings and ideals were well known and utilized in Dedekind's and Kronecker's work on algebraic numbers, the abstract theory is entirely a product of the twentieth century."</div><div style="text-align: justify;">"In the late nineteenth century a great variety of concrete linear associative algebras were created. These algebras, abstractly considered, are rings, and when the theory of abstract rings was formulated it absorbed and generalized the work on these concrete algebras. This theory of linear associative algebras and the whole subject of abstract algebra received a new impulse when Wedderburn, in his paper "On Hypercomplex Numbers," took up results of Elie Cartan (1869-1951) and generalized them."</div><div style="text-align: justify;">"The theory of rings and ideals was put on a more systematic and axio matic basis by Emmy Noether, one of the few great women mathematicians, who in 1922 became a lecturer at Gottingcn. Many results on rings and ideals were already known when she began her work, but by properly formulating the abstract notions she was able to subsume these results under the abstract theory. "</div><div style="text-align: justify;">"Lie algebras arose out of Lie's efforts to study the structure of his continuous transformation groups. To do this Lie introduced the notion of infinitesimal transformations. Roughly speaking, an infinitesimal transformation is one that moves points an infinitesimal distance." </div><div style="text-align: justify;">"In his thesis, Sur la structure des groupes de transformationsfinis et continus, Cartan gave the complete classification of all simple Lie algebras over the field of complex values for the variables and parameters."</div><div style="text-align: justify;">"... abstract algebra has subverted its own role in mathematics. Its concepts were formulated to unify various seemingly diverse and dis similar mathematical domains as, for example, group theory did. Having formulated the abstract theories, mathematicians turned away from the original concrete fields and concentrated on the abstract structures. Through the introduction of hundreds of subordinate concepts, the subject has mush roomed into a welter of smaller developments that have little relation to each other or to the original concrete fields. Unification has been succeeded by diversification and specialization. Indeed, most workers in the domain of abstract algebra are no longer aware of the origins of the abstract structures, nor are they concerned with the application of their results to the concrete fields."</div><div style="text-align: justify;">"The man who first formulated properly the nature of topological investigations was Mobius, who was an assistant to Gauss in 1813. He had classified the various geometrical properties, projective, affine, similarity, and congruence and then in 1863 in his "Theorie der elementaren Verwand schaft" (Theory of Elementary Relationships), he proposed studying the relationship between two figures whose points are in one-to-one correspondence and such that neighboring points correspond to neighboring points. He began by studying the geometria situs of polyhedra... In 1858 he and Listing independently discovered one-sided surfaces, of which the Mobius band is best known."</div><div style="text-align: justify;">"The greatest impetus to topological investigations came from Riemann's work in complex function theory. In his thesis of 1851 on complex functions and in his study of Abelian functions, he stressed that to work with functions some theories of analysis situs were indispensable. In these investigations he found it necessary to introduce the connectivity of Riemann surfaces."</div><div style="text-align: justify;">"Since the structure of Riemann surfaces is complicated and a topologically equivalent figure has the same genus, some mathematicians sought simpler structures... Klein suggested another topological model, a sphere with handles." </div><div style="text-align: justify;">"The complexity of even two-dimensional closed figures was emphasized by Klein's introduction in 1882 of the surface now called the Klein bottle."</div><div style="text-align: justify;">"The projective plane is another example of a rather complex closed surface... It can also be formed by pasting the edge of a circle along the edge of a Mobius band (which has just a single edge), though again the figure cannot be constructed in three dimensions without having points coincide that should be distinct."</div><div style="text-align: justify;">"The man who made the first systematic and general attack on the combinatorial theory of geometrical figures, and who is regarded as the founder of combinatorial topology, is Henri Poincare (1854- 1912)... Though he used curved cells or pieces of his figures and treated manifolds, we shall formulate his ideas in terms of complexes and simplexes, which were introduced later by Brouwer." </div><div style="text-align: justify;">"Poincare introduced next the important quantities he called the Betti numbers (in honor of Enrico Betti). For each dimension of possible simplexes in a complex, the number of independent cycles of that dimension is called the Betti number of that dimension (Poincare actually used a number that is 1 more than Betti's connectivity number.) Thus in the case of the ring, the zero-dimensional Betti number is 1."</div><div style="text-align: justify;">"In his efforts to distinguish complexes, Poincare introduced (1895) one other concept that now plays a considerable role in topology, the fundamental group of a complex, also known as the Poincare group or the first homotopy group. The idea arises from considering the distinction between simply and multiply connected plane regions. In the interior of a circle all closed curves can be shrunk to a point. However, in a circular ring some closed curves, those that surround the inner circular boundary, cannot be shrunk to a point, whereas those closed curves that do not surround the inner boundary can be shrunk to a point."</div><div style="text-align: justify;">"... Another change in the formulation of basic combinatorial properties made during the years of 1925 to 1930 by a number of men and possibly suggested by Emmy Noether, was to recast the theory of chains, cycles and bounding cycles into the language of group theory."</div><span style="text-align: left;">- Kline, Morris. </span><i style="text-align: left;">Mathematical Thought: From Ancient to Modern Times</i><span style="text-align: left;">.</span></div></div></div><div><div><div><br /></div>
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See also:<br />
- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html">actual infinite falling (against Carlo Rovelli's pseudo-problem)</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html">the dogma of semantic uniformity & Python Gored Naturalism</a>; <br />
- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html">the odd transformation of Der Herr Warum (Gödel & Resnais)</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html">the only three types of ingenuity (with Cantor & Dedekind)</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/why-self-help-books-are-not-to-be.html">self-help books (with Rupert Sheldrake)</a>;<br />
- <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html">what is REAL space? what is REAL number?</a><br />
- <a href="https://aletche.blogspot.com/2018/12/timothy-leary-in-1990s-how-to-talk.html">Timothy Leary in the 1990s</a>;<br />
- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html">5G?! Get real...</a><br />
- <a href="https://aletche.blogspot.com/2018/10/list-of-two-charming-scientists-under.html">list of charming scientists/engineers</a>;<br />
- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>;<br />
- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html">view from Berthe Trépat's apartment</a>;<br />
- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">list des déclencheurs musicaux</a>;<br />
- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness (with Yasuo Yuasa)</a>;<br />
- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception (with Huxley)</a>;<br />
- <a href="https://aletche.blogspot.com/2016/03/structuralism-poststructuralism.html">Structuralism, Poststructuralism (with Julia Kristeva)</a>;<br />
- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">List des figures du chaos primordial (Deleuze)</a>;<br />
- <a href="https://aletche.blogspot.com/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism (Viveiros de Castro vs. Haroldo de Campos)</a>;<br />
- <a href="https://aletche.blogspot.com/2015/12/piano-playing-kochevitsky.html">Piano Playing (with Kochevitsky)</a>;<br />
- <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">L'Affirmation de l'âne (review of Smolin/Unger's The Singular Universe)</a>;<br />
And also:<br />
- <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html">Dogen with Hagakure</a>;<br />
- <a href="https://aletche.blogspot.com/2015/07/larticulation-blanchotienne-des-notions.html">L'articulation (Maurice Blanchot)</a>;<br />
- <a href="https://aletche.blogspot.com/2016/01/lintelligence-des-fleurs-maeterlinck.html">L'intelligence des fleurs</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/02/blog-post_9.html" target="_blank">Trondheim (Norway)</a>; <br />
- <a href="https://aletche.blogspot.com/2012/07/blog-post.html">Spooky Blue</a>;<br />
- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900">Interactive while indifferent—Kinds & Phantasmagoria circa 1900</a>;</div><div style="text-align: justify;"><div>- <a href="https://www.academia.edu/20620553/Mathematics_is_Metaphysics_Fernando_Zalamea" target="_blank">Mathematics is Metaphysics (Fernando Zalamea)</a>; </div><div>- <a href="https://appliedvirtualitylab.files.wordpress.com/2015/09/synthetic-philosophy-of-contemporary-mathematics-web.pdf" target="_blank">Synthetic Philosophy of Mathematics (Fernando Zalamea)</a>; </div><div>- <a href="https://www.erudit.org/en/journals/philoso/2010-v37-n1-philoso3706/039718ar/" target="_blank">La vision unificatrice de Grothendieck (Mathieu Bélanger)</a>; </div><div>- <a href="http://www.implications-philosophiques.org/deleuze-et-les-mathematiques/" target="_blank">Deleuze et les mathématiques (Anna Longo)</a>; </div><div>- <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=1421&context=tme" target="_blank">The Mathematical Continuum: A Haunting Problematic (Elizabeth de Freitas)</a>; </div><div>- <a href="https://www.academia.edu/57393028/Infinitesimal_how_a_dangerous_mathematical_theory_shaped_the_modern_world" target="_blank">Infinitesimal (review of Amir Alexander's book)</a>;</div><div><div><span style="text-align: left;"><span style="text-align: justify;">- </span><a href="https://periodicos.ufmg.br/index.php/kriterion/article/view/22240" style="text-align: justify;" target="_blank">Círculo Vicioso y Revolución Crítica en la Teoría de los Problemas (Gonzalo Santaya)</a><span style="text-align: justify;">; </span></span></div><div><span style="text-align: left;"><span style="text-align: justify;">- <a href="http://deleuziana.com.ar/Deleuze%20y%20las%20fuentes%20de%20su%20filosofia/SANTAYACalculoTrascendental.pdf" target="_blank">El cálculo transcendental: Gilles Deleuze y el cálculo diferencial (Gonzalo Santaya)</a>; </span></span></div></div><div><span style="text-align: left;"><span style="text-align: justify;"><br /></span></span></div><div><span style="text-align: left;"><span style="text-align: justify;">*****extremely useful site for reviewing almost all mathematical concepts and skills in a systematic and organized way (Sal Khan's Academy): <a href="https://www.khanacademy.org/math" style="text-align: left;">https://www.khanacademy.org/math</a>; </span></span></div></div>
</div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-59281905710839304772019-01-20T12:52:00.088-08:002024-02-18T04:32:48.395-08:00what is REAL space? what is REAL number? & do fields fluctuate? (the greatest problem of all, now fully illustrated)<div>
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Somnambule 1 (by A/Z, <a href="https://www.juststructontologin.com/video.html" target="_blank">for more see here</a>);</div><div style="text-align: justify;">Duchamp in Maya Deren's Witch's Cradle (1943); </div><div style="text-align: justify;">The Dimension of Dali (Joan Úbeda & Susi Marquès, 2004);</div></div><div style="text-align: justify;"><span style="text-align: left;">John Cage performing Water Walk on TV (1960);</span></div><div style="text-align: justify;"><span style="text-align: left;">Edgard Varèse's Étude pour Espace (Youtube); </span></div><div style="text-align: justify;">The Quadratic Formula: Why do we Complete the Square? (Presh Talwalkar/Youtube);</div><div style="text-align: justify;"><span style="text-align: left;">Transforming Algebraic Function (Professor Dave Explains/Youtube);</span></div><div style="text-align: justify;"><span style="text-align: left;">Shifting, Stretching, and Reflecting Parent Function Graphs (Mario's Math Tutoring/Youtube); </span></div><div style="text-align: justify;"><span style="text-align: left;">Graphing Polynomials (Eddie Woo/Youtube); </span></div><div style="text-align: justify;"><span style="text-align: left;">Graphing Cubic Functions (Eddie Woo/Youtube); </span></div><div style="text-align: justify;"><span style="text-align: left;">500 Years of NOT Teaching the Cubic Formula (Burkard Polster, Mathologer/Youtube); </span></div><div style="text-align: justify;"><span style="text-align: left;">What's a Tensor (Dan Fleisch/Youtube);</span></div><div style="text-align: justify;">Intro to the Fundamental Group: Algebraic Topology (Trefor Bazett & Tom Crawford/ Youtube); </div><div style="text-align: justify;">Necessity of Complex Numbers (Barton Zwiebach, MIT/Youtube, Spring 2016) [an open minded, honest & serious nutshell explanation of a fundamental question in physics & mathematics many scientists would rather not talk about];</div><div style="text-align: justify;"><div>Imaginary Numbers Are Real: Riemann Surfaces (Welch Labs/Youtube); </div></div><div style="text-align: justify;">Algebraic Operations & Geometrical Constructions (Gödelian Neoplatonists, A/Z 2022);</div><div style="text-align: justify;">Understanding Exponentiation and Multiplication with Negative Numbers (A/Z 2022);</div><div><br /><h4 style="text-align: justify;">Orations & disputations from the beginning of Queen Elizabeth's reign down to our own time:</h4><br /><div style="text-align: justify;"><div style="text-align: left;">"E pois, te digo, as estrelas, <br />no céu imenso espalhadas, <br />são a metade e outro tanto <br />das mesmas por Deus criadas; <br />e, se imaginas que minto <br />na quantidade que dei, <br />te desafio a contá-las... <br />para ver que não errei!"</div><div style="text-align: left;">Cancioneiro Guasca</div></div><div style="text-align: justify;"><div>"But those infinities are perhaps not inevitable..."</div><div>Ian Hacking</div><div><div><span style="text-align: left;"><i>"... </i>toutes ces grandeurs sont divisibles à l'infini, sans tomber dans leurs indivisibles, de sorte qu'elles tiennent toutes le milieu entre l'infini et le néant."</span></div><div>Pascal (Fragments de l'esprit géométrique)</div></div><div><div><div style="text-align: justify;">"Extraordinaire comme les mathématiques vous aident à vous connaitre."</div><div style="text-align: justify;">Molloy (man of fine parts and fertile fancy)</div>"... 'd' merely means 'a little bit of.'"<br />"Everything depends upon relative minuteness..."<br />Silvanus P. Thompson (Calculus Made Easy)<div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"Der phantasiestarke Mathematiker wird den Gebilden seines Denkens auch die Lebendigkeit der Anschauung einzuhauchen wissen, während Geister von schwächerer Flugkraft oder mehr abstrakter Richtung ihm in sein Reich konkreter Schöpfung und Belebung nicht zu folgen vermögen."</div><div style="text-align: justify;">Felix Hausdorff (<a href="https://archive.org/details/annalendernatur01ostwgoog/page/n9/mode/2up" target="_blank">Das Raumproblem/Annalen der Naturphilosophie 1904</a>)</div><div style="text-align: justify;">"Mais ce que je veux faire voir, c'est que, dans cette déformation, le monde n'est pas demeuré semblable à lui-même ; les carrés sont devenus des rectangles ou des parallélogrammes, les cercles des ellipses, les sphères des ellipsoïdes. Et cependant nous n'avons aucun moyen de savoir si cette déformation est réelle."</div><div style="text-align: justify;">Henri Poincaré (<a href="https://archive.org/details/scienceetmthod00poin/page/100/mode/2up" target="_blank">Science et Méthode</a>)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Es treten in uns fortwährend neue Vorstellungs-massen auf, welche sehr rasch aus unserm Bewusstsein wieder verschwinden. Wir beobachten eine stetige Thätigkeit unserer Seele. Jedem Act derselben liegt etwas Bleibendes zu Grunde, welches sich bei besonderen Anlässen (durch die Erinnerung) als solches kundgiebt, ohne einen dauernden Einfluss auf die Erscheinungen auszuüben. Es tritt also fortwährend (mit jedem Denkact) etwas Bleibendes in unsere Seele ein, welches aber auf die Erscheinungswelt keinen dauernden Einfluss ausübt. Jedem Act unserer Seele liegt also etwas Bleibendes zu Grunde, welches mit diesem Act in unsere Seele eintritt, aber in demselben Augenblick aus der Erscheinungswelt völlig verschwindet. Von dieser Thatsache geleitet, mache ich die Hypothese, dass der Weltraum mit einem Stoff erfüllt ist, welcher fortwährend in die ponderablen Atome strömt und dort aus der Erscheinungswelt (Körperwelt) verschwindet..."</div></div><div style="text-align: justify;">Bernhard Riemann (Neue mathematische Prinzipien der Naturphilosophie)</div></div></div></div><div style="text-align: justify;"><br /></div><div><div>"Since Einstein introduced discontinuity into the study of light, and de Broglie the continuity of waves into the study of matter, it is impossible to maintain the old idea of domains of physical facts that are separate from one another. The physics of the continuous represents a mode of treatment by differential equations of physical facts. The physics of discontinuity represents a mode of treatment of the same facts by other methods: group theory, calculation of matrices, quantum statistics, etc. <span style="text-align: left;">There thus exists a certain analogy between contemporary physics and contemporary mathematics, in that they offer each other the spectacle of facts amenable to being studied at the same time by the calculus of the continuous and by the calculus of the discontinuous."</span></div><div><div style="text-align: justify;">Albert Lautman (Essay on the Unity of Mathematical Sciences, Simon B. Duffy's translation)</div><div style="text-align: justify;">"Mathematics is constituted like physics: the facts to be explained were throughout history the paradoxes that the progress of reflection rendered intelligible by a constant renewal of the meaning of essential notions. Irrational numbers, the infinitely small, continuous functions without derivatives, the transcendence of e and of r, the transfinite had all been accepted by an incomprehensible necessity of fact before there was a deductive theory of them. They had the fate of these physical constants like c or h which were essential in an incomprehensible way in the most different domains, up until the genius of Maxwell, Planck and Einstein knew to see in the constancy of their value the connection of electricity and light, of light and energy."</div>"The idea that... Riemann manifold, which is the Einstein space, would be closed often evokes the image of a closed surface that the intuition could not help but locate in an infinite 3-dimensional space, and yet outside of this surface, by an incomprehensible paradox, there could be no matter, nor even space. The paradox disappears when one realizes that a manifold on which a dsˆ2 of more than two dimensions is defined is in no way amenable to an intuitive comparison with a surface. The notions of intrinsic differential geometry are purely intellectual, they characterize a mode of mathematical exploration of a manifold by following a path on this manifold, in opposition to the extrinsic method which considers this manifold as embedded in a Euclidean space to a sufficient number of dimensions."</div>"The Mobius ring... only has a single side, and that is an essentially extrinsic property since, to be realized, it is necessary to split the ring and untwist it, which implies a rotation around an axis exterior to the surface of the ring. It is nevertheless possible to characterize this ‘unilaterality’ by a purely intrinsic property. Consider in effect an arrow perpendicular to the line traced on the ring and move this arrow along the line, so that it is always situated on the surface. By presuming the surface transparent enough we realize that the arrow arrives at a point to cover its departure position with an inverse orientation. The surface is said to be non-orientable and this property could be observed by an observer bound to the surface, which would neither split the ring, nor untwist it... This example hints at the philosophical interest of algebraic topology (or even combinatorial topology): the geometric properties of relation to a very large extent let themselves be expressed in intrinsic algebraic properties and, to the extent that the intellectualization of the relations of a figure and of ambient figures is successful, the Kantian distinction between an aesthetic and an analytic is seen to vanish."<div>Albert Lautman (Essay on the Notions of Structure and Existence in Mathematics, Simon B. Duffy's translation)</div>"In seeing the sensible thus defined by a mixture of symmetry and dissymmetry, of identity and difference, it is impossible not to recall Plato’s Timaeus. The existence of bodies is based there on the existence of this receptacle that Plato calls the place and whose function consists, as [Albert] Rivaud has shown in the preface to his edition of the Timaeus (1932), in making possible the multiplicity of bodies and their alternation in a single place in the sensible world, just as the role of the Idea of the Other in the intelligible world is to ensure, by its mixture with the Same, both the connection and the separation of types. This reference to Plato enables the understanding that the materials of which the universe is formed are not so much the atoms and molecules of the physical theory as these great pairs of ideal opposites such as the Same and the Other, the Symmetrical and Dissymmetrical, related to one another according to the laws of a harmonious mixture. Plato also suggests more. The properties of place and matter, according to him, are not purely sensible, they are, as Rivaud goes on to say, the geometric and physical transposition of a dialectical theory. It is also possible that the distinction between left and right, as observed in the sensible world, is only the transposition on the plane of experience of a dissymmetrical symmetry which is equally constitutive of the abstract reality of mathematics. A common participation in the same dialectical structure would thus bring to the fore an analogy between the structure of the sensible world and that of mathematics, and would allow a better understanding of how these two realities accord with one another."</div><div>Albert Lautman (Symmetry and Dissymetry in Mathematics and Physics, Simon B. Duffy's translation [it is an ill-fated instance of the malignancy of this world that it happens I don't have the French original of Lautman's essays, & shall therefore by my ashes stand forever indebted to the heroine soul (chaste star!) who peradventure send me, with all her fraternity, the French original of just at least these choicest morsels so I could definitely pen them down here as a seasonable kindness to our whole parish!])</div></div></div><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"The continuum is one of the most complex concepts that humanity has had to decipher, not only in its technical, internal behavior, inside culture, but also in its constant, external entangling with the cosmos. Like Proteus, the sea god which changed his appearance at will, the continuum moves between the physical world and abstract ideals, between a subtle phaneron and wide hierarchical ramifications in mathematical models, between the most concrete biological evolution and arbitrary completions of discrete breaks. On its hand, a logic of continuity has to propose adequate signs, structures and rules to handle an important part of those passages. The triple action of semeiotics (syntactics, semantics, pragmatics) has to be put at work, in order to understand the global and local forces which shape the ongoing logical passages over the continuum."</div><div><a href="https://www.academia.edu/31948393/ZalameaPeirceCont_pdf" target="_blank">Fernando Zalamea (Peirce's Logic of Continuity)</a></div><div><br /></div><div><div>"Some digital audio mixing applications let the user set the grid or time signature on a per-track or even per-clip basis. These temporal grids need not be rigid. Rather, their tempi can be elastic, deforming in the presence of pivotal sound events, analogous to the way that spacetime is warped by the presence of matter (Einstein 1916). In the extreme, the grids may evaporate, leading to free and open temporal spaces."</div><span style="text-align: left;">Curtis Roads, Composing Electronic Music</span></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"It occurs to me that preliminary yagé nausea is motion sickness of transport to yagé state..."<br />"Fats Terminal came from The City Pressure Tanks where open life jets spurt a million forms, immediately eaten, the eaters canceled by black time fuzz..."<br />William S. Burroughs</div><div style="text-align: justify;"><div>"It is hard to explain, but it bends your thought into a nonlinear, looping sort of format... it <i>pretzels </i>your thoughts into Möbius strips; you see everything inside and out and curling all around itself."</div><div>James St. James</div><div>"Paysages dentelés, horizons fuyants, perspectives de villes blanchies par la lividité cadavéreuse de l'orage, ou illuminées par les ardeurs concentrées des soleils couchants, — profondeur de l'espace, allégorie de la profondeur du temps."</div><div>Baudelaire (Les Paradis artificiels)</div><div>"Qual o peso da luz?"</div></div><div style="text-align: justify;"><div>A Hora da Estrela (narrador)</div></div><div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div style="text-align: left;"><div style="text-align: justify;">"La métaphorisation de la métaphore, sa surdéterminabilité sans fond, semble inscrite dans la structure de la métaphore, mais comme sa négativité. Dès qu'on admet que dans une relation analogique tous les termes sont déjà pris, un à un, dans une relation métaphorique, tout se met à fonctionner non plus en soleil mais en étoile, la source ponctuelle de vérité ou de propriété restant invisible ou nocturne. Renvoyant en tout cas, dans le texte d'Aristote, au problème du nom propre ou de l'analogie de l'être."</div></div><div>Derrida (La mythologie blanche)</div><div>"... il n'y a pas d'espace homogène, soumis à un seul et même type de technique et d'économie... y a-t-il, à l'intérieur d'un espace auquel se rapporte un seul et même corps «propre», des facteurs d'hétérogénéité et par conséquent des impératifs économiques différents, voire incompatibles, entre lesquels il faut choisir et parmi lesquels des sacrifices sont nécessaires, et une organisation des hiérarchies."</div><div>Derrida (De la grammatologie)</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Avant l'actualisation, d'un part — une fois que l'individuation a eu lieu —, de l'autre: il nous faudra ainsi changer de métaphysique, ou plutôt renoncer à la métaphysique (celle de l'être éternel opposé au devenir, ou de l'être absolu opposé au à l'apparence), pour que, passant par cette autre distinction première, mais qui, cette fois, se refuse à la séparation (elle fait ressortir au contraire la constante transition du réel), on puisse entrer dans cette logique de la processivité (même la distinction aristotélicienne puissance/acte ne saurait cadrer, et même elle n'a rien à voir)..."</div><div style="text-align: justify;">François Jullien (Traité de l'efficacité) </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"The great square has no corners; </div><div style="text-align: justify;">The great completion is not completed..."</div><div style="text-align: justify;">Daodejing/41 (Edmunds Ryden's translation)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... that there is no present and no past, that there are no dates, that time—and language which is time's expression—is a series of coincidences which are general all over humanity."</div><div style="text-align: justify;">Richard Ellmann</div><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0cm;"><span face="" lang=""><o:p></o:p></span></p><div style="text-align: justify;">"Procurei demonstrar-lhe a insuficiência da caracterização tradicional da poesia como arte que se realiza no tempo, acentuando que as artes evoluíam no sentido de uma superação das noções de tempo e espaço..."</div></div><div style="text-align: justify;">Augusto de Campos (Memória e Desmemória)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... l'originalité du cubisme a trait à sa représentation, sans précédent connu, de la profondeur. Franquissant les limites conventionnelles de la troisième dimension, utilisées depuis la Renaissance... une certaine manière de représenter la <i>durée... </i>une connaissance nouvelle des intervalles, chargé d'autant d'énergie que les figures qui les déterminent. Dans la peinture cubiste, ce sont les objets déterminés par le peintre, ou plutôt leur dynamisme, qui crée l'espace..."</div><div style="text-align: justify;">André Masson (Peindre est une gageure/Écrits, anthologie établie par Françoise Levaillant)</div><div style="text-align: justify;">"Depuis Cézanne (bien qu'il se soit appuyé sur la perspective traditionnelle; en partie) l'inquiétude spatiale ne nous a plus quittés, et pourquoi? — Qui ne le sait: nous ne pouvons plus séparer le concept de l'espace de celui de la durée."</div><div style="text-align: justify;">André Masson (Depuis Cézanne.../Écrits, anthologie établie par Françoise Levaillant)</div><div style="text-align: justify;">"La touche employée comme il convient sert à prononcer les différents plans des objets. Fortement accusée elle les fait venir en avant: le contraire les recule."</div><div style="text-align: justify;">Delacroix (quoted by Masson, Le Maitre des Orages/Écrits, anthologie établie par Françoise Levaillant)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"L'espace pour le peintre d'Asie, n'est ni extérieur, ni intérieur, il est jeu d'énergies — surgissement pur. Il est l'insituable... un camp magnétique où se rencontrent et s'enchevêtrent des forces —un lieu où s'ébattent sillages et trajectoires. Et renoncer au foyer unique... Ces considerations sur l'émancipation spatiale, et l'expression des forces élémentaires ne se limitaient pas à la peinture à l'encre ou à l'eau, elles s'étendaient à la pratique de l'huile, dans le sens de la fluidité et de l'emportement. Ainsi, le Turner de la dernière période y trouverait sa place."</div><div style="text-align: justify;">André Masson (Une peiture de l'essentiel/Écrits, anthologie établie par Françoise Levaillant)</div><div style="text-align: justify;"><div>"[Sounds that are not noted] appear in the written music as silences, opening the doors of the music to the sounds that happen to be in the environment... The glass houses of Mies van der Rohe... There is no such thing as an empty space or an empty time."</div><div>John Cage (Experimental Music)</div></div><div style="text-align: justify;"><br /></div>
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<div style="text-align: justify;">
"... ein vollkommnes Ausser-sich-sein mit dem distinktesten Bewusstsein einer Unzahl feiner Schauder und Überrieselungen bis in die Fusszehen; eine Glückstiefe, in der das Schmerzlichste und Düsterste nicht als Gegensatz wirkt, sondern als bedingt, als herausgefordert, sondern als eine nothwendige Farbe innerhalb eines solchen Lichtüberflusses; ein Instinkt rhythmischer Verhältnisse, der weite Räume von Formen überspannt..."</div>
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"... das Süßeste, Leichtfertigste und Furchtbarste strömt aus Einem Born mit unsterblicher Sicherheit hervor. Man weiß bis dahin nicht, was Höhe, was Tiefe ist; man weiß noch weniger, was Wahrheit ist."</div>
</div>
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Nietzsche</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">"More surprising still is the fact that dimensionality is not the arbiter of the power of a set. The power of the set of points in a unit line segment is just the same as that of the points in a unit area or in a unit volume—or, for that matter, all the three-dimensional space. (Dimensionality, however, retains some measure of authority in that any one-to-one mapping of points in a space of unlike dimensionality is necessarily a discontinuous mapping.) So paradoxical were some results in point-set theory that Cantor himself on one occasion in 1877 wrote to Dedekind, 'I see it, but I don't believe it'; and he asked his friend to check the proof."</div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span face="-webkit-standard, serif" lang="EN-US"><sup><o:p></o:p></sup></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span face="-webkit-standard, serif" lang="EN-US"><sup><o:p></o:p></sup></span></p><div style="text-align: justify;">Carl B. Boyer (A History of Mathematics)</div><div><br /></div><div><div style="text-align: justify;">"What, it may be asked, is the nature of the Geometry in which the coordinates of any point may be complex quantities of the form as <i>x + ix', y + iy', z + iz'</i>? Such a Geometry contains as a particular case the Geometry of real points. From it the Geometry of real points may be deduced..."</div><div style="text-align: justify;">"A real length and an imaginary length are incommensurable, and do not in themselves involve any relative magnitudes. Like two real incommensurable quantities √2 and 3, whose squares are commensurable, the squares of a real and an imaginary quantity may be commensurable."</div><div style="text-align: justify;">"So long as the lengths considered are all real or all purely imaginary each system may be graphed in the same way, the quantities √+1 and √-1 being regarded as units in which the lengths are expressed, the only difference between these units lying in the fact that in one case the square on a line is regarded as positive and in the other negative."</div><div style="text-align: justify;">"If is a real point on a straight line and P a point on the straight line at a distance √-1 K from 0, the point P may be taken as the centre of an involution."</div><div style="text-align: justify;">"If is a real point on a straight line and P a point on the straight line at a distance √-1 K from 0, the point P may be taken as the centre of an involution."</div><div><div style="text-align: justify;">"The imaginary points form a new system of points. An imaginary point of the first system may be taken as a base point and an infinite number of points real with respect to this base point may be obtained and also an infinite number of points imaginary with respect to this base point. The real points with respect to this centre are imaginary points with respect to the base point first taken and are distinct from those obtained from the original base point."</div><div style="text-align: justify;">"... imaginary points occur in pairs, viz. in pairs of conjugate imaginary points, and the connector of any pair is the base of the involution of which they are the double points."</div><div style="text-align: justify;">"Two ranges of real or imaginary points are said to be projective when the anharmonic ratio of four points of one range is equal to the anharmonic ratio of the four corresponding points of the other range... there is in each of two projective ranges, one point termed the vanishing point, which corresponds to the point at infinity in the other range. The vanishing points may be real or imaginary."</div></div><div style="text-align: justify;"><div>John Leigh Smeathman Hatton, <i>The Theory of the Imaginary in Geometry</i></div><div><div>"The Divine Spirit found a sublime outlet in that wonder of analysis, that portent of the ideal world, that amphibian between being and not-being, which we call the imaginary root of negative unity."</div><div>Leibniz on imaginary numbers as quoted by Morris Kline (who has no understanding whatsoever of Leibniz's nature)</div></div><div><i><br /></i></div></div></div><div style="text-align: justify;">"... a mathematics attentive to the phenomenon of shifting, but with the capacity to detect invariants behind the flux, a mathematics that goes against the grain of supposedly ultimate foundations, absolute truths, unshakable stabilities, but which is nevertheless capable of stabilizing asymptotic webs of truth. In Grothendieck’s work, objects tend to be situated over certain ‘bases’ (the sheaf over its underlying topological space, the scheme over its spectrum), and many important problems arise when base changes are carried out."</div><div style="text-align: justify;">"... the dialectic of discovery and invention in Grothendieck... cannot be reduced to either of its two poles... a position as much realist (‘discovery’) as idealist (‘invention’) is indispensable in advanced mathematics, once the latter goes beyond a certain threshold of complexity for structures, languages and the transits/obstructions at stake."</div><div style="text-align: justify;"><a href="https://appliedvirtualitylab.files.wordpress.com/2015/09/synthetic-philosophy-of-contemporary-mathematics-web.pdf" target="_blank">Fernando Zalamea (Synthetic Philosophy of Mathematics)</a></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div style="text-align: left;"><div style="text-align: justify;">"... it is the subjective act of transcendental synthesis which transforms the chaotic array of sensual impressions into 'objective reality.' Shamelessly ignoring the objection that we are confounding ontological and empirical levels, here we must invoke quantum physics: it is the collapse of the quantum waves in the act of perception which fixes quantum oscillations into a single objective reality. And, furthermore, this point must be universalized: every figure of reality is rooted in a determinate standpoint. Even at a level closer to us, we know how different 'reality' appears to a hog or a bird, starting with the different tapestry of colors: each living being perceives (and interacts with) its own 'reality.' And one should push this insight to the extreme of Cartesian doubt: the very notion of greatness should be relativized. How do we know that our Milky Way is not just a speck of dust in another universe?"</div></div><div style="text-align: left;"><div style="text-align: justify;">Slavoj Zizek (Haunted by A/Z, Feyerabend with vengeance & the New Wave)</div></div></div>**************************************************************</div><div>
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<br /></div>
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BOTH depend on arrays of matter, on arrays of aggregates, that is, ultimately, on arrays of forces, on informational differences, the manifold turnings of uncountable autonomous spectral Möbius strips, Mallarmé's coup de dés:</div>
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</div>
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<h4>real space (since the creation of the world until its final destruction, if ever detected):</h4>
</div>
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<br /></div>
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"In mathematical space, and even in physical space, absolute measurement seemed to elude us, since in view of the continuity of space it appeared impossible to proceed with an enumeration of points. But in the case of the retina, its surface is no longer homogeneous; it possesses a heterogeneous structure like all tissues, probably a discrete one forming a pattern. In all such cases a definite metrics suggests itself naturally, just as on a net, in the absence of a ruler, we would compare lengths instinctively by counting the holes separating our points..."</div>
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"But... our intuitive visual appreciations yield results which differ from results obtained with rods, not merely accidentally as a result of the imperfection of human observation, but systematically... A coin that measures out as round will appear flattened to the eye. This phenomenon is illustrated by the well-known optical illusion wherein two rigid rulers which coincide when placed side by side, appear of unequal magnitude when placed horizontally and vertically, respectively. It is a well-known fact that the vertical appears to be longer than the horizontal. For this reason, vertical stripes on a cloth cause the wearer to appear thinner and taller..."</div>
<div style="text-align: justify;">
"... the mere fact that we have agreed to accept such discrepancies as due to optical illusions rather than to untrustworthiness of our rods proves that we deliberately reject our intuitive judgment of shape and size in favour of more sophisticated rules of measurement. In other words, we have abandoned direct intuition for physical determinations, hence for <i>convenient but conventional standards..."</i></div>
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"... it is <i>the physical behaviour of material bodies and light rays </i>which is in the final analysis responsible for our natural belief in absolute shape..."</div>
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"... the geometry the physicist credits to space is contingent on his acceptance of a number of physical laws; and by varying these laws in an appropriate way he could still account for observed facts and credit corresponding types of geometry to space... the real space of physicists [is] the space to which he is led when he seeks to co-ordinate the phenomena of the physical world with the maximum of simplicity... the various material bodies we encounter are by no means identical in nature; some are light, others are heavy, and their chemical and molecular constitutions are certainly not the same. And yet in every case, whether our rods be of wood, of stone, or of steel, we obtain the same Euclidean results provided we operate as far as possible under the same conditions of temperature and pressure... Then again, there are the dynamical properties of space, which we cannot afford to neglect. If physical space were amorphous, all paths through space should be equivalent, and yet centrifugal force and forces of inertia manifest themselves for certain paths and motions and not for others... real space appears to be permeated by an invisible field, the Metrical Field, endowing it with a metrics or structure."</div>
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"Riemann did not attribute this structure of space to the presence of some invisible medium, the ether, possessing a structure of its own... He felt that the metrical field of space should be compared to a magnetic or an electric field pervading space... Riemann searched for the physical cause of the metrical field... he found it in the matter of the universe... a redistribution of the star matter in the universe, altering as it would the lay of the metrical field, would produce deformations in the shape of a given body and variations in the paths of light rays... Any non-homogeneous distribution of matter would then entail a variable structure or geometry for space from place to place."</div>
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"... Einstein had been led to recognise that space of itself was not fundamental. The fundamental continuum whose non-Euclideanism was to be investigated was one of Space-Time, a four-dimensional amalgamation of space and time possessing a four-dimensional metrical field governed by the matter distribution."<br />
[And why Space-Time? Ultimately because of the very strange peculiar behaviour of light rays, which do not vary in speed when going from one frame of reference to another (this speed is not affected by the movement of bodies in the frames, while it would be expected that the rays suffered some kind of friction). "... the importance of Einstein definition lies... in its enabling us to co-ordinate time reckonings in various Galilean frames in relative motion. So long as we restrict our attention to space and time computation in our frame, we may, as before, appeal to vibrating atoms for the measurement of congruent time-intervals and to rigid rods for the purpose of measuring space. It is when we seek to correlate space and time measurements as between various Galilean frames in relative motion that astonishing consequences follow."]</div>
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- A. D'Abro, <i>The Evolution of Scientific Thought: from Newton to Einstein</i> (Dover, 1950);<br />
***Also: "The victory over the concept of absolute space or over that of the inertial system became possible only because the concept of the material object was gradually replaced as the fundamental concept of physics by that of the field. Under the influence of the ideas of Faraday and Maxwell the notion developed that the whole of physical reality could perhaps be represented as a field whose components depend on four space-time parameters. If the laws of this field are in general <i>covariant</i>, that is, are not dependent on a particular choice of coordinate system, then the introduction of an independent (absolute) space is no longer necessary," Albert Einstein's foreword to Max Jammer's <i>Concepts of Space</i> (Dover 1993).<br />
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<h4>real number (as far out of the high-way of thinking, not excepted):</h4>
<br /></div>
<div style="text-align: justify;">
"... if two sequences are asymptotic to a third, they are asymptotic to each other, and, furthermore, if one converges to a certain rational number as a limit, the same is true of the other... a great number of sequences may, in spite of their difference in form, represent the same number... an evanescent geometrical sequence will always converge towards a rational limit, and... any rational number can be regarded as the limit of some rational geometrical series..." </div>
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"... and so Cantor extended the idea of convergence, which hitherto applied only to those sequences which were asymptotic to some rational repeating sequence, by identifying the two terms <i>self-asymptotic </i>and <i>convergent</i>... he extended the idea of <i>limit </i>by regarding the self-asymptotic sequence as generating a new type of mathematical being which he identified with what had long before him been called <i>real number."</i></div>
<div style="text-align: justify;">
"Inasmuch as any real number can be expressed by infinite convergent rational sequences, the rational domain, reinforced by the concepts of convergence and limit, will suffice to found arithmetic, and through arithmetic the theory of functions, which is the cornerstone of modern mathematics... this capital fact is of just as great importance in applied mathematics. Since any rational sequence can be represented as an infinite decimal series, all computations may be systematized."</div>
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"We do not confine ourselves any more to using infinity as a figure of speech, or as shorthand for the statement that no matter how great a number there is one greater: <i>the act of becoming </i>invokes the infinite as the generating principle for any number; any number is now regarded as the ultra-ultimate step of an infinite process; the concept of infinity has been woven into the very fabric of our generalized number concept."</div>
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"... wether we use a ruler or a weighing balance, a pressure gauge or a thermometer, a compass or a voltmeter, we are always measuring what appears to us to be a <i>continuum</i>, and we are measuring it by means of... the aggregate of numbers at our disposal; we are tacitly admitting an axiom which plays within this continuum the role which the Dedekind-Cantor axiom plays for the straight line."<br />
"... while Galileo dodged the issue by declaring that the attributes of equal, greater, and less are not applicable to infinite, but only to finite quantities, Cantor takes the issue as a point of departure for his theory of aggregates. And Dedekind goes even further: to him it is characteristic of all infinite collections that they possess parts which may be matched with the whole... The reader will remember Liouville's discovery of transcendentals. This existence theorem of Liouville was re-established by Cantor as a sort of by-product of his theorem that the continuum cannot be denumerated... the algebraic and the transcendental... the power <i>a </i>of the aggregate of natural numbers... the power <i>c</i> of the continuum... And here too, in this domain of real numbers, the part may have the power of the whole... a segment of a line, no matter how short, has the same power as the line indefinitely extended, an area no matter how small has the power of the infinite space of three dimensions..."</div>
<div>
<div style="text-align: justify;">
- Tobias Dantzig, <i>Number: the language of science</i> (Plume, 2007);</div>
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***Also: "[Galileo] argues that by bending a line segment into the shape of a circle one has 'reduced to actuality that infinite number of parts into which, while it was straight, were contained in it only potentially," Amir D. Aczel, <i>The Mystery of the Aleph</i> (WSP, 2000); "[in Galileo's <i>On Two New Sciences</i>] Salviati sets up a one-to-one correspondence between all the integers and all the squares of integers and says 'we must conclude that there are as many squares as there are numbers'... Galileo found that infinite sets are very different from their finite counterparts: an infinite set can be shown to have 'the same number of elements' as a proper subset of itself," Aczel, <i>The Mystery</i>; "Riemann came to a deep philosophical conviction that a complete mathematical theory must be established, which would take the elementary laws governing points and transform them to the great generality of the <i>plenum </i>(by which he meant continuously-filled space)... the Riemann Integral calculus is defined as an infinite sum of integrals of step functions. Such infinite sums became the starting points for the study of infinite by Georg Cantor," Aczel, <i>The Mystery</i>; "most numbers on the number line are transcendental... Choosing a rational number, or an algebraic one—even though there are infinitely many of them—[on the real line] is just too unlikely because of the preponderance of the transcendental numbers," Aczel, <i>The Mystery</i>; "As far as infinity goes, dimension does not matter. Any continuous space, whether a line or a plane or a <i>n</i>-dimensional space, has as many points as the continuum. All these spaces are uncountable," Aczel, <i>The Mystery</i>. </div>
<br />
<h4 style="text-align: justify;">real space & real number (to let us a vagary some millions of miles into the very heart of the planetary system):</h4>
<br /><div style="text-align: justify;">*****Cabalistic, hermetic and neoplatonic (& other related peculiar) notions about space & number:</div><div style="text-align: justify;">"... the Lord is the dwelling-place of His world but His world is not His dwelling-place..."</div><div style="text-align: justify;">"... adding the squares of the numbers corresponding to the letters of the holy name one gets the sum of the numbers that correspond to the letters of the word 'place'..."</div><div style="text-align: justify;">"... God is the center of everything, whose circumference is nowhere to be found [Fludd/Trismegistus]."</div></div>
<div><div style="text-align: justify;">"... Deus creaturus mundos contraxit praesentiam suam [Luria]."</div>
<div style="text-align: justify;">
"Although Newton does not explicitly draw the conclusion that <i>centrifugal forces </i>determine absolute motion which in its turn determines absolute space, it is clear that this was his intention."</div>
<div style="text-align: justify;">
"... by existing always and everywhere, [God] constitutes duration and space [Newton]."</div>
<div style="text-align: justify;">
"... when the immediate cause of change is in the body, that body is truly in motion; and then the situation of other bodies, with respect to it, will be changed consequently, though the cause of that change be not in them [Leibniz]."</div>
<div style="text-align: justify;">
"Kant finds the clue to the riddle of left and right in transcendental idealism. The mathematician sees behind it the combinatorial fact of the distinction of even and odd permutations [Hermann Weyl]."</div>
<div style="text-align: justify;">
"Space, as a pure form of intuition, leads, according to Helmholtz, to a single conclusion: that all objects of the external world must necessarily be endowed with spatial extension. The geometric character of this extension, however, is in his view purely a matter of experience."<br />
"Newton's experiment with the rotating vessel of water simply informs us, that the relative rotation of the water with respect to the sides of the vessel produces no noticeable centrifugal forces, but that such forces are produced by its relative rotation with respect to the mass of the earth and the other celestial bodies [Mach]."</div>
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<div style="text-align: justify;">
"If the ether as an absolute system could be demonstrated, the notion of absolute space could be saved. Indeed, one of the most important experiments to this end, the Michelson-Morley experiment, was in 1904 interpreted by Lorentz in this sense."</div>
<div style="text-align: justify;">
"Gauss seems to have recognized the logical possibility of a non-Euclidean geometry even before Lobachevski and Bolyai came out with their sensational discoveries."</div>
<div style="text-align: justify;">
"Gauss great contribution to <i>differential</i> geometry rests in his proof that the curvature of a surface, which is determined as a <i>reciprocal product</i> of the two principal radii, can be expressed in terms of intrinsic properties of the surface."</div>
<div style="text-align: justify;">
"A continuous n-dimensional manifold is called a Riemannian space, if there is given in it a fundamental <i>tensor</i>."</div>
<div style="text-align: justify;">
"... the concept of length or distance is foreign to the amorphous continuous manifold and has to be put in or impressed from without." </div>
<div style="text-align: justify;">
"Riemann selected the simplest hypothesis, namely, that <i>ds </i>is the square root of a homogeneous function of the increments of the second degree. He was fully aware of the arbitrariness in his determination of the length of the line element and emphasized the possibility of other expressions, as, for instance, the fourth power of <i>ds</i> as a biquadratic form of the coordinate differentials. The problem is of course connected with the question of the validity of the Pythagorean theorem in the vicinity of a point."</div>
<div style="text-align: justify;">
"... being essentially a geometry of infinitely near points, Riemann's theory of space conforms to the Leibnizian idea of the continuity principle, according to which all laws are to be formulated as field laws..."</div>
<div style="text-align: justify;">
"Riemann's geometry can be compared with Faraday's field interpretation of electrical phenomena... as a strictly homogeneous magnetic or electrostatic field is never encountered in reality, so a homogeneous metrical field of space is only an idealization... as the the physical structure of the magnetic or electrostatic field depends on <i>the distribution</i> of magnetic poles or electric charges, so the metrical structure of space is determined by the <i>distribution </i>of matter..."<i> </i></div>
<div style="text-align: justify;">
"Es muss also entweder das dem Raume zu Grunde liegende Wirkliche eine discrete Mannigfaltigkeit bilden, oder der Grund der Massverhältnisse ausserhalb, <i>in darauf wirkenden bindenden Kräften</i>, gesucht werden [Riemann]."</div>
<div style="text-align: justify;">
"The only one who allied himself firmly to Riemann's was the translator of his works into English, William Kingdon Clifford.... already in 1870 Clifford saw in Riemann's conception of space the possibility for a fusion of geometry with physics."</div>
<div style="text-align: justify;">
"Clifford conceived matter and its motion as a manifestation of the varying curvature [of space]."</div>
<div style="text-align: justify;">
"... this property of being curved or distorted is continually being passed on from one portion of space to another after the manner of a wave... this variation of the curvature of space is what really happens in that phenomenon which we call the motion of matter, whether ponderable or etherial... in the physical world nothing else takes place [Clifford]."</div>
<div style="text-align: justify;">
"For Aristotle, space was an accident of substance; for Clifford, so to speak, substance is an accident of space."</div>
<div style="text-align: justify;">
"Gravitation, as understood by the theory of general relativity, is to be comprehended in the geometric structure of space-time."</div>
<div style="text-align: justify;">
"... the idea of a fourth dimension was cordially welcomed in spiritual circles. Henry More had already applied this notions for his spiritualistic conception of <i>spissitudo essentialis... </i>J. K. F. Zöllner..."</div>
<div style="text-align: justify;">
"Cantor's famous one-to-one correspondence between the points of a line and the points of a plane... showed deficiencies of the traditional definition of dimensionality."</div>
<div style="text-align: justify;">
"The distance between two particles [in microphysics] is determined by the minimal number of particles necessary to form <i>a chain of coincidences between the given particles."</i></div>
<div style="text-align: justify;">
"A profound epistemological analysis of certain quantum-mechanical principles seems to suggest that the traditional conceptions of space and time are perhaps not the most suitable frame for the description of microphysical processes... In his discussion of electron transitions between stationary states within the atom, Niels Bohr already called such processes 'transcending the frame of space and time.'"</div>
<div style="text-align: justify;">
"Les données de nos perceptions nous conduisent à construire un cadre de l'espace et du temps où toutes nos observations peuvent se localiser. Mais le progrès de la Physique quantique nous amènent à penser que notre cadre de l'espace et du temps [as classically or ordinarily understood] n'est pas adéquat à la véritable description des réalités de l'échelle microscopique" [Louis de Broglie].</div>
<div style="text-align: justify;">
"... it has been suggested by Riemann and Clifford, and later ingeniously corroborated by Einstein in his theory of general relativity, that the metric of space structure is a function of the <i>distribution </i>of matter and energy."</div>
<div style="text-align: justify;">
"Mach's Principle, as originally announced, claimed the intrinsic dependence of every local inertial system, that is, a local coordinate system in which Newton's laws hold, upon the <i>distribution</i> of mass in the universe."</div>
<div style="text-align: justify;">
"Should it become evident that Mach's Program cannot be satisfied within the general theory of relativity perhaps merely because the energy-momentum tensor which caracterizes matter presupposes already metrical magnitudes: in other words, because matter cannot be understood apart from knowledge of space-time, then <i>matter as the source of the field will become part of the field</i>. On the basis of such a unified field theoretic conception as proposed for example by J. Callaway, <i>the field itself</i> would constitute the ultimate, and in this sense absolute, datum of physical reality" [***this statement shows that the dichotomy referred in the book's last chapter between "relational" and "absolutist" conceptions of space (space doesn't exists vs. space does absolutely exist) is actually a pseudo-problem, with no interest whatsoever outside the monopoly of academic philosophical priesthood; that is, what is important is the concept of <i>field</i>, and that there is some <i>probabilistic</i> <i>distribution over </i>it, independently of the ontological status of the much weaker classical and ordinary concepts of matter and space].</div>
<div style="text-align: justify;">
"During the past few years some attempts have even been made, as by Takao Tati, to formulate the fundamental laws of interactions between elementary particles without using the concept of space-time, which thus becomes a statistical notion, like 'temperature' in statistical mechanics..."</div>
<div style="text-align: justify;">
"As Salecker and Wigner rightly remarked, the concepts of rigid reference frames or of (practically) rigid rods as conventionally defined and taken as the basis for the construction of space-time metric and for the physical interpretation of the Lorentz covariance cannot be meaningfully applied in the quantal world of elementary particles." </div>
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- Max Jammer's <i>Concepts of Space</i> (Dover 1993);</div><div style="text-align: justify;"><br /></div>
<div style="text-align: justify;">****Also (<span style="text-align: left;">to dive deep enough into the first causes of human ignorance and confusion)</span>:"The term 'field' was first introduced into science by Michael Faraday in the 1840s, in connection with electricity and magnetism. His key insight was that attention should be focused on the space around a source of energy, rather than on the source of energy itself. In the nineteenth century the field concept was confined to electromagnetism and light. It was extended to gravitation by Einstein in his general theory of relativity in the 1920s. According to Einstein, the entire universe is contained within the universal gravitational field, curved in the vicinity of matter. Moreover, through the development of quantum physics, fields are now thought to underlie all atomic and subatomic structures... Fields are inherently holistic. <i>They cannot be sliced up into bits, or reduced to some kind of atomistic unit; rather, fundamental particles are now believed to arise from fields</i>," Rupert Sheldrake's <i>Seven Experiments that could change the world</i> (Riverhead 1995);</div><div style="text-align: justify;">
"The uncertainty principle of Werner Heisenberg suggests... that the vacuum is not empty. According to the principle, uncertainty about the energy of a system increases as it is examined on progressively shorter time scales. Particles may violate the law of the conservation of energy for unobservably brief instants; in effect, they may materialize from nothingness. In QED [Quantum Electrodynamics] the vacuum is seen as a complicated and seething medium in which pairs of charged "virtual" particles, particularly electrons and positrons, have a fleeting existence. These ephemeral vacuum fluctuations are polarizable just as are the molecules of a gas or a liquid. Accordingly QED predicts that in a vacuum too electric charge will be screened and effectively reduced at large distances," <a href="http://pages.erau.edu/~reynodb2/ps303/Quigg_1985_SciAm_ElementaryParticlesAndForces.pdf">Chris Quigg's Elementary Particles and Forces (<i>Scientific American</i>, vol. 252, n. 4, 1985, pp. 84-95)</a>;</div>
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"For if in the von Neumann formulation one does seek to determine the cause of the ‘free choice’ within the representation of the physical brain of the chooser, one finds that one is <i>systematically</i> blocked from determining the cause of the choice by the Heisenberg uncertainty principle, which asserts that the locations and velocities of, say, the calcium ions, are simultaneously unknowable to the precision needed to determine what the choice will be. Thus, one is not only faced with merely a practical unknowability of the causal origin of the ‘free choices’, but with an unknowability in principle that stems from the uncertainty principle itself, which lies at the base of quantum mechanics," Jeffrey M. Schwartz, Henry P. Stapp and Mario Beauregard's <a href="http://www-physics.lbl.gov/~stapp/PTRS.pdf" target="_blank">"Quantum physics in neuroscience and psychology: a neurophysical model of mind–brain interaction," <i>Philosophical Transactions of the Royal Society</i> (2005)</a>.</div>
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"Bohm and Hiley (1984) generalized the Penrose twistor theory to a Clifford algebra, paving the way for a description which allows continuous space-time to emerge from a deeper pre-space they call an implicate order. Bohm (1986) further proposed that the “ex-plicate” space and time that we consciously experience is likewise projected from its enfoldment in deeper implicate orders. In neural terms what becomes interesting here is Pribram’s (1991) holographic theory of neural memory, for the hologram (where information about the whole is stored in each part) is a paradigmatic example of an implicate order (of course, similar ideas have been explored in connection with artificial neural networks)," <a href="https://helda.helsinki.fi/bitstream/handle/10138/37374/Futura_2_2012_Pylkkanen.pdf?sequence=2" target="_blank">Paavo Pylkkanen's "Cognition, the implicate order and rainforest realism", <i>Futura</i>, 31, 2012/2, pp. 74-83</a>.</div>
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"But that, that’s a very important point, because most people think that Bohm, and maybe myself are determinists and we’re not... start with the structure of process idea. Now, in that structure of process idea I have built into it the idea of an implicate order. What we can do from the implicate order? We can project from it into an explicative order. And in the explicate order you can construct trajectories. So, you’re actually constructing your position and your momentum and your trajectories from this deeper order. You’re not assuming it is there a priori and then generalizing the order... Is the holomovement something which is local or nonlocal? My answer would be, it’s neither" <a href="https://www.aip.org/history-programs/niels-bohr-library/oral-histories/33822" target="_blank">Basil Hiley interview</a>.</div>
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"Piaget describes how, when children are asked to draw a map of the local area around their home and are asked to position the playground, school, ice cream shop, dentist etc., they place the ice cream shop and the playground close to home, but will place the dentist and the school far from home, regardless of their actual physical distance from their home. The children are using a neighbourhood relation which has to do with pleasure and not physical distance. Thus by generalising the notion of neighbourhood, it is possible to have many different orders on the same set of points depending on what is taken to be the relevant criterion for the notion of neighbourhood in a particular context. Thus our description becomes context dependent and not absolute. This is very important both for thought and quantum theory... The importance of context in quantum theory has only recently begun to emerge, although it was always implicit in Bohr’s notion of wholeness. However in the Bohm interpretation context dependence becomes crucial," <a href="http://www.bbk.ac.uk/tpru/BasilHiley/PS20MindMatterAlgebra.pdf" target="_blank">Basil J. Hiley's "Mind and matter: aspects of the implicate order described through algebra" (in K. H. Pribram's and J. King's <i>Learning as Self-Organisation</i>, New Jersey, Lawrence Erlbaum Associates, 1996, pp. 569-86)</a>;</div>
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"Bohm notes that if we try to analyze a thought into smaller and smaller elements we eventually come to a point where further analysis seems impossible. Analogously, some of the essential properties of a quantum system (e.g. whether it is a wave or a particle) depend on its indivisible and incompletely controllable connections with surrounding objects. This suggests that both thought and quantum phenomena are characteristic of a radical type of wholeness, unanalyzability and context-dependence," <a href="https://www.diva-portal.org/smash/get/diva2:797486/FULLTEXT01.pdf" target="_blank">Paavo Pylkkänen's "Fundamental Physics and the Mind – Is There a Connection?" (in H. Atmanspacher's, C. Bergomi's, T. Filk's, K. Kitto's, <i>Quantum Interaction 2014: 8th International Conference</i>, Filzbach, Switzerland, June 30 - July 3, 2014)</a>;<br />
"... in the 1950s one reaction against the failure of field theory in strong-interaction physics was to turn away from intractable Feynman diagrams towards the transition probabilities themselves—perhaps at this level of analysis some sense could be made of the strong interaction... the entire array of probabilities covering transitions between all conceivable initial and final states was known as Scattering- or S-matrix," Andrew Pickering's <i>Constructing Quarks </i>(Chicago, 1984);<br />
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"... the two tendencies, intuitionist and platonist, are both necessary; they complement each other, and it would be doing oneself violence to renounce one or the other... the idea of the continuum is a geometrical idea which analysis expresses in terms of arithmetic... the concept of number appears in arithmetic. It is of intuitive origin, but then the idea of the totality of numbers is superimposed... in geometry the platonistic idea of space is primordial," Paul Bernays, as quoted by Ian Hacking in <i>Why there is Philosophy of Mathematics at all </i>(Cambridge, 2014);</div>
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"Dedekind was deeply impressed by the characterization of simply infinite sets as those that can be mapped into some of their subsets, and thought <i>the characterization of number might begin there</i>," Hacking's <i>Why is there Philosophy of Mathematics</i>;</div>
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"Benacerraf observed that numbers cannot be identical to any one of their analyses in set theory, for those analyses are not identical. At best the integers can be the shared structure of all sound analyses," Hacking's <i>Why is there Philosophy of Mathematics</i>;</div>
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"Paul Schützenberger holds that integers exist <i>only </i>in physics... He calls this a Pythagorean thesis. What impresses him is that, for example, in crystallography there are certain intrinsic whole number relationships. That's where integers live," Hacking's <i>Why is there Philosophy of Mathematics</i>;<br />
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<h4 style="text-align: left;">do fields fluctuate (at certain intervals and changes of the moon)? </h4><div>
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This question was proposed by Rupert Sheldrake (chaste star!). Actually, his question was about fundamental physical <i>constants</i> (such as the Gravitational constant, the velocity of light, and Planck's constant). Do they fluctuate? But since these constants govern fields, the point is basically the same:</div>
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"There has been little consideration of the third possibility, which is the one I am exploring here, namely the possibility that constants may fluctuate, within limits, around average values which themselves remain fairly constant. The idea of changeless laws and constants is the last survivor from the era of classical physics in which a regular and (in principle) totally predictable mathematical order was supposed to prevail at all times and in all places... What I propose is a series of measurements of the universal gravitational constant to be made at regular intervals—say monthly—at several different laboratories all around the world, using the best available methods. Then, over a period of years, these measurements would be compared. If there were underlying fluctuations in the value of G, for whatever reason, these should show up at the various locations. In other words, the 'errors' might show a correlation..." (Sheldrake, <i>Seven Experiments</i>).<br />
"If nature is constructed of knowables, then the acts of knowing with which we are familiar should be special cases of a pervasive set of similar acts: the world should somehow be constructed of such acts, and of a substrate that is suited to be acted upon by such acts, but that supports, as a matter of principle, only what can become known by other acts. Acts of knowing become, then, the primitives of nature, along with the substrate upon which they act" (Jeffrey M. Schwartz, Henry P. Stapp and Mario Beauregard, "Quantum physics in neuroscience and psychology: a neurophysical model of mind–brain interaction," <i>Philosophical Transactions of the Royal Society)</i>.</div>
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<h4 style="text-align: justify;">corollary &/or FICTION is REAL, complex-imaginary prevails, <a href="https://aletche.blogspot.com/2019/01/the-most-auspicious-tetrahedron-two.html" target="_blank">Riemann with revenge!</a> (<span style="text-align: left;">this is to serve for parents and governors instead of a whole volume upon the subject):</span></h4><div style="text-align: justify;"><span style="text-align: left;"><br /></span></div><div style="text-align: justify;">*******And here you will find a paper I presented originally at the Joint Annual Conference of the (known by the name of) Society for European Philosophy and the Forum for European Philosophy Annual Conference ("Philosophy After Nature", Utrecht University, 2014). As notable and curious a dissertation as ever engendered in the womb of speculation, <i>it addresses problems in the foundation of statistic classifications in relation to the topological notion of continuum and concepts coming from post-structuralist thinking and literary studies</i>: Jakobson's notion of shifter in particular, and Blanchot's reading of Henry James' <i>The Turn of the Screw</i>. As I argue, to think about reality, literary notions such as shifter are much more rich and interesting than classical philosophical notions such as Kripke's rigid designator.</div>
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The paper has been accepted as a submission by several journals, but has never been really published, on account of its interdisciplinary and supposedly at the same time "flippant" and "demanding" style (the journals include <i>Journal of Historical Fictions</i>, <i>Studies in the Novel</i>, <i>University of Toronto Quarterly</i>, <i>Mosaic</i>, <i>Victorian Review</i>, <i>OLR</i>, <i>Configurations</i>, <i>The Journal of Popular Culture</i>, <i>Explorations: a journal of language and literature</i>, among others):</div>
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- <a href="https://www.academia.edu/38225019/Interactive_while_Indifferent_Kinds_and_Phantasmagoria_circa_1900"><i>Interactive while Indifferent—Kinds & Phantasmagoria circa 1900</i></a>;</div>
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More on non-locality (and complementarity): </div>
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"For D'Espagnat, it is exactly if we consider seriously and realistically certain results of physics that we have to open the two complementary perspectives. D'Espagnat welcomed these complementary perspectives grounding himself on the many violations of CHSH-Bell inequalities obtained experimentally since the 1980s," Alessandro Zir, <a href="https://books.google.com.br/books?id=V75KBAAAQBAJ&lpg=PP1&hl=pt-BR&pg=PP1#v=onepage&q&f=false"><i>Luso-Brazilian Encounters of the Sixteenth-Century: A Styles of Thinking Approach</i></a> (Fairleigh Dickinson Univ. Press, 2011, p. 66).</div>
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What makes this book difficult to understand and accept (it received just a few although favourable reviews), is an insight that classical dichotomies such as subjective/objetive, fictional/real, should be understood as the mere result of displacements of boundaries in an overall indeterminate context (borrowing from Joyce, you could call this context a chaosmos) which is <i>always </i>somewhat "excessive." This context is neither literary nor scientific, strictly speaking. Or to say it in a positive way: the reality we inhabit is both literary and scientific (which doesn't mean these two perspectives should be simply collapsed), it encompasses non-fiction and fiction (Mallarmé's conception of the book, for instance), and <i>fiction is real </i>(in a<i> deadly serious </i>way, not as some fanciful proposition). This is a key idea in deconstruction (and deconstruction goes back to centuries before Derrida, as he himself willingly admitted). I found it in the first encounters between Europeans and the land, fauna, flora and people of Brazil. But very unfortunately scholars have emphasized only the more superficial political implications of deconstruction while forgetting its "metaphysical" dimension (and both things have to go together). Post-colonial studies suffers conspicuously from this reductionist and much impoverished approach. </div>
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More on David Bohm, Niels Bohr & Wolfgang Pauli: </div>
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"During this period which I found somewhat depressing as far as physics was concerned, we got a student, Donald Schumacher, was quite brilliant. He came from America, but he was not very stable mentally. He took a great interest in Niels Bohr... This fellow Schumacher had some insight which made it much more clear what Bohr was about. What he said could be summed up by saying that the form of the experimental conditions and the meaning or content of the results are a whole, not further analyzable. This question of the observer and the observed, which is fascinated by quantum mechanics, is very hard to put consistently without confusion... it would have been a very repellant philosophy to me had I understood that in the early days. To say we have nothing but the appearance and we have a mathematical algorithm which enables us to compute the probability of a certain phenomenon. Looking at it more carefully, Bohr did not deny there is reality, but he denied you could say anything about it. Now, Pauli did not do that. He said quite a bit about it. He said that the mind is involved, the mind of the observer is involved in that reality. I would not have gone on with Pauli that way, but there were a great many other points about Pauli I probably would have gone on... Pauli is pretty elusive too..." <a href="https://www.aip.org/history-programs/niels-bohr-library/oral-histories/32977-7" target="_blank">David Bohm's conversation with Maurice Wilkins</a>;<br />
"Bohr argued that we should not regard the coupling between entangled pairs as arising from a mechanical force. Rather he talks of 'an influence on the very conditions which define the possible types of prediction regarding the future development of the system'. Bohr felt this was a key point because he italicised the phrase in his original paper and repeated it word for word in his Discussions with Einstein. In a mechanical explanation all 'influences' must be mechanical, but our proposals suggest a more 'organic' picture where information is playing a dynamic and objective role, namely, it is active. Thus once again rather than contradicting Bohr, I argue that the Bohm interpretation actually offers some clarification of his position!" <a href="https://pdfs.semanticscholar.org/bb05/2740074f3e6b19f685315c9ddb994b563e29.pdf" target="_blank">Basil Hiley's "From the Heisenberg Picture to Bohm: a New Perspective on Active Information and its relation to Shannon Information" (in A. Khrennikov, <i>Proc. Conf. Quantum Theory: reconsideration of foundations, </i>Sweden, Växjö University Press, pp. 141-162, 2002)</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">More things about relativity: </div><div style="text-align: justify;">"... since our judgment of straightness is contingent on the disclosures of experience, even the geometry of the space in which we actually live cannot be decided upon <i>a priori</i>... But today, thanks to Einstein, we have definite reasons for believing that ultra-precise observation of nature has revealed our natural geometry arrived at with solids and light rays to be slightly non-Euclidean and to vary from place to place. So although the non-Euclidean geometers never suspected it (with the exception of Gauss, Riemann and Clifford), our real world happens to be one of the dream-worlds whose possible existence their mathematical genius foresaw..."<br />"In other words, the geometry the physicist credits to space is contingent on his acceptance of a number of physical laws; and by varying these laws in an appropriate way he could still account for observed facts and credit corresponding types of geometry to space."</div><div style="text-align: justify;">"... a first reason for rejecting the concept of an amorphous space arises when we find that a large number of different methods of investigation all point to the same definite metrics for space."</div><div style="text-align: justify;">"Then again, there are the dynamical properties of space, which we cannot afford to neglect. If physical space were amorphous, all paths through space should be equivalent, and yet centrifugal force and forces of inertia manifest themselves for certain paths and motions and not for others."</div><div style="text-align: justify;">"If Riemann's ideas are accepted we can understand how a redistribution of the star matter of the universe, altering as it would the lay of the metrical field, would produce deformations in the shape of a given body and variations in the paths of light rays."</div><div style="text-align: justify;">"The fundamental continuum whose non-Euclideanism was to be investigated was therefore not one of space but one of Space-Time, a four-dimensional amalgamation of space and time possessing a four-dimensional metrical field governed by the matter distribution."</div><div style="text-align: justify;">"These views were confirmed by the behaviour of physical phenomena known to classical science; hence the uniqueness of time and the absolute character of simultaneity had been accepted. In other words, the simultaneity and the order of succession of two spatially separated events were assumed to constitute facts transcending our choice of a system of reference... But the point we wish to stress is that if perchance experiment were ever to suggest that simultaneity was not absolute, no rational argument could be advanced to prove the absurdity of this opinion. As we shall see, Einstein's interpretation of certain refined electromagnetic experiments consists precisely in recognising the relativity of simultaneity and the ambiguity of duration... As is the case with space, mathematical time is an amorphous continuum presenting no definite metrics. The concept of congruence or of the equality of successive durations has no precise meaning; and a definition of time-congruence can be obtained only after we have imposed some conventional measuring standard on an indifferent duration... What is commonly called the sense of rhythm, which manifests itself in the primitive music of drum beats and in the dances of savages, is nothing but a consequence of this intuitive understanding of time-congruence."</div><div style="text-align: justify;">"In other words, it is the principle of inertia coupled with an understanding of spatial congruence that yields us a definition of congruent stretches of absolute time."</div><div style="text-align: justify;">"... a near approach to ideal conditions would appear to be given by the phenomenon of the earth's rotation. And so the rotation of the earth, defining astronomical time, was regarded as furnishing science with the most reliable objective criterium of congruent time-intervals that it was possible to obtain."</div><div style="text-align: justify;">"Römer in 1675... noticed that Jupiter's satellites appeared to emerge from behind the planet's disk several minutes later than was required by the law of gravitation. Rather than cast doubts on the accuracy of this law, he ascribed a finite velocity to the propagation of light."</div><div style="text-align: justify;">"... a great variety of methods for determining time have been considered. Some were mechanical, others astronomical, others optical, while still others appealed to radioactive phenomena... all the methods of time-congruence mentioned lead to exactly the same determinations so far as experiment can detect. It would appear as though a common understanding existed between the rates of evolution of the various phenomena mentioned."</div><div style="text-align: justify;">"... coincidences constitute the most exact form of observation... It is when we seek to correlate space and time measurements as between various Galilean frames in relative motion that astonishing consequences follow."</div><div style="text-align: justify;">"If we wish to define the position of a point on the plane, we must refer it to some system of reference. Three centuries ago Descartes devised a method whereby this result could be accomplished... It would be just as feasible, in place of ours horizontals and verticals, to select two families of intersecting curves... This generalization of Descartes method was introduced by Gauss, and for this reason curvilinear mesh-systems are also called Gaussian mesh-systems..."</div><div style="text-align: justify;">"... the method reduces to an application of the differential calculus to geometrical problems, and for that reason is named differential geometry... we may conceive of spaces where ∆s would not tend to a limit, and where, however tiny the area of our surface, we should still be faced with waves within waves ad infinitum. The situation would be similar to that presented by curves with no tangents at any point."</div><div style="text-align: justify;">"... a fundamental problem of theoretical physics is to determine how the equation of a phenomenon referred to a frame B, which is in motion with respect to a frame A, can be obtained from its equation referred to the frame A, by purely mathematical means... transformations of this caracter are termed space and time transformations. The entire problem reduces, therefore, to the discovery of those space and time transformations which hold in this world of ours. This transformations cannot be guessed a priori."</div><div style="text-align: justify;">"Unless we were to assume that this extraordinary coincidence in the values of these two characteristic velocities, that of electromagnetic induction and that of light waves, was due to blind chance, there was no other alternative but to recognise that what we commonly called a ray of light was nothing else than a series of oscillations in the electromagnetic field, propagated from point to point."</div><div style="text-align: justify;">"... this means that the variable v which enters into the Lorentz transformations now stands for the relative velocity of one frame with respect to the other, and no longer for velocity through the ether... In Lorentz theory there was a privileged observer situated in the frame at rest in the ether."</div><div style="text-align: justify;">"... without appealing directly to the equations of electrodynamics, we can deduce the Lorentz-Einstein transformations merely by taking one of their consequences into consideration, namely, the invariant velocity of light, and combining it with the relativity of Galilean motion."</div><div style="text-align: justify;">"... the colour of an opal has no meaning. It is red from here, green from there, blue from elsewhere, and yet the opal has not changed. It is our position with respect to the opal which has changed, and the color of the opal is indeterminate until such time as we have specified our relative position. In other words, length and the colour of the opal both express relations and not immanent characteristic. Similar considerations apply to the slowing down of time. Duration and time are mere relatives, mere expressions of relationships, and have no absolute significance per se. This does not mean that the duration we sense is a myth..."</div><div style="text-align: justify;">"... upon first inspection, the fact that whatever our Galilean motion may be, experiments conducted in our frame will always yield exactly the same results, would seem to relegate the ether to the realm of ghosts, making it a useless hypothesis. If this were the case we could no longer conceive of electromagnetic fields and light rays as expressing states of the ether, but should have to regard these fields as constituting independent realities of some new category, differing from matter but susceptible of existence in space without the support of a carrier, or without being the mere manifestations of its states."</div><div style="text-align: justify;">"The revised laws [of the Special Theory of Relativity] were found to entail the relativity of mass. By this we mean that the mass of a given body could no longer be regarded as an invariant, independent of the body's relative motion... Since part of the mass of a body when in motion was a manifestation of its kinetic energy, it appeared probable that the entire mass, the rest-mass as well as the added mass, should be identified with energy... Suppose then a particle of matter, whether at rest or in motion, were to be completely annihilated. Material mass would then be converted into non-material mass, or energy, called loose energy... it is easy to realise the tremendous liberation of energy and the dire consequences that would result from the complete disintegration of even a small parcel of matter..."</div><div style="text-align: justify;">"Since light is a form of energy, light should possess mass and momentum and exert a pressure over bodies on which it impinges."</div><div style="text-align: justify;">"... physical simultaneity and duration, which were considered absolutes by classical science, must now be considered relatives having no absolute universal significance... But it is most important to realise that this relativity of simultaneity holds only for events occurring in different places and does not apply to events occurring in the same place... in contradistinction to the simultaneity of events occurring in different places, which is essentially a relative depending on the choice of our frame of reference, a coincidence of events is an absolute, that is, remains a coincidence or a simultaneity in all frames of reference... Einstein's [Special] theory still permits us to retain our belief in the absolute nature of a coincidence of events, that which are copunctual and which occur at the same time in any given frame. But it denies the absoluteness of the simultaneity of spatially separated events."</div><div style="text-align: justify;">"Just as each frame had its own space, so also would it now have its own time and its own definition of simultaneity. We may summarise these various discoveries by stating that there can exist no universal definition of practical congruence either for space or for time; there can exist, therefore, no geometry for a universal space or for a universal time. The philosophical consequence of these new points of view is to deprive universal space and time of the objective significance with which they were formerly credited. Henceforth, in the words of Minkowski, space and time, by themselves, sink to the position of mere shadows."</div><div style="text-align: justify;">"The achievement of this supreme synthesis of the points of view of all observers [an impersonal and hence common objective understanding of nature] was accomplished by Minkowski in 1908. He succeeded in obtaining an invariant definition of congruence by combining any give observer's definitions of practical congruence for space and for time, and by showing that this combination possessed an invariant value holding equally for all other observers. Of course, the type of congruence obtained was one neither of space nor of time. It was a combination of both."</div><div style="text-align: justify;">"While it is true that a world-line which measures out as straight from a Cartesian system may appear curved when referred to a curvilinear or Gaussian one, yet, on the other hand, intersections or non-intersections of world-lines are absolute, in contrast to simultaneities of events at spatially separated points... Thus, if two billiard balls kiss in the observation of one man, they will continue to kiss in the observation of all other men, regardless of the relative motion of these men. The kissing of the balls constitutes a coincidence, an intersection of the world-lines of the two balls; hence it is an absolute. On teh other hand, fi two balls hit different cushions simultaneously in te observation of one man, they will not in general hit the cushions simultaneously in the observation of a man in motion with respect to the first."</div><div style="text-align: justify;">"We can also understand how it comes that the discovery of space-time permits us to account for the duality in the nature of motion, relative when translationary and uniform, absolute when accelerated or rotationary... these accelerated motions violate... the flat space-time structure; and for this reason forces of inertia will always be generated by them. On the other hand, when we consider Galilean or uniform or translational motions, we see that, as in the case of three-dimensional space, they will be represented by straight lines. These motions will then stand in perfect harmony with the flat space-time structure, and no forces of inertia will arise."</div><div style="text-align: justify;">"Not only si time continuously passing, but it is ever flowing in the same direction. To this mystery of the unidirectional passage of time, they theory of relativity contributes no new information..."</div><div style="text-align: justify;">"To be sure, it would be possible to reverse the process, but only through the medium of some intelligent activity sorting out the particles and distributing them according to states of lesser probability. The action of a demon of this sort, <i>Maxwell's demon</i>, would cause the direction of teh irreversible phenomena to be reversed, so that the direction of time would appear to change..."</div><div style="text-align: justify;">"... by basing his deductions on the kinetic theory of gases, Boltzmann succeeded in giving a more concrete representation to entropy, defining it as the logarithm of a probability... the principle of entropy becomes one of maximum probability, losing thereby its status of absolute validity and assuming a statistical significance... We may note that it was by following this method, or rather by combining the two definitions of entropy [Clausius' and Boltzmann's], that Planck established his quantum radiation formula, and was thus led to his quantum theory... it is a principle governing the chaos, or again, it is a statistical principle..."</div><div style="text-align: justify;">"When we perceive an object, say a telegraph pole, we see it under a certain angle, which we may call the visual angle. Is this visual angle real?... It is real but it expresses a relationship... Visual angle in classical science is analogous to length in Einstein's theory."</div><div style="text-align: justify;">"The departure of our twin brother and his return to earth constitute two definite events. The duration separating two events being robbed of any definite value by the theory of relativity, there is no cause to be surprised that this duration should manifest different magnitudes to different observers... We need not be surprised at these very real effects produced by acceleration, for we must remember that acceleration is an absolute and not a relative like mere velocity."</div><div style="text-align: justify;">"The precise type of force we have mentioned is called the Coriolis force; in addition, there also exists another type of force, the better-known centrifugal force. Both these types of force are called forces of inertia. It is their ensemble which constitutes the field of inertial force existing in a rotating frame... All these different illustrations show us that whereas, in Galilean frame, no field of force exists, yet a field springs into existence automatically as soon as we place ourselves in any accelerated frame."</div><div style="text-align: justify;">"With these new views, the force of gravitation acting at a point loses its attributes of absoluteness. Just like a force of inertia, a force of gravitation betrays a relationship existing between the frame of reference selected and the surrounding conditions of the world. Just as a force of inertia can be annulled by changing the motion of our frame, so now can a force of gravitation be annulled."</div><div style="text-align: justify;">"... in a region of space-time curvature it would be quite impossible to rid ourselves of a field of force throughout space. We might annul it at the point and in its immediate neighbourhood, but the field of force would reappear for more distant regions."</div><div style="text-align: justify;">"... the equality of two vectors at a point of space constitutes an equality which a change in our co-ordinate system can never destroy... If these conditions are satisfied, we see that equations between vectors and tensors, often called vector equations and tensor equations, exhibit the remarkable property of remaining unaffected by a change of mesh-system... The simplest physical illustration of a tensor at each point of space is afforded by the state of compression and tension at each point of an elastic medium which has been distorted... we see that the magnitudes in which classical science was chiefly interested were either invariants, vectors or tensors... laws of nature must be vector or tensor equations..."</div><div style="text-align: justify;">"... in a general way, we see why it is that when we leave the special theory, where space-time is flat and where the observer, being Galilean, abides by Cartesian mesh-systems, and when we investigate the general theory, where the observer is accelerated or space-time si curved, the Lorentz-Einstein transformations must give place to a more general type. Under these circumstances the tensor calculus becomes a mathematical instrument of great power... the special theory is merely a particular limiting case of the general one... It is here that Riemann's discoveries fit in with Einstein's requirements; for Riemann and his successors had discovered tensors built up from the fundamental structural tensors of a continuum..."</div><div style="text-align: justify;">"... this would imply that at an infinite distance from matter, space-time would become rigorously flat, as we had assumed it to be in the special theory... where λ represents an arbitrary constant... The presence of this additional term will imply that even for very distant regions, space-time would still manifest a trace of residual spherical curvature so that the universe would close round on itself and be finite."</div><div style="text-align: justify;">"Gravitation would thus preserve youth, and, more generally, two men living on two different stars of unequal mass would not age at the same rate. It is to be noted that it is not the force of gravitation itself which is responsible for this slowing down of time as we near the sun. It is rather the decrease in the value of the potential..."</div><div style="text-align: justify;">"This means that one second in time corresponds in our formulae to the distance which light covers during one second, namely, 186,000 miles long. It follows, therefore, that if we measure time in seconds we must, in order to co-ordinate results, measure space in terms of unit rods 186,000 miles long."</div><div style="text-align: justify;">"... the curvature of time alone is able to produce the major effect of Newtonian attraction, such as weight, whereas the effects due to the curvature of space remain imperceptible until we consider the motion of Mercury, which is moving fairly fast with respect to the inertial frame of the sun. When we consider the propagation of light rays, the effects due to the curvature of space reassert themselves fully, and as a result the double bending of a ray of light can be attributed in equal proportion to the curvature of time and to the curvature of space."</div><div style="text-align: justify;">"... we see that the principle of the invariant velocity of light is accurately true only in free space far from matter, and, even then, only when computed with reference to our Galilean frame. In an accelerated frame, as in the neighbourhood of matter, the cornerstone of the special theory of relativity no longer applies."</div><div style="text-align: justify;">"Calculation then showed that the mass of a body would become infinite when the velocity of the body reached that of light; for this reason no material body could ever move as fast as light."</div><div style="text-align: justify;">"A distinction must be made between material mass (or energy) and radiation mass (or energy)."</div><div style="text-align: justify;">"We thus find that there exists a progressive curvature of space-time as we pass from empty space-time far removed from all matter and energy to empty space-time in the neighbourhood of matter, then to regions where there are electromagnetic fields but no matter, and finally to regions filled with matter or electrons. If we regard the successive gradations of curvature of space-time as corresponding to successive grades of materialisation, starting from emptiness, we must place electromagnetic fields, or loose energy, at a stage of materialisation preceding that of matter proper, or bound energy."</div><div style="text-align: justify;">"In the course of time astronomers discovered that there were millions of these spiral nebulae strewn more or less uniformly through space as far as the telescope could explore."</div><div style="text-align: justify;">"Newton objectivises space... The opposite stand was taken by Mach, who endeavoured to account for the dynamical manifestations of acceleration and rotation without appealing to that suprasensible entity, 'absolute space.'"</div><div style="text-align: justify;">"... when we examine the implications necessitated by Einstein's cylindrical universe, we find that Mach's views may turn out to be correct after all... [with the gravitational equations] Mach's mechanics received at last the rational justification which until then had been lacking; and the first inkling of a possible physical connection between the origin of inertia and gravitation was obtained."</div><div style="text-align: justify;">"... al vectors such as velocities and forces, and all tensor such as Maxwell's stresses of the electromagnetic field, erstwhile expressed in three-dimensional space, must now be extended and supplemented with additional components so as to yield vectors and tensors in four-dimensional space-time... when we represent these intensities in terms of space-time, we find that they are given by the various components of one same space-time tensor... Electromagnetic induction, discovered by Faraday, the additional electrical term introduced tentatively by Maxwell, radio waves, everything in the electromagnetics of the field, could have been foreseen at one stroke of the pen... It is also interesting to note that the four separate relations which constitute Maxwell's equations of electromagnetics are now merged into two; and the cumbersome aspect of the equations gives place to forms of great simplicity... Still another simplification which the discovery of space-time has conferred upon us is to be seen when we study the principles of the conservation of energy and of momentum. We find that these two distinct principles constitute in reality but one. Conservation of energy is given by the time component, while conservation of momentum is given by the three space components..."</div><div style="text-align: justify;">"It is usual to assume that the curvatures are produced by those concrete somethings which we call mass, momentum, energy, pressure. In this way, we must concede a duality to nature; there would exist both matter and space-time, or, better still, matter and the metrical field of space-time. Einstein, when he elaborated his hypothesis of the cylindrical universe, attempted to remove this duality by proving that it was possible to attribute the entire existence of the metrical field, hence of space-time, to the presence of matter. This attitude led to a matter moulding conception of the universe, elevating matter over the metrical field of space-time. And as we recall, only when this attitude was adhered to could Mach's belief in the relativity of all motion be accepted. Eddington's attitude is just the reverse. He prefers to assume that the equations of gravitation are not equations in the ordinary sense of something being equal to something else. In his opinion they are identities. They merely tell us how our senses will recognise the existence of certain curvatures of space-time by interpreting them as matter, motion, and so on. In other words, there is no matter; there is nothing but a variable curvature of space-time."</div><div style="text-align: justify;">"... Now it is possible to remove this restriction imposed by Riemann without falling into any logical inconsistency; and we may perfectly well assume that two unit rods which coincide at a point A may cease to coincide when brought together at another point B, provided they have followed different routes while moving from A to B... length is non-transferable. In view of the indeterminateness that surrounds the comparison of lengths in different places, we must confine ourselves to the comparison of lengths at any one place or at points separated by infinitesimal intervals. We therefore agree to consider that at every point in space there is fixed a rod which is to serve as unit of length when we measure lengths situated by its side. The totality of these unit rods constitutes what is known as the gauge-system..."</div><div style="text-align: justify;">"... it is a remarkable fact that these purely geometrical relations or equations which Weyl had discovered, expressing as they do the value of the Weylian curvature, are none other than Maxwell's equations of the electromagnetic field... These views led Weyl to assume that when electromagnetic fields were present, the Weylian characteristics of space-time manifested themselves, whereas, in regions free of electromagnetic fields, space-time resumed its classical characteristics and became once again the space-time of Einstein's theory."</div><div style="text-align: justify;">"In order to distinguish these magnitudes from ordinary tensors, which transcend solely our choice of mesh-system, Eddington calls them in-tensors and in-invariants, and indicates them by asterisks. Henceforth it will be to these in-tensors and invariants that we shall have to appeal in order to express those magnitudes which (depending neither on mesh-system nor on gauge) are intrinsic to the world itself... This modification in the form of the Einsteinian laws will affect only the mechanical and gravitational laws, since the electromagnetic ones defining the Weylian curvature are already in-tensor equations... However, we may assume that the Einsteinian tensor laws, in teh form in which they were given by Einstein, are in harmony with some particular gauge-system; and this Weyl calls the natural gauge. We shall have to conceive of this natural-gauge system as one imposed upon us by nature and defined by certain intrinsic properties of the universe... Weyl defined the natural gauge at every point as given by a unit of length equal to the radius of curvature of the universe at that point or to some definite fraction therof."</div><div style="text-align: justify;">"... in Weylian space-time not only would the transference of length of an Einsteinian interval yield indeterminate results, but that the same would apply automatically to the transference of spatial, as also of temporal, magnitudes... It would be as though the size of an atom and its frequency of vibration depended on its previous life history..."</div><div style="text-align: justify;">"Since objects in equilibrium, such as rigid objects, electrons and atoms, all adjust themselves to the radius of curvature of the universe, it is only natural that results of greatest simplicity should be obtained when we select this radius or some definite fraction therof as a gauge at every point."</div><div style="text-align: justify;">"... we were led to Weyl's generalisation, which permits the electromagnetic field to enter into the general synthesis, no longer as a foreign adjunct, but as a constituent element of space-time structure. But, besides the field, there is the electron, and the field alone does not seem to afford us the possibility of building up the electron; we cannot account for atomicity or for the quanta of action. Therein resides the problem of matter, and it remaisn to-day an outstanding challenge to science... Field physics, together with the principle of action, encounters further difficulties when we consider the quantum phenomena and the problem of the atom..."</div><div style="text-align: justify;">A. D'abro (The Evolution of Scientific Thought)</div><div style="text-align: justify;"> </div>
</div>
<span style="text-align: justify;">See also:</span></div>
<div>
<div style="text-align: justify;">
<div style="text-align: justify;">
- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html">actual infinite falling (against Carlo Rovelli's pseudo-problem)</a>;<br />
- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html" target="_blank">the dogma of semantic uniformity & Python Gored Naturalism</a>; </div>
</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html">the odd transformation of Der Herr Warum (Gödel & Resnais)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html">the only three types of ingenuity (with Cantor & Dedekind)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/02/why-self-help-books-are-not-to-be.html">self-help books (with Rupert Sheldrake)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2019/01/the-most-auspicious-tetrahedron-two.html">the most auspicious tetrahedron</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/12/timothy-leary-in-1990s-how-to-talk.html">Timothy Leary in the 1990s</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html">5G?! Get real...</a></div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/10/list-of-two-charming-scientists-under.html">list of charming scientists/engineers</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/08/pick-soul-ass-you-wish.html">pick a soul (ass you wish)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/05/view-from-berthe-trepats-apartment-paris.html" target="_blank">view from Berthe Trépat's apartment</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2017/10/liste-des-declencheurs-atonales-under.html">list des déclencheurs musicaux</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2018/01/dark-consciousness.html">Dark Consciousness (with Yasuo Yuasa)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception (with Huxley)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/03/structuralism-poststructuralism.html">Structuralism, Poststructuralism (with Julia Kristeva)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">List des figures du chaos primordial (Deleuze)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism (Viveiros de Castro vs. Haroldo de Campos)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2015/12/piano-playing-kochevitsky.html">Piano Playing (with Kochevitsky)</a>;</div>
<div style="text-align: start;">
- <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">L'Affirmation de l'âne (review of Smolin/Unger's <i>The Singular Universe</i>)</a>;</div><div style="text-align: start;">- <a href="https://arxiv.org/abs/quant-ph/9801057" target="_blank">What is quantum mechanics trying to tell us? (N. David Mermin)</a>; </div>
<div style="text-align: justify;">
And also:</div>
<div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/03/dogen-with-hagakure-or-how-to-be-snake.html">Dogen with Hagakure</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/07/larticulation-blanchotienne-des-notions.html">L'articulation (Maurice Blanchot)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/01/lintelligence-des-fleurs-maeterlinck.html">L'intelligence des fleurs</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2012/07/blog-post.html">Spooky Blue</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/20620553/Mathematics_is_Metaphysics_Fernando_Zalamea">Mathematics is Metaphysics (Fernando Zalamea)</a>; </div><div style="text-align: justify;">- <a href="https://appliedvirtualitylab.files.wordpress.com/2015/09/synthetic-philosophy-of-contemporary-mathematics-web.pdf">Synthetic Philosophy of Mathematics (Fernando Zalamea)</a>; </div><div style="text-align: justify;">- <a href="https://www.erudit.org/en/journals/philoso/2010-v37-n1-philoso3706/039718ar/">La vision unificatrice de Grothendieck (Mathieu Bélanger)</a>; </div><div style="text-align: justify;">- <a href="http://www.implications-philosophiques.org/deleuze-et-les-mathematiques/">Deleuze et les mathématiques (Anna Longo)</a>; </div><div style="text-align: justify;">- <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=1421&context=tme">The Mathematical Continuum: A Haunting Problematic (Elizabeth de Freitas)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/57393028/Infinitesimal_how_a_dangerous_mathematical_theory_shaped_the_modern_world">Infinitesimal (review of Amir Alexander's book)</a>;</div><div style="text-align: justify;">- <a href="https://www.academia.edu/4818961/Helmholtz_Riemann_and_the_Sirens">Helmholtz, Riemann, and the Sirens (Peter Pesic)</a>; </div><div style="text-align: justify;">- <a href="https://www.academia.edu/45671298/Rhythm_and_Textural_Temporality">Rhythm and Textual Temporality (Sha Xin Wei & Garrett Laroy Johnson)</a>;</div><div style="text-align: justify;"><a href="https://people.bu.edu/jyust/meter_relations.pdf">- Meter networks: a categorical framework for metrical analysis (Alexandro Popoff & Jason Yust, 2020);</a></div><div style="text-align: justify;"><a href="https://app.cristin.no/results/show.jsf?id=1642391">- Pulse as Dynamic Attending: Analysing Beat Bin Metre in Neo Soul Grooves (Anne Danielsen, 2018);</a></div><div style="text-align: justify;"><a href="https://mtosmt.org/issues/mto.14.20.1/mto.14.20.1.polak-london.html">- Time and Meter in Mande Drumming from Mali (Rainer Polak & Justin London, MTO, 2014);</a> </div><div style="text-align: justify;">- <a href="https://periodicos.ufmg.br/index.php/kriterion/article/view/22240">Círculo Vicioso y Revolución Crítica en la Teoría de los Problemas (Gonzalo Santaya)</a>; </div><div style="text-align: justify;">- <a href="http://deleuziana.com.ar/Deleuze%20y%20las%20fuentes%20de%20su%20filosofia/SANTAYACalculoTrascendental.pdf">El cálculo transcendental: Gilles Deleuze y el cálculo diferencial (Gonzalo Santaya)</a>;</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">*****extremely useful site for reviewing almost all mathematical concepts and skills in a systematic and organized way (Sal Khan's Academy): <a href="https://www.khanacademy.org/math" style="text-align: left;">https://www.khanacademy.org/math</a>; </div>
A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-51044674083419290572019-01-14T09:57:00.014-08:002023-04-03T05:21:41.608-07:00To Dread: Environmental Issue (Brazil): A new harbour in Torres (RS)?! Who benefits? What is the logic behind it? <div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: justify;">
Praia Paraiso/Fev 2019 (Torres is a municipality constituted by several small beaches; this is exactly the place where they intend to build the harbour);</div>
<div style="text-align: justify;">
Praia Paraiso/ Sept 2015 (the south of Brazil has a very unstable weather; in Torres there is even the recent record of a massive hurricane-like <a href="https://pt.wikipedia.org/wiki/Ciclone_Catarina">cylone</a>);<br />Potlatch Invitation & The Colorfool Politicians + Late Classic Maya Clown (Mary Miller & Karl Taube, The Gods and Symbols of Ancient Mexico and the Maya) <a href="https://www.instagram.com/alessandro_zir/" target="_blank">(montage A/Z)</a>;</div><div style="text-align: justify;"><div><div style="text-align: left;">Chaos économique, blanchiment bancaire? (Gaël Giraud/Thinkerview 2020); </div><div style="text-align: left;">Choc économique: Perspectives alternatives? (Isabelle Delannoy/Thinkerview 2020); </div></div><div><span style="text-align: left;">Vincent Mignerot: Anticiper l'effondrement? (Thinkerview/Youtube 2017);</span></div><div> <br /><a href="https://aletche.blogspot.com/2019/12/agamben-lovelock-greta-thunberg-coluna.html" target="_blank">#ActForTheAmazon</a><br /><div></div><div>#ExtinctionRebellion</div><div>#InstinctualRebellion</div><div>#FuckTheAlgorith<br />#GretaThunberg<br />#GreenNewDeal</div><div>#Plagued&Pestered<br />#AeraFixed<br />#DameNature</div></div>
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<br />
[<a href="https://aletche.blogspot.com/2019/02/nova-ameaca-ao-meio-ambiente-novo-porto.html" target="_blank">para português, veja aqui</a>]<br />
[<a href="https://www.facebook.com/naoportodetorres/" target="_blank">we have a page on Facebook, please do follow us</a>]<br />
[<a href="https://www.obugio.org.br/petitions/nao-ao-porto-no-litoral-norte-do-rs?share=67463c53-1148-47cd-8f45-348e740325e2&source=rawlink&utm_source=rawlink&share=bbe4aef1-1106-4e23-b2d2-76c95d745194" target="_blank">Public Petition: Não ao Porto No Litoral Norte do RS (Greenpeace)</a>]<br />
<br />
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According to <a href="https://gauchazh.clicrbs.com.br/comportamento/verao/noticia/2019/01/porto-em-torres-proposta-para-construcao-divide-opinioes-cjqpigdre002201k24zsi90tj.html">a report published last January 9 (2019), in the newspaper Zero Hora</a> the idea was proposed by the civil engineer Fernando Carrion and senator Luis Carlos Heinze, of the political party PP (not to be confused with PT).</div>
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Who is senator Heinze?</div>
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According, for instance, to another report recently published in Yahoo News (October 23, 2018), here are the senator's credentials:</div>
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<a href="https://br.noticias.yahoo.com/paulo-paim-e-luis-carlos-heinze-repetem-polarizacao-dos-gauchos-no-senado-141344499.html">'Linked to the rural sector of Rio Grande do Sul (a state that stands out for its agricultural production) [actually, Rio Grande do Sul is nowadays an indebted state having problems to pay even its civil servants and only a very long time ago did it stand out for its agricultural production], Heinze works on renegotiating [big] farmers' debt and is [as much as Jair Bolsonaro] critical of the demarcation of new indigenous areas. In 2014, during a public hearing in Vicente Dutra [a small town of Rio Grande do Sul], Heinze declared that quilombolas [in Brazilian hinterland, traditional communities of African people founded originally by escaped slaves during the shameful period of Brazilian legal slavery], homosexuals and Indians were "people of the worst kind, worth of nothing," and suggested the recruitment of private security by the rural producers to maintain the possession of their lands. He later told the press that his statements (videotaped on social networks) were made in the middle of a heated debate concerning the conflicts between indigenous people and farmers... Also in 2014, Heinze voted against a Constitutional Amendment that stipulated the expropriation of lands from landowners who were caught submitting their workers to a regime analogous to slavery...'</a></div>
<div style="text-align: justify;">
Heize was born in 1950, the engineer Fernando Carrion in 1942 (<a href="http://www.fgv.br/cpdoc/acervo/dicionarios/verbete-biografico/fernando-da-silva-machado-carrion">according to information on a website of the Getúlio Vargas Foundation</a>).</div>
<div style="text-align: justify;">
Although Heinze usually presents himself as defending perspectives opposed to the previous PT (Worker's Party) governments—especially that of Dilma Rousseff, to the impeachment of whom he contributed—the affinity between the logic behind the harbour's project and the logic behind the macroeconomic actions of the previous governments is conspicuous.</div>
<div style="text-align: justify;">
The growth of the country is thought, above all, in terms of megalomaniac projects, very much dependent on strategies totally indifferent (if not deleterious) to the natural environment, and within a completely outdated 19th-century matrix of economical development based almost exclusively in large-scale extractive production and the exportation of commodities. </div>
<div style="text-align: justify;">
<br />
***According to a report in the Jornal Nacional (April 24, 2018), Luis Carlos Heinze's party (the PP) <a href="http://g1.globo.com/jornal-nacional/noticia/2018/04/progressistas-e-um-dos-partidos-com-mais-investigados-na-lava-jato.html">"is one of the most investigated parties in Car-Wash scandal</a>." Another politician of PP directly involved in the project for the construction of the harbour is <a href="http://pioneiro.clicrbs.com.br/rs/economia/caixa-forte/noticia/2019/01/porto-maritimo-em-torres-empresarios-da-serra-se-reunem-com-prefeito-para-discutir-a-ideia-10691510.html" target="_blank">Ovídio Deitos, a businessman of <i>the building sector</i> who is also the president of the PP party in the city of Caxias do Sul</a>. Other businessmen of this city seem also to be involved. One should note that Caxias do Sul <i>was </i>indeed a very important industrial city, with big metalworking factors that are now <i>in decline. </i>Those businessmen didn't adapt well to the new globalized economy. The harbour might represent to them a supposedly survival alternative at the expense of the local population and the environment. The propaganda associated with the project alone is enough to attract all kinds of shady speculation.</div>
<div style="text-align: justify;">
The proposal for the "new" harbour (<a href="https://gauchazh.clicrbs.com.br/opiniao/noticia/2018/07/por-que-torres-precisa-de-um-novo-porto-cjjzu3jic00vt01p6u376i8ps.html">which in fact remounts to the 19th century</a>) looks pretty much like the old disguised as the new, which will, as always, benefit mostly if not only a lazy, backward state bureaucracy and half a dozen oligarchs from the private sector. Foreign investment would come from where? China, Napolis?!</div>
<div style="text-align: justify;">
The sea coast of Torres is important, for instance, to seals, sea lions and right whales. There are THREE protected areas that could be endangered: <a href="https://www.sema.rs.gov.br/itapeva">Parque Estadual de Itapeva</a>, <a href="https://pt.wikipedia.org/wiki/Ref%C3%BAgio_de_Vida_Silvestre_da_Ilha_dos_Lobos">Refúgio da Vida Silvestre Ilha dos Lobos</a>, and <a href="https://arroiodosal.rs.gov.br/parque-tupancy/" target="_blank">Parque Tupancy</a>.<br />
<br />
***As specialists know, the coast of Rio Grande do Sul lacks the granitic shores and protected bays of the coast of Santa Catarina (the next Brazilian state up to the North). This implies a series of risks, such as erosion, in the construction of this type of port in Rio Grande do Sul.</div>
<div style="text-align: justify;">
Moreover, as it is well-known, in Brazil, the maintenance of already existing and basic infrastructure, such as roads, has a huge deficit. In the midst of this scenario, what could be the point of building an entire new port from scratch?! And this in a country that was incapable of preventing <a href="https://www.theguardian.com/commentisfree/2018/nov/03/it-was-a-disaster-on-an-almost-inconceivable-scale-then-the-world-moved-on">the occurrence of a disaster in the scale and magnitude of the one occasioned by mining companies in Mariana</a>?! And within only three years, also the tragedy of Brumadinho (see below), occasioned by the same companies, and killing hundreds of people?<br />
The state of Rio Grande do Sul in particular doesn't stand out anymore for its agricultural production. Since a long time, it has lost ground to other regions. This is a state plagued by chronic economic problems.<br />
<br /></div>
<div style="text-align: justify;">
In a new report published in the newspaper <i>Correio do Povo </i>(January 31, 2019), Heinze seems to be completely assured that the harbour will be built, mainly to export chicken & [transgenic] soy beans! It seems that much before it became publicly known, the project was being plotted sneakily:</div>
<div style="text-align: justify;">
<i><a href="https://www.correiodopovo.com.br/Verao/2019/1/672267/Porto-privado-em-Torres-tem-projeto-em-andamento,-diz-Heinze" style="text-align: start;" target="_blank">- Porto privado em Torres tem projeto em andamento (Correio do Povo)</a><span style="text-align: start;">;</span></i></div>
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<br /></div>
</div>
<div style="text-align: justify;">
Recent News about Environmental Situation in Brazil (Bolsonaro's government):</div><div style="text-align: justify;"><div>- <a href="https://www.theguardian.com/environment/2020/aug/05/tesco-urged-to-ditch-meat-company-over-alleged-links-to-amazon-deforestation" target="_blank">Tesco urged to ditch meat company over links to deforestation (The Guardian)</a>; </div><span style="text-align: left;">- </span><a href="https://www.washingtonpost.com/world/the_americas/brazil-sacks-official-after-soaring-june-deforestation-data/2020/07/13/31c503ae-c550-11ea-a825-8722004e4150_story.html" style="text-align: left;" target="_blank">Brazil Sacks Official After Soaring June Deforestation Data (Washington Post)</a><span style="text-align: left;">;</span><br style="text-align: left;" /><span style="text-align: left;">- </span><a href="https://www.theguardian.com/world/2020/jul/13/brazil-firing-amazon-deforestation-data" style="text-align: left;" target="_blank">Outcry from environmentalists as Brazil fires official monitoring deforestation (The Guardian)</a><span style="text-align: left;">;</span></div><div>
- <a href="https://ambiencia.blogfolha.uol.com.br/2020/05/19/burger-king-e-outras-40-empresas-globais-assinam-carta-contra-pl-da-grilagem/">Burger King e outras 40 empresas assinam carta contra PL da grilagem (Folha de SP)</a>;<br />
<span style="text-align: start;">- </span><a href="https://brasil.elpais.com/brasil/2020-05-11/em-meio-a-pandemia-bolsonaro-acelera-medidas-para-beneficiar-desmatador-armamentista-e-evangelicos.html" style="text-align: start;">Em meio à pandemia, Bolsonaro acelera medidas para beneficiar desmatador (El País)</a><span style="text-align: start;">; </span><br />
<span style="text-align: start;">- </span><a href="https://www.lemonde.fr/planete/article/2020/04/22/au-bresil-la-deforestation-augmente-consequence-indirecte-du-covid-19_6037396_3244.html" style="text-align: start;" target="_blank">« Il n’y a plus de limite ! » : au Brésil, la déforestation augmente (Le Monde)</a><span style="text-align: start;">;</span><br />
- <a href="https://www.theguardian.com/world/2020/mar/05/brazil-call-for-boycotts-major-companies-support-jair-bolsonaro" target="_blank">Brazilians call for boycotts of major companies that support Bolsonaro (The Guardian)</a>; <br />
- <a href="https://www.theguardian.com/global-development/2020/mar/10/brazil-amazon-bridge-project-bolsonaro">'Project of Death': alarm at Bolsonaro's plan for Amazon Expanding Bridge (The Guardian)</a>; <br />
- <a href="https://www.americasquarterly.org/content/why-eu-mercosur-deal-hinges-germanys-reaction-bolsonaro">EU-Mercosur Deal Hinges on Germany's Reaction to Bolsonaro (Americas Quarterly)</a>;<br />
<span style="text-align: start;">- </span><a href="https://www.theguardian.com/environment/2020/mar/03/worlds-biggest-meat-company-linked-to-brutal-massacre-in-amazon" style="text-align: start;" target="_blank">World's biggest meat company linked to 'brutal massacre' in Amazon (The Guardian)</a><span style="text-align: start;">;</span><br />
<div>
- <a href="https://www.hrw.org/news/2020/01/14/brazil-address-lawlessness-amazon">Brazil: Encouraging Killings by Police Harms Public Safety (Human Rights Watch)</a>;</div>
- <a href="https://www.theguardian.com/environment/2020/jan/13/like-a-bomb-going-off-why-brazils-largest-reserve-is-facing-destruction-aoe">'Like a bomb going off': why Brazil's largest reserve is facing destruction (The Guardian)</a>;<br />
- <a href="https://noticias.uol.com.br/colunas/jamil-chade/2020/01/11/relator-da-onu-denuncia-sensacao-perversa-de-impunidade-no-brasil.htm">"Comunidades estão sendo envenenadas no Brasil", denuncia relator da ONU (UOL)</a>;<br />
<div style="text-align: start;">
- <a href="https://www.nytimes.com/aponline/2019/12/16/world/americas/ap-lt-brazil-environment.html">Brazil's Role Questioned After UN Global Warming Meeting (The New York Times)</a>; </div>
<span style="text-align: start;">- </span><a href="https://www.nytimes.com/aponline/2019/12/16/world/americas/ap-lt-brazil-environment.html" style="text-align: start;">Brazil Amazon Deforestation Climbs More Than 100% in November (The New York Times)</a><span style="text-align: start;">;</span><br />
- <a href="https://www.theguardian.com/environment/2019/dec/14/indigenous-boy-15-murdered-on-brazils-amazon-border?CMP=share_btn_fb&fbclid=IwAR3-v1xeY1f3L0_ZiuFYFDjAgjvL3BMk8ZmQHRZf4_yavMjIngH9Ur-8b1s">Indigenous boy, 15, murdered on Brazil's Amazon Border (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/nov/27/jair-bolsonaro-international-criminal-court-indigenous-rights">Indict Jair Bolsonaro over indigenous rights, international court is urged (The Guardian)</a>;<br />
- <a href="https://www.theguardian.com/world/2019/oct/22/brazil-oil-spill-beaches-bolsonaro-volunteers">Brazilians rally to clean beaches amid outrage at Bolsonaro's oil spill inaction (The Guardian)</a>; <br />
<span style="text-align: start;">- </span><a href="https://piaui.folha.uol.com.br/vazamento-de-oleo-avanca-plano-de-controle-patina/" style="text-align: start;" target="_blank">Vazamento de Óleo Avança, Plano de Controle Patina (Folha de São Paulo/Piauí)</a><span style="text-align: start;">;</span><br />
- <a href="https://www.reuters.com/article/us-brazil-environment/deforestation-in-brazils-amazon-rainforest-surges-through-september-idUSKBN1WQ206" target="_blank">Deforestation in Brazil's Amazon rainforest surges through September (Reuters)</a>;<br />
- <a href="https://www.nytimes.com/2019/09/21/sunday-review/bolsonaro-amazon-fire.html" target="_blank">Imagine Jair Bolsonaro Standing Trial for Ecocide at The Hague (The New York Times)</a>; </div>
- <a href="https://www.newyorker.com/news/daily-comment/at-the-united-nations-jair-bolsonaro-presents-a-surreal-defense-of-his-amazon-policies" target="_blank">Bolsonaro Presents a Surreal Defense of His Amazon Policies (The New Yorker)</a>;<br />
<div style="text-align: justify;">
<div>
- <a href="https://time.com/5676877/indigenous-leader-amazon-brazil/" target="_blank">'It Is Our Very Governments Who Are Killing the Earth' (Time)</a>;</div>
<div>
<span style="text-align: start;">- </span><a href="https://www.theguardian.com/environment/2019/sep/16/amazon-deforestation-brazil-crime-report-human-rights-watch" style="text-align: start;" target="_blank">Amazon deforestation are driven by criminal networks, report finds (The Guardian)</a><span style="text-align: start;">; </span></div>
<div style="text-align: start;">
- <a href="https://www.bbc.com/portuguese/brasil-49657447" target="_blank">O agrotóxico que matou 50 milhões de abelhas em Santa Catarina em um só mês (BBC)</a>; </div>
<div style="text-align: start;">
<span style="text-align: justify;">- </span><a href="https://brasil.elpais.com/brasil/2019/09/12/opinion/1568300730_780955.html" style="text-align: justify;" target="_blank">"A noticia é essa: o Xingu vai morrer!" (Eliane Brum/El Pais)</a><span style="text-align: justify;">; </span></div>
<div>
- <a href="https://www.theguardian.com/environment/2019/sep/05/amazon-fires-are-true-apocalypse-says-brazilian-archbishop" style="text-align: justify;">Amazon fires are 'true apocalypse', says Brazilian archbishop (The Guardian)</a>; <br />
- <a href="https://www.theguardian.com/commentisfree/2019/sep/02/amazon-destruction-earth-brazilian-kayapo-people" style="text-align: justify;">We, the peoples of the Amazon, are full of fear (Raoni Metuktire/The Guardian)</a>; <br />
<span style="text-align: start;">- </span><a href="http://br.rfi.fr/franca/20190901-deputados-franceses-e-ongs-publicam-manifesto-visando-soja-e-carne-brasileiras" style="text-align: justify;" target="_blank">Deputados franceses e ONGs publicam manifesto visando soja e carne brasileiras (RFI)</a><span style="text-align: justify;">; </span></div>
<div style="text-align: start;">
- <a href="https://www.latimes.com/opinion/story/2019-08-26/amazon-fires-brazil-bolsonaro-rainforests-ranching">Brazil’s politics are making the Amazon fires worse (Los Angeles Times)</a>;</div>
<div style="text-align: start;">
- <a href="https://www.aljazeera.com/news/2019/08/brazil-tops-list-countries-highest-deforestation-rate-190826194626495.html" target="_blank">Brazil tops list of countries with highest deforestation rate (Aljazeera)</a>;</div>
<div style="text-align: start;">
- <a href="https://www.aljazeera.com/news/2019/08/brazil-reject-g7-offer-22m-aid-fight-amazon-fires-190827060022860.html">Brazil to reject G7 offer of $22m aid to fight Amazon fires (Aljazeera)</a>; </div>
<div style="text-align: start;">
- <a href="https://www.france24.com/en/20190827-brazil-Jair-Bolsonaro-g7-aid-wildfires-amazon-rainforest-emmanuel-macron">Brazil rejects G7 aid for Amazon fires (France 24)</a>; </div>
<div style="text-align: start;">
- <a href="https://www.theguardian.com/world/2019/aug/27/amazon-fires-brazil-to-reject-20m-pledged-by-g7">Amazon rainforest fires: Brazil to reject $20m pledged by G7 (The Guardian)</a>; </div>
<div style="text-align: start;">
- <a href="https://www.cbsnews.com/news/amazon-wildfires-brazil-spurns-20-million-aid-offer-from-g-7-nations-fight-amazon-wildfires/">Brazil spurns $20 million in aid to fight Amazon wildfires (CBS News)</a>; </div>
<div style="text-align: start;">
- <a href="https://www.theguardian.com/world/2019/aug/26/brazil-amazon-fire-day-warning">Brazil officials failed to act after warning of 'fire day’ in Amazon (The Guardian)</a>;</div>
<div style="text-align: start;">
- <a href="https://www.economist.com/the-americas/2019/08/23/jair-bolsonaro-shrugs-as-the-amazon-burns?fsrc=scn/tw/te/bl/ed/jairbolsonaroshrugsastheamazonburnsforestapocalypse">Jair Bolsonaro shrugs as the Amazon burns (The Economist)</a>;<span style="text-align: justify;"> </span></div>
<div style="text-align: start;">
- <a href="https://www.theguardian.com/environment/2019/aug/22/brazilian-minister-booed-at-climate-event-as-outcry-grows-over-amazon-fires" target="_blank">Brazilian minister booed at climate event as outcry grows over Amazon fires (The Guardian)</a>;<br />
<span style="text-align: start;">- </span><a href="https://www.bbc.com/news/world-latin-america-49433437" style="text-align: start;" target="_blank">Brazil environment minister heckled over Amazon fire (BBC)</a><span style="text-align: start;">;</span></div>
<div style="text-align: start;">
- <a href="https://www.irishtimes.com/news/environment/amazon-burning-brazil-reports-record-surge-in-forest-fires-1.3992951" target="_blank">Amazon burning: Brazil reports record surge in forest fires (The Irish Times)</a>; </div>
<div style="text-align: start;">
- <a href="https://www.aljazeera.com/news/2019/08/brazil-groups-dispute-bolsonaro-claim-ngos-amazon-fires-190821193510317.html" target="_blank">Amazon burning: NGOs dispute Bolsonaro's claim (Aljazeera)</a>;</div>
<span style="text-align: start;">- </span><a href="https://www.bloomberg.com/news/articles/2019-08-19/bees-are-dropping-dead-in-brazil-and-sending-a-message-to-humans" style="text-align: start;" target="_blank">Bees Are Dropping Dead in Brazil and Sending a Message to Humans (Bloomberg)</a><span style="text-align: start;">; </span><br />
<div style="text-align: start;">
- <a href="https://www.ecowatch.com/brazil-pesticides-bees-bolsonaro-2639936373.html" target="_blank">Environmentalists Mourn 500 Million Dead Bees in Brazil (EcoWatch)</a>; </div>
<div style="text-align: start;">
- <a href="https://www.reuters.com/article/us-brazil-environment-norway/norway-stops-amazon-fund-contribution-in-dispute-with-brazil-idUSKCN1V52C9">Norway stops Amazon fund contribution in dispute with Brazil (Reuters)</a>; <br />
- <a href="https://www.theguardian.com/world/2019/aug/16/norway-halts-amazon-fund-donation-dispute-brazil-deforestation-jair-bolsonaro" target="_blank">Norway halts Amazon fund donation in dispute with Brazil (The Guardian)</a>;</div>
<span style="text-align: start;">- </span><a href="https://www.france24.com/en/20190816-norway-stops-subsidy-brazil-amazon-broke-agreement-deforestation-bolsonaro" style="text-align: start;" target="_blank">Norway to stop €30 million Amazon protection subsidy (France 24)</a><span style="text-align: start;">; </span><br />
<div style="text-align: start;">
- <a href="https://www.dw.com/en/amazon-deforestation-prompts-germany-to-suspend-brazil-forest-projects/a-49982647" target="_blank">Amazon deforestation prompts Germany to suspend Brazil forest projects (DW)</a>; </div>
<div style="text-align: start;">
- <a href="http://news.trust.org//item/20190811182835-c9ylm/" target="_blank">Germany to cut 35 mln euros in funds to Brazil for Amazon preservation (Reuters)</a>; </div>
<span style="text-align: start;">- </span><a href="https://www.economist.com/leaders/2019/08/01/deathwatch-for-the-amazon" style="text-align: start;" target="_blank">Deathwatch for the Amazon (The Economist)</a><span style="text-align: start;">;</span><br />
- <a href="https://www.nytimes.com/2019/07/27/world/americas/brazil-miners-amapa.html" style="text-align: justify;">Miners Kill Indigenous Leader in Brazil during Invasion of Protected Land (The New York Times)</a>; <br />
<span style="text-align: start;">- </span><a href="https://www.theguardian.com/world/2019/jul/25/amazonian-rainforest-near-unrecoverable-tipping-point?" style="text-align: justify;" target="_blank">Amazon deforestation accelerating towards unrecoverable 'tipping point' (The Guardian)</a><span style="text-align: justify;">; </span><br />
- <a href="https://www.cbsnews.com/news/amazon-rainforest-rare-footage-awa-tribe-brazil-threatened-by-loggers/">Video appears to show rare Brazilian tribe threatened by loggers (CBS News)</a>;<br />
- <a href="https://www.dw.com/en/brazils-bolsonaro-restricts-drugs-policy-council-legalizes-agritoxins/a-49708371">Brazil's Bolsonaro restricts drugs policy council, legalizes agritoxins (Deutsche Welle)</a>; <br />
- <a href="https://www.newscientist.com/article/2210621-deforestation-in-brazil-has-rocketed-since-bolsonaro-became-president/">Deforestation in Brazil has rocketed since Bolsonaro became president (New Scientist)</a>; <br />
- <a href="https://www.theguardian.com/world/2019/jul/19/jair-bolsonaro-brazil-amazon-rainforest-deforestation">Bolsonaro declares 'the Amazon is ours' and calls deforestation data 'lies' (The Guardian)</a>; <br />
- <a href="https://www.reuters.com/article/us-brazil-environment/brazil-deforestation-soars-in-july-threatening-eu-trade-deal-idUSKCN1UD20X">Brazil deforestation soars in July, threatening EU trade deal (Reuters)</a>; <br />
- <a href="https://www.reuters.com/article/us-brazil-environment-norway/major-donor-norway-frets-over-brazil-deforestation-idUSKCN1U00ZL">Major donor Norway frets over Brazil deforestation (Reuters)</a>;<br />
- <a href="https://www.bbc.com/news/av/world-latin-america-48845015/amazon-rainforest-indigenous-people-in-fight-for-survival">Amazon rainforest indigenous people in fight for survival (BBC)</a>; <br />
- <a href="https://www.bbc.com/news/science-environment-48827490">Football pitch of Amazon Forest lost every minute (BBC)</a>; <br />
- <a href="https://www.bbc.com/news/world-latin-america-46039996">Bolsonaro plans threaten Amazon, says experts (BBC)</a><br />
<div style="text-align: start;">
- <a href="https://www.theguardian.com/environment/2019/jun/12/hundreds-new-pesticides-approved-brazil-under-bolsonaro" target="_blank">Hundreds of new pesticides approved in Brazil (The Guardian)</a>;</div>
<div style="text-align: start;">
<span style="text-align: justify;">- </span><a href="https://www.bbc.com/portuguese/brasil-48463000?ocid=socialflow_facebook&fbclid=IwAR3wfw7f2DGtGAsMMoSMbCoBKMr72baawhXoery0Ww0wEDng-Pd__JpNDGw#" style="text-align: justify;" target="_blank">Brasil e EUA lideram retrocessos ambientais (BBC)</a><span style="text-align: justify;">; </span></div>
<span style="text-align: start;">- </span><a href="https://noticias.uol.com.br/meio-ambiente/ultimas-noticias/redacao/2019/05/29/camara-muda-codigo-florestal-e-garante-desmate-a-grandes-produtores-rurais.htm" style="text-align: start;" target="_blank">Câmara muda Código Florestal e garante desmate a grandes produtores rurais (Uol)</a><span style="text-align: start;">;</span><br />
<span style="text-align: start;">- </span><a href="https://noticias.uol.com.br/meio-ambiente/ultimas-noticias/redacao/2019/05/17/com-bolsonaro-liberacao-de-agrotoxicos-cresceu-42-diz-estudo.htm" style="text-align: start;" target="_blank">Com Bolsonaro, liberação de agrotóxicos cresceu 42%... (Uol)</a><span style="text-align: start;">;</span><br />
<span style="text-align: start;">- </span><a href="https://epoca.globo.com/como-ricardo-salles-tem-desmontado-agenda-verde-em-favor-do-agronegocio-23652038?fbclid=IwAR00r1Pfw0oJbzgMUyRxqPmzB89atZT7nwhG0ddwlaqEu50HBE2B0qV40hI" style="text-align: start;" target="_blank">Como Ricardo Salles tem desmontado a agenda verde (Época)</a><span style="text-align: start;">; </span><br />
<span style="text-align: start;">- </span><a href="https://g1.globo.com/natureza/noticia/2019/05/08/ex-ministros-do-meio-ambiente-se-reunem-para-discutir-politica-ambiental.ghtml" style="text-align: start;" target="_blank">A governança socioambiental do Brasil está sendo desmontada (Globonews)</a><span style="text-align: start;">; </span><br />
<span style="text-align: start;">- </span><a href="https://www.reuters.com/article/us-brazil-environment/ex-ministers-blast-bolsonaro-for-dismantling-brazils-environment-protections-idUSKCN1SE2IQ" style="text-align: start;" target="_blank">Ex-ministers blast Bolsonaro for dismantling Brazil's environment protections (Reuters)</a><span style="text-align: start;">;</span><br />
<span style="text-align: start;">- </span><i style="text-align: start;"><a href="https://www.gazetadopovo.com.br/republica/ministro-cancela-viagens-pela-europa-apos-criticas-sobre-desmatamento/" target="_blank">Ministro cancela ‘roadshow’ pela Europa após críticas (Gazeta do Povo)</a></i><span style="text-align: start;">;</span><br />
<i style="text-align: start;">- <a href="https://politica.estadao.com.br/noticias/geral,governo-esta-promovendo-um-desmonte-total-no-meio-ambiente-afirma-marina,70002804795" target="_blank">‘Governo está promovendo um desmonte total no Meio Ambiente’ (Estadão)</a></i><span style="text-align: start;">; </span><br />
<div style="text-align: start;">
<i>- <a href="https://www.bloomberg.com/news/articles/2019-04-12/natural-history-museum-won-t-roll-out-red-carpet-for-bolsonaro">Natural History Museum Won't Roll Out Red Carpet for Bolsonaro (Bloomberg)</a>; </i></div>
<i style="text-align: start;">- <a href="https://sustentabilidade.estadao.com.br/blogs/ambiente-se/servidores-escrevem-carta-acusando-salles-de-destruicao-da-gestao-ambiental/">Servidores escrevem carta acusando Salles (Estadão)</a></i><span style="text-align: start;"><i>;</i></span><br />
<i><span style="text-align: start;">- <a href="https://mobile.reuters.com/article/amp/idUSKCN1RO29H?__twitter_impression=true" target="_blank">Bolsonaro says Brazil rainforest reserve may be opened (Reuters)</a></span><span style="text-align: start;">; </span></i><br />
<i style="text-align: start;">- <a href="https://www.theatlantic.com/science/archive/2019/04/amnh-under-fire-hosting-brazils-jair-bolsonaro/587068/" target="_blank">A natural-history museum is under fire for hosting Brazil's new president (The Atlantic)</a>; </i><i><br />- <a href="https://www.theguardian.com/world/2019/apr/12/american-museum-of-natural-history-gala-jair-bolsonaro?CMP=Share_iOSApp_Other">US natural history museum gala to honor Brazil's far-right president (The Guardian)</a>;<br />- <a href="https://www1.folha.uol.com.br/ambiente/2019/03/ibama-exonera-servidor-que-multou-bolsonaro-por-pesca-irregular.shtml">Ibama exonera servidor que multou Bolsonaro por pesca irregular (Folha de São Paulo)</a>;<br />- <a href="https://www.dw.com/pt-br/o-projeto-de-mefist%C3%B3feles/a-47784823">O Projeto de Mefistóteles (Deutsche Welle)</a>;<br />- <a href="https://politica.estadao.com.br/noticias/geral,bispos-se-opoem-a-politicos-em-evento,70002715226?utm_source=estadao%3Afacebook&utm_medium=link&fbclid=IwAR2cEDInXHVt7fzIMEbqy7RUxtD8QdRIoZIu0AzcHJticmqqoR5xleDHspE">Bispos se opõem a políticos em evento (Estadão)</a>; <br />- <a href="https://www.theguardian.com/world/2019/feb/12/brazil-environment-ministers-dismissal-of-slain-amazon-defender-stirs-outrage">Brazil environment minister stirs outrage (The Guardian)</a>;<br />- <a href="https://www.theguardian.com/world/2019/feb/01/it-smells-dirty-scandals-loom-over-bolsonaro-after-first-month-in-office">‘It smells dirty’: scandals loom over Bolsonaro (The Guardian)</a>;<br />- <a href="https://www.theguardian.com/world/2019/jan/22/brazils-government-reveals-plans-to-privatize-key-shipping-route">Brazil reveals plans to privatize key stretches of Amazon highways (The Guardian)</a>;<br />- <a href="https://www.theguardian.com/world/2019/jan/22/jair-bolsonaro-alarms-environmental-activists-with-pro-business-speech">Jair Bolsonaro alarms climate activists with pro-business speech (The Guardian)</a>;<br />- <a href="https://www.theguardian.com/world/2019/jan/16/brazil-environment-chief-accused-of-war-on-ngos-as-partnerships-paused">Brazil environment chief accused of 'war on NGOs' (The Guardian)</a>;<br />- <a href="https://www.theguardian.com/world/2019/jan/14/gisele-bundchen-bad-brazilian-bolsonaro-agricultural-minister-tereza-cristina-diaz?CMP=share_btn_fb&fbclid=IwAR0XY87tXBfPKrvgvpEJWO2LER3VWtavsBQ0lXhhUcL8uyjVa-B-0VBTpbM">Gisele Bündchen is a 'bad Brazilian', says Bolsonaro's agriculture minister (The Guardian)</a>;<br />- <a href="https://www.theguardian.com/world/2019/jan/02/brazil-jair-bolsonaro-amazon-rainforest-protections">Jair Bolsonaro launches assault on Amazon rainforest protections (The Guardian)</a>; <br />- <a href="https://www.theguardian.com/environment/2018/nov/06/bhp-billiton-facing-5bn-lawsuit-from-brazilian-victims-of-dam-disaster">BHP Billiton facing £5bn lawsuit from Brazilian victims of dam disaster (The Guardian)</a>;<br />- <a href="https://www.theguardian.com/commentisfree/2018/nov/03/it-was-a-disaster-on-an-almost-inconceivable-scale-then-the-world-moved-on">It was a disaster on an almost inconceivable scale (The Guardian)</a>;<br /><br />Recent news about the tragedy of Brumadinho:</i><br />
<span style="text-align: start;">- </span><a href="https://graphics.reuters.com/VALE-DISASTER/0100B29R1CC/index.html" style="text-align: start;" target="_blank">Vale misled public on dangerous dams, prompting Brazil probe (Reuters)</a><span style="text-align: start;">; </span><br />
<i>- <a href="https://g1.globo.com/ro/ariquemes-e-vale-do-jamari/noticia/2019/03/30/rompimento-de-barragem-em-rondonia-o-que-se-sabe-ate-agora.ghtml">Rompimento de barragens em Rondônia: o que se sabe até agora (Globonews)</a>;<br />- <a href="https://www1.folha.uol.com.br/cotidiano/2019/03/ministerio-publico-investiga-rompimento-de-barragens-em-rondonia.shtml">Ministério Público investiga rompimento de barragens em Rondônia (Folha de São Paulo)</a>;<br />- <a href="https://www.nytimes.com/aponline/2019/03/30/world/americas/ap-lt-brazil-dam-collapse.html">New Dam Collapse in Brazil (Rondonia) (Associated Press)</a>; <br />- <a href="https://www.economist.com/business/2019/02/02/a-brazilian-tragedy-is-a-deepwater-horizon-moment-sort-of">A Brazilian tragedy is a Deepwater horizon moment (The Economist)</a>;<br />- <a href="https://g1.globo.com/mg/minas-gerais/noticia/2019/02/06/vale-ja-sabia-de-problemas-nos-sensores-da-barragem-de-brumadinho-dois-dias-antes-do-rompimento.ghtml?fbclid=IwAR1vZZcHWOAJvB4Kdd0IGuiAFnAjHT4_S2ID_Uiu30aLijLC4qJnTmTR9ng">E-mails indicam que Vale soube de problemas em sensores de Brumadinho(G1)</a>;<br />- <a href="https://www.theguardian.com/world/2019/feb/03/brazil-dam-collapse-search-body-recovery">Dam collapse: the desperate search at Brazil's 'ground zero' (The Guardian)</a>;<br />- <a href="https://www.theguardian.com/world/2019/jan/29/the-river-is-dying-the-vast-ecological-cost-of-brazils-mining-disasters">'The river is dying': the vast ecological cost of Brazil's mining disasters (The Guardian)</a>;<br />- <a href="https://www.lemonde.fr/planete/article/2019/01/28/au-bresil-a-brumadinho-entre-revolte-et-crainte-d-une-nouvelle-catastrophe_5415639_3244.html">Au Brésil, la colère et la crainte d’une nouvelle catastrophe (Le Monde)</a>;<br />- <a href="https://www.greenpeace.org/international/story/20503/the-city-is-weeping-the-aftermath-of-environmental-disaster-in-brumadinho-brazil/">The city is weeping – the aftermath of environmental disaster in Brumadinho (Greenpeace)</a>;<br />- <a href="https://www.cbsnews.com/news/brazil-dam-disaster-death-toll-brumadinho-anger-vale-mining-today-2019-01-28/">Brazil dam disaster death toll in nears 60, with hundreds still missing (CBS News)</a>;<br />- <a href="https://www.bbc.com/news/world-latin-america-47017551">Brumadinho dam collapse: Hope fades for hundreds missing in Brazil (BBC)</a>;<br />- <a href="https://www.theguardian.com/world/2019/jan/25/brazil-dam-collapse-news-latest-mining-disaster-brumadinho">Brazil dam collapse: 10 bodies found and hundreds missing (The Guardian)</a>;<br />- <a href="https://www.nytimes.com/2019/01/26/world/americas/brazil-dam-break.html">Hundreds Missing Following Burst Brazil Dam (The New York Times)</a>; <br />- <a href="https://www.independent.co.uk/news/world/americas/brazil-dam-collapse-disaster-burst-death-toll-rescue-vale-mining-brumadinho-a8747741.html">Brazil dam collapse: Bid to rescue hundreds missing (Independent)</a>;<br />- <a href="https://www.valor.com.br/empresas/6086685/barragem-da-vale-se-rompe-em-brumadinho-em-minas-gerais">Barragem da Vale se rompe em Brumadinho, em Minas Gerais (Valor)</a>;<br />- <a href="https://www.wsj.com/articles/dam-bursts-at-vale-mine-in-brazil-11548434014?mod=searchresults&page=1&pos=1">Dam Bursts at Vale Mine in Brazil (The Wall Street Journal)</a>;</i><br />
<br />
Posts related in this same blog:</div><div style="text-align: justify;"><div style="text-align: left;">- <a href="https://aletche.blogspot.com/2021/02/stop-leveling-down-lifes-multiple.html" target="_blank">The Whole Lunacy of Megalomaniac Billionaires</a>; </div><div style="text-align: left;">- <a href="https://aletche.blogspot.com/2020/02/am-i-going-to-disney-how-much-is.html" target="_blank">How much is a Parasite Worth in Brazil?</a></div></div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/12/agamben-lovelock-greta-thunberg-coluna.html" target="_blank">Agamben, Lovelock, Greta Thunberg</a>; <br />
- <a href="https://aletche.blogspot.com/2019/01/blue-crab-siri-azul-torres-brazil-jan.html">Blue Crab/ Siri Azul (Torres, Brazil, Jan 2019)</a>;<br />
- <a href="https://aletche.blogspot.com/2016/03/instead-of-revolution-demontage-super.html">Instead of revolution: démontage</a>;<br />
- <a href="https://aletche.blogspot.com/2016/10/who-wants-to-be-worlds-5th-largest.html">Who Wants to Be the World's 5th Largest Economy?</a><br />
- <a href="https://aletche.blogspot.com/2016/10/b4-trump-turns-real-banality-of-evil-in.html">Banality of Evil in Brazil</a>;<br />
- <a href="https://aletche.blogspot.com/2016/09/brazil-after-rousseffs-impeachment.html">Brazil after Rousseff's Impeachment</a>; <br />- <a href="https://aletche.blogspot.com/2015/10/sundays-afterthought-list-of-infamous.html">List of Infamous Brazilian Esquerdofrênicos</a>; <br />
- <a href="https://aletche.blogspot.com/2015/11/brazil-most-recent-contribution-to.html">Humanitarian Rhetoric</a>; <br />
- <a href="https://aletche.blogspot.com/2017/01/land-of-southern-lapwing.html">Land of the Southern Lapwing</a>; <br />
- <a href="https://aletche.blogspot.com/2015/07/blog-post_27.html">Torres (Northeast of Rio Grande do Sul)</a>; <br />
- <a href="https://aletche.blogspot.com/2015/01/garbage-plastic-debris-sea-world-brazil.html">Garbage (Plastic Debris, Coast of Rio Grande do Sul)</a>;</div><div style="text-align: justify;"><br /></div><div><div style="text-align: justify;">Other related discussions: </div><div style="text-align: justify;"><a href="https://doi.org/10.1007/s13347-023-00617-8">***Ecomodernism and the Libidinal Economy: Towards a Critical Conception of Technology in the Bio‐Based Economy (Roel Veraart, Vincent Block, Pieter Lemmens, Philosophy & Technology/2023);</a></div><div style="text-align: justify;">************************************************************** </div> <div style="text-align: justify;"><br /></div> <div style="text-align: justify;"><br /></div><span style="text-align: left;">Other Environmental Issues Around the World:</span></div><div style="text-align: justify;"><div style="text-align: justify;"><div style="text-align: start;">
<br />
<div style="text-align: justify;">
'For Isra, when it comes to discussing the environment, it’s crucial to talk about environmental racism – i.e., environmental and climate change issues that specifically affect black and brown communities. “There’s a pipeline being built in my state (Minnesota) and it’s going straight through indigenous treaty lands and sacred wild rice beds,” she explains. “This pipeline will destroy their water and their sacred wild rice and also just ruin their land. Some places are more privileged than others.” More than anything, we should make sure people “recognise their privilege in the movement”.'</div>
<div style="text-align: justify;">
'As far as US Youth Climate Strike is concerned, Isra says, “we try and avoid things like sit-ins or a lot of marches, only because we deal with so many minors – we don’t want any of them to get arrested – especially with youth of colour. We try and focus on really safe forms of activism so everybody can participate.”'</div>
<div style="text-align: justify;">
'Everybody gets there at their own pace. It took me some time – it probably takes everybody some time. And whether or not you get media coverage or you get a great response it doesn’t mean what you’re doing is wrong. You should know what’s best for you and what you believe in, and nobody should be able to tell you any different.”'</div>
<div style="text-align: justify;">
'“It is a lot to handle, and it’s a full-time job,” says Isra, who is a high school student, juggling her school work along with her activism. “You have to make sure you balance time and that you get your priorities right.” Self-care is a must. “There are so many things that need to be tackled, but also you come first – make sure that you are OK enough to partake in that activism,”' <a href="https://www.dazeddigital.com/politics/article/44390/1/how-to-fight-for-climate-action-isra-hirsi-climate-strike-ilhan-omar">"How to fight for climate action, according to Isra Hirsi" (Niellah Arboine/<i>Dazed</i>, 05/13/2019)</a>;</div>
<div style="text-align: justify;">
'“We have shown that we are strong, we are determined,” she said. “I have never – I’ve been a police officer for 36 years – I have never known an operation, a single operation, in which over 700 people have been arrested.''Max Wedderburn, a 13-year-old from Milton Keynes, addressed crowds at the bridge and received cheers and applause. “We are getting bigger, we are getting stronger, we are gathering momentum. Together we can change the future,” he said.'</div>
<div style="text-align: justify;">
'Speaking afterwards, he said he became inspired to fight against climate change after learning about it from his mother. He explained: “My lifelong dream is to become a zoologist but I feel there is no point if half of the animals are all dead by the time I reach that goal.”'</div>
<div style="text-align: justify;">
'Around 20 activists, most of them aged under 17, had staged a brief demonstration on roads near Heathrow Airport on Friday morning and were arrested. “One thing that is unusual about this demonstration is the willingness of those participating to be arrested and also their lack of resistance to the arrests,” said a spokesperson,' <a href="https://www.independent.co.uk/news/uk/home-news/extinction-rebellion-latest-london-protests-climate-change-police-cell-arrests-space-a8879036.html">"Extinction Rebellion: More than 750 protesters arrested as climate change activists block London roads for sixth day" (<i>Independent</i>, 04/21/2019)</a>;</div>
<div style="text-align: justify;">
'The political class, as anyone who has followed its progress over the past three years can surely now see, is chaotic, unwilling and, in isolation, strategically incapable of addressing even short-term crises, let alone a vast existential predicament.'</div>
<div style="text-align: justify;">
'Even when broadcasters cover these issues, they carefully avoid any mention of power, talking about environmental collapse as if it is driven by mysterious, passive forces, and proposing microscopic fixes for vast structural problems. The BBC’s Blue Planet Live series exemplified this tendency.'</div>
<div style="text-align: justify;">
'Our system – characterised by perpetual economic growth on a planet that is not growing – will inevitably implode.'</div>
<div style="text-align: justify;">
'... for a peaceful mass movement to succeed, a maximum of 3.5% of the population needs to mobilise.'</div>
<div style="text-align: justify;">
'When a committed and vocal 3.5% unites behind the demand for a new system, the social avalanche that follows becomes irresistible,' <a href="https://www.theguardian.com/commentisfree/2019/apr/15/rebellion-prevent-ecological-apocalypse-civil-disobedience">"Only rebellion will prevent an ecological apocalypse" (George Monbiot, <i>The Guardian</i>, 04/15/2019)</a>;</div>
<div style="text-align: justify;">
'[Balkan] rivers (dubbed the Blue Heart of Europe) are in grave danger of being destroyed by corporate banks wanting to turn them into 3,000 hydro dams across a space the size of Italy. The dams would produce hydro energy: one of the most damaging renewable energy sources on the planet which displaces communities, sends species into extinction, and contributes vastly to climate change. Politically, the move is seen as a form of exploitation, where big foreign banks are taking advantage of a politically unstable region...'</div>
<div style="text-align: justify;">
'However, if the recent actions of young activists across the Balkans are anything to go by, destroying the Balkans rivers will be a hard battle to win. It's with this resistance that the region welcomes the new age activism in the Balkans: one lensed by London-based photographer and filmmaker <a href="https://www.instagram.com/lewis.khan/?hl=en">Lewis Khan</a>. Released alongside a short film, Khan travelled to Croatia, Slovenia, and Bosnia to document those who's lives are intrinsically intertwinned with the rivers of their countries and those making a pledge to save the Blue Heart,' <a href="http://www.dazeddigital.com/life-culture/article/40799/1/photos-of-the-balkan-youth-fighting-to-save-their-environment">Photos of the Balkan youth fighting to save their environment (<i>Dazed</i>, 08/24/ 2018)</a>;</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
-<a href="https://rebellion.earth/"> Extinction Rebelion</a>; </div>
<div style="text-align: justify;">
- <a href="https://ukscn.org/ys4c">UK Student Climate Network/ Youth Strike For Climate (YS4C)</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div style="text-align: left;">**************************************************************<div><h4 style="text-align: justify;"><span style="text-align: left;">Brazil's edible plants (from a paper by researches of the University of Leiden): </span></h4><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"Piso indicated that roots [tubers] of S. tuberosa deserved special attention, because of the way they developed underground and their use as a refreshment [water reservoir] for feverish patients and exhausted travelers, as he experimented himself. He and Marcgrave also described how its fruits were valued as food... Currently S. tuberosa, known as Umbu or Umbuzeiro, is an important economic and subsistence food resource for rural communities in semiarid regions of northeast Brazil. Its specialized root system (xylopodia) bears tubers that store liquids, sugars and other nutrients and allow the survival of the tree during the dry seasons of the caatinga and central Brazilian savanna, where this species is endemic. The water or sweet juice of these xylopodia is still used as an emergency thirst quencher in extreme arid areas of the Brazilian sertão..."</div></div><div style="text-align: justify;">"Several rainforest trees were highly valued for its edible fruits or seeds, such as Hymenaea courbaril L. or Lecythis pisonis L., of which the 'seeds (also called chestnuts) were eaten raw or roasted' and 'were considered aphrodisiacs.' The fruit of Macoubea guianensis Aubl. was 'appreciated for its sweetness by the indigenous peoples to eat during their travels, while Europeans used it to treat chest affections.' The fruit of Swartzia pickelii Killip ex Ducke was 'not eaten unless it was cooked, from which the inhabitants made a wholesome delicacy for the stomach called Manipoy.' The same applies to the tomato-like fruits of the African eggplant Solanum aethiopicum L., which were 'eaten cooked, after seasoning with oil and pepper; it has lemon taste'..."</div><div style="text-align: justify;">- <a href="https://www.nature.com/articles/s41598-021-99226-8" target="_blank">Alcàntara-Rodríguez, M., Francozo, M., & Andel, T. R. van. (2021). Looking into the flora of Dutch Brazil: botanical identifications of seventeenth century plant illustrations in the Libri Picturati. Scientific Reports, 11</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><h4><span style="text-align: left;">Degradation of Brazilian's flora </span><span style="text-align: left;">(from a paper by researches of the University of Leiden)</span><span style="text-align: left;">: </span></h4></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"In the past centuries, the Atlantic Forest and savannah regions of northeast Brazil have been severely affected by habitat loss and degradation due to the expansion of urbanization, intensive agriculture, farming and logging. Several plant species that were abundant enough to be noted by European artists around 1640 are not common anymore today. According to the IUCN Red List, eight species in the Libri Picturati, seven in the Theatrum and one in the LP are currently experiencing population decline or are at risk of facing extinction. Several endemic plants from the northeast Atlantic rainforest and caatinga biomes appear in the illustrations. Four species in the Libri Picturati are currently CITES-listed and restricted to trade: the cacti Brasiliopuntia brasiliensis (Willd.) A. Berger, Cereus fernambucensis Lem., Epiphyllum phyllanthus (L.) Haw. and Melocactus violaceus subsp. margaritaceus N. P. Taylor. The latter is an endemic cactus of the coastal sand dunes’ ecoregion in the Atlantic rainforest known as restinga, which is severely threatened by agricultural expansion and urbanization."</div><div style="text-align: justify;">"Some endemic species are classified as Least Concern by the IUCN or the CNC Flora (12 species), while others (13 species) have not been evaluated yet. The MC does not contain threatened species, but includes two endemic trees: Attalea compta Mart. and Eugenia cf. brasiliensis Lam., which are only found in the biodiversity hotspots of the Atlantic rainforest and the cerrado, both greatly affected by habitat loss. The mangrove vegetation along the Brazilian coast has been severely affected by urbanization, pollution by industrial and domestic waste and climate change, threatening the populations of the mangrove trees Avicennia schaueriana Stapf & Leechm. ex Moldenke and Laguncularia racemosa (L.) C. F. Gaertn. The occurrence of anthropogenic impacts and the lack of available data call for the implementation of more in-depth and continuous studies on the conservation status of these vulnerable populations."</div><div style="text-align: justify;">- <a href="https://www.nature.com/articles/s41598-021-99226-8" target="_blank">Alcàntara-Rodríguez, M., Francozo, M., & Andel, T. R. van. (2021). Looking into the flora of Dutch Brazil: botanical identifications of seventeenth century plant illustrations in the Libri Picturati. Scientific Reports, 11</a>;</div><div style="text-align: justify;"><br /></div></div></div>
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A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com0tag:blogger.com,1999:blog-30487535.post-748912732141625802018-12-23T05:33:00.028-08:002023-08-14T13:44:54.553-07:00timothy leary in the 1990s &/or how to talk nineteen to the dozen like a digital maniac even if you aren't<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6zB2i4Xh7Q-a4CPD3k-y_5DWRSx0ACvztw5gQ8vs_3IXkLBV3Sv9-0ssCJ5dxhZVr8DTbPPLx_-JAFVgt1-wDMrvGrY7SAn5kWEFgVaXcr3-MUMDfHyNClG48XKnZYNAIHfWosA/s1600/asses_face_book_moon_ticket+%25281%2529+copy-3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="897" data-original-width="1600" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6zB2i4Xh7Q-a4CPD3k-y_5DWRSx0ACvztw5gQ8vs_3IXkLBV3Sv9-0ssCJ5dxhZVr8DTbPPLx_-JAFVgt1-wDMrvGrY7SAn5kWEFgVaXcr3-MUMDfHyNClG48XKnZYNAIHfWosA/w400-h224/asses_face_book_moon_ticket+%25281%2529+copy-3.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivFQK0Atov2P6eiTfW-ptDU3F1GlUsmku8sKywtt_JYl44FyTdazDFU4EHYiOncqbmNpNZ6-CWMVb_kRoFyf3XgAm6AkDiuh3uNyDwQ8xkLG2dH1ZAwDKZyxVtfvPajb72qh4KbA/s1600/ugly_wigs_tickets+copy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="931" data-original-width="1600" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivFQK0Atov2P6eiTfW-ptDU3F1GlUsmku8sKywtt_JYl44FyTdazDFU4EHYiOncqbmNpNZ6-CWMVb_kRoFyf3XgAm6AkDiuh3uNyDwQ8xkLG2dH1ZAwDKZyxVtfvPajb72qh4KbA/w400-h233/ugly_wigs_tickets+copy.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xisJX9_hz5U" width="320" youtube-src-id="xisJX9_hz5U"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5qXSeNKXNPQ" width="320" youtube-src-id="5qXSeNKXNPQ"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PZ9cJ5wFqrk" width="320" youtube-src-id="PZ9cJ5wFqrk"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/UziFw-jQSks" width="320" youtube-src-id="UziFw-jQSks"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bqprZIfcsTs" width="320" youtube-src-id="bqprZIfcsTs"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/x8DU-nMfFGg" width="320" youtube-src-id="x8DU-nMfFGg"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/h64yZs8ThtQ" width="320" youtube-src-id="h64yZs8ThtQ"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QuLq0OjRZv4" width="320" youtube-src-id="QuLq0OjRZv4"></iframe></div><div><br /></div><div class="separator" style="clear: both; text-align: left;">
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<br /></div><div><div style="text-align: justify;">Raffaello Santi's Angelo (1500-1501), Georges Méliès's A Trip to the Moon (1902);</div><div style="text-align: justify;">Katja Kolm and Maria Dragus in Barbara Albert's Mademoiselle Paradis &/or Mesmer against Society of the Ugly Wigs (Austria/Germany, 2017), <span>Tiziano Vecellio's </span><span>Amor Sacro e Amor Profano </span><span>(1514)</span>;</div><div style="text-align: justify;">***For more invitations, collages & photography <a href="https://www.instagram.com/alessandro_zir/" target="_blank">see here</a>;</div></div><div style="text-align: justify;">Gilbert Simondon Interview (1965/Youtube); </div><div style="text-align: justify;">Fractals: The Color of Infinity (Arthur Clarke/Youtube); </div><div>Cyberpunk: The Documentary (1990) [this video was removed from Youtube]; </div><div>John C. Lilly interviewed by Jeffrey Mishlove (from Youtube); </div><div>Documentary about John C. Lilly's Dolphin House (from Youtube); </div><div>Jack Parsons: Sex Magic, Drugs and Rocket Science (Biographics/Youtube, 2018);</div><div>Did Jack Parsons Blow Himself Up? (Tom Explores Los Angeles/Youtube); </div><div><div style="text-align: justify;">Éric Sadin: l'asservissement par l'Intelligence Artificiele (Thinkerview/Nov 2018) [the video is not available anymore at Youtube]; </div><div style="text-align: justify;">Survivre au système éducatif, Hackers et Crapauds fous (Thanh Nghiem, Thinkerview, 2018) [the video is not available anymore at Youtube]; </div><span style="text-align: justify;"><div style="text-align: justify;">Cédric Villani: Intelligence artificielle perspectives futures (Thinkerview, 2017) [mon commentaire sur cette interview, sur la page Youtube (<span style="text-align: left;">this evil has now been sufficiently fenced against, they must have fretted and fumed inwardly)</span>: "c'est une connerie presque complète qui vous avez lá, et pourtant vous avez été bien plus gentil avec lui que avec beaucoup de vos autres invités... je me demande si au fond ce qui vous intimide est la mystification: c'est ça le secret qui vous maintient tous; juste un example: la finance internationale n'a rien fait qui s'effondrer dans le moment ou des algorithms et les modeles d'intelligence artificiel ont été introduits... quant à ce que Villani a dit sur la science, et bien! elle n'a pas quand même seulement contribué a nous faire comprendre le fonctionnement de la matière pour pouvoir developper la technologie atomique et l'appliquer à de fins qui pourraient être ou pas justifiées: des scientistes et des ingénieurs ont activement contribué à ce que nous ayons sur terre un tel nombre des bombes avec qui il serait possible de la faire exploser avec nous-mêmes et toutes les autres espèces des centaines de fois! a qui cela a-t-il vraiment profité?! croyez-vous que cela fait du progrès?! ah, oui! en prouvant que nous sommes tous de cons... la tradition culturelle de la France était réflexive et surtout critique, très sophistiquée, de Descartes à Deleuze, en passant par de gens comme Baudelaire; en abandonnant cela, vous êtes devenus des pseudo-pragmatistes et tombés bien au-dessous des Britanniques et des Américains qui au moins ne sont pas si prétentieux et ne rationalisent pas des choses qui n'ont jamais eu de justification" (to be published as part of a rhapsodical work "<span style="text-align: left;">fit forms of swearing suitable to all occasions", after being </span><span style="text-align: left;">totally abolished as altogether unnecessary</span><span style="text-align: left;">)] [the video is not available anymore at Youtube];</span></div><div style="text-align: justify;"><span style="text-align: left;"><span style="text-align: justify;">Category Theory for Beginners: Yoneda Lemma (Richard Southwell, Youtube); </span></span></div><div style="text-align: justify;"><span style="text-align: left;">How I Turned My 4-Year-Old's Art into an NFT (Wall Street Journal, Youtube); </span></div></span></div><div>The great abyss inframince;</div><div>
Crows in Berg (Inter) View & Pillage (<a href="https://www.juststructontologin.com/video.html" target="_blank">for more see here</a>);<br />
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**************************************************************</div><h4 style="text-align: justify;">From the cyclopedia of arts and sciences, to cut not a contemptible figure in a metaphysic circle: </h4><div><br />
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"Leibniz saw in his binary arithmetic the image of Creation... He imagined that Unity represented God, and Zero the void... [And] alas! What was once hailed as a monument to monotheism ended in the bowels of a robot."</div>
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Laplace vs. Tobias Dantzig</div><div style="text-align: justify;">"The Divine Spirit found a sublime outlet in that wonder of analysis, that portent of the ideal world, that amphibian between being and not-being, which we call the imaginary root of negative unity."</div><div style="text-align: justify;">Leibniz on imaginary numbers as quoted by Morris Kline (who has no understanding whatsoever of Leibniz's nature)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... il est illusoire de chercher à retrouver des modes directement artisanaux de production... C’est dans l’accentuation même de la production industrielle, dans l’approfondissement de ses caractères qu’un dépassement de l’antithèse entre artisanat et industrie peut être recherché avec les plus sérieuses chances de succès... L’industrie isole l’homme de la nature parce qu’elle se charge du rapport homme-nature: elle est, en fait, par rapport à l’homme, ce qui remplace le réel d’ordre cosmique (le vent, la pluie, le débordement du fleuve, l’épizootie) en diminuant en une certaine mesure de son indépendance par rapport à l’homme mais conservant la transcendance de dimension et le caractère de discontinuité, d’irréversibilité."</div><div style="text-align: justify;"><a href="https://www.cairn.info/revue-philosophique-2006-3-page-343.htm">Gilbert Simondon (Mentalité Technique)</a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"... En particulier, le mariage de la logique mathématique avec la technologie des ordinateurs vient d’implanter de manière spectaculaire la strate spirituelle dans la couche physique de la réalité. C’est ce feed-back ontologique de la puissance mentale avec son incorporation physique qui produit la résonance culturelle inouïe, dont nous sommes les témoins."</div><div style="text-align: justify;">Guerino Mazzola (La vérité du beau dans la musique) </div><div style="text-align: justify;"><br /></div>
<div style="text-align: justify;">
"... [nous assistons à] la FRACTALISATION de l'étendue se doublant de celle des durées relatives à ce continuum d'une Histoire générale, en voie d'abolition instantanée..."</div>
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"... avec l'effraction de l'instant, la fractalisation du tempo historique, les nanochronologies de l'effet de réel entrouvrent la possibilité inouïe d'un dépassement de l'économique à l'avantage de l'astronomique..." </div>
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Paul Virilio</div><div style="text-align: justify;"><br /></div>
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<div style="text-align: justify;">"... le moment où la conscience opérant ce retour sur soi-même se révèle elle-même à elle-même et voit la production vouée à sa consumation est précisément celui où le monde de la production ne sait plus que faire de ses produit."</div><div style="text-align: justify;"><a href="https://aletche.blogspot.com/2017/05/what-is-meaning-of-sacer-in-homo-sacer.html" target="_blank">Georges Bataille (Théorie de la religion)</a></div><div style="text-align: justify;">"Dans les limites de l'activité proprement économique, la rigueur a un objet clair: la consécration des ressources excédantes à l'aplanissement des difficultés matérielles de la vie et la réduction du temps de travail. C'est le seul usage des richesses qui coïncide avec une adéquation de l'homme à la chose et réserve le caractère négatif de l'action, dont le but pour l'homme demeure la possibilité de disposer entièrement de lui-même."</div><div style="text-align: justify;">Georges Bataille (La Part maudite)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">
"Once again we are entering a phase of scientific development when pioneering investigations can be done by non-professionals... there are computers in millions of homes. There are more people with leisure than ever before."</div>
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Rupert Sheldrake </div>
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"There are two experiences: One is movement in relation to other things; the other is the sense of flow. The movement of meaning is the sense of flow. But even in moving through space, there is a movement of meaning. In a moving picture, with twenty-four frames per second, one frame follows another, moving from the eye through the optic nerve, into the brain. The experience of several frames together gives you the sense of flow. This is a direct experience of the implicate order."</div>
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David Bohm as Gilles Deleuze's (<a href="https://web.archive.org/web/20010303172350/http://www.fdavidpeat.com/interviews/bohm.htm">interview</a>)<br />
"What's great about this country is that... President drinks Coke, Liz Taylor drinks Coke... A Coke is a Coke and no money can get you a better Coke than the one the bum on the corner is drinking... when Queen Elizabeth came here and President Eisenhower bought her a hot dog I'm sure he felt confident that she couldn't have had delivered to Buckingham Palace a better hot dog than that one he bought her for maybe twenty cents at the ballpark... Sometimes you fantasize that people who are really up-there and rich and living it up have something you don't have, that their things must be better than your things because they have more money than you. But they drink the same Cokes and eat the same hot dogs and wear the same ILGWU clothes and see the same TV shows... All this is really American."<br />
Andy Warhol</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"Conlon Nancarrow (1912–1997) made amazingly precise music using mechanically driven instruments. Operating a custom-built hole-punching machine, he produced piano rolls that drove two synchronized player pianos. Nancarrow was obsessed with the simultaneous layering of multiple tempo strands, where the tempi were related by a mathematical ratio. For example, in his Study for Player Piano 41a (1965), the tempi are related by an irrational factor, and cascades of notes sweep up and down the keyboard at superhuman speed."</div><div>"The technology of the magnetic tape recorder effectively liberated time. By simply varying the recording or playback controls, one could slow down, speed up, or reverse the flow of audio time. Tape cutting and splicing enable time segmentation and the free arrangement of tape segments on the timeline... The synthesis of sound by digital computer opened the doors to dramatically expanded control over the time domain. The most obvious extrapolation was the pursuit of superhuman precision and speed..." </div><div>"Complex contrapulsations can lead to chaotic cloud textures whose internal rhythm can only be perceived statistically. A classic example is Ligeti’s Poème Symphonique (1962) for 100 metronomes, where each metronome is set to a different tempo."</div><div>"Some digital audio mixing applications let the user set the grid or time signature on a per-track or even per-clip basis. These temporal grids need not be rigid. Rather, their tempi can be elastic, deforming in the presence of pivotal sound events, analogous to the way that spacetime is warped by the presence of matter (Einstein 1916). In the extreme, the grids may evaporate, leading to free and open temporal spaces."</div><span style="text-align: left;">Curtis Roads, Composing Electronic Music</span></div>************************************************************</div><div><h4 style="text-align: justify;">Commentary scholium, illustration and key, by his ashes & with the officious humility of heart devoted to the assistance merely of the inquisitive:</h4><div style="text-align: justify;"><br /></div><div>
<div style="text-align: justify;">"Let me quote the wise old drug experimenter, Thomas de Quincey: 'the machinery for dreaming and the imagination was not implanted for nothing'" (xii);</div>
<div style="text-align: justify;">
"It turns out that the brain is a galactic network of a hundred billion neurons" (xiv);</div>
<div style="text-align: justify;">
"Around 1900, physicists (Einstein, Heisenberg, etc.) demonstrated that the elements of all energy matter in the universe, out there or down here, consist of quanta of information. Light. During the Roaring 20th Century, the equations of quantum physics led to the development of quantum appliances that allowed humans to receive, process, and transmit electronic images. Telephone, cinema, radio, television, computers, compact discs, fax machines; suddenly humans were creating digital realities that were accessed on living-room screens. This universe of electronica signals, in which we now spend so much time, has been called Cyberia" (3);</div>
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<div style="text-align: justify;">
"The advent of personal and interpersonal computers, digital editors, and audio-video gear (1976-90) turned the average American home into an electronic information center..." (7);</div>
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"Just before yesterday, around 1984, a combination of American creativity and Japanese precision suddenly mass-produced inexpensive, do-it-yourself home appliances for individuals to electronify, digitize, and transmit personal realities. Digital communication translates the recording of any sound or photograph of any image into clusters of quanta or fuzzy clouds of off/on information. Any image digitized by an individual human can then be flashed on telephone lines around the world inexpensively at light speed... The basic elements of the youniverse, according to quantum-digital physics, can be understood as consisting of quanta of information, bits of compressed digital programs. These elements of pure (0/1) information contain incredibly detailed algorithms to program potential sequences for fifteen billion years—and still running. These information-jammed units have only one hardware-external function. All they do is flash off/on when the immediate environment triggers a complex array of 'if-if-if-if... THEN!' algorithms" (14);</div>
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"In the cybernetic age now dawning, 'Digital Power to the People' provides everyone the inexpensive option to cast, script, direct, produce, and distribute his or her own movie. Custom-made, tallorized, in the convenient sizes—mammoth, giant, regular, and byte-sized mini" (16);</div>
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"The equipment used by this family costs less than a standard 1990 television set, that pathetic junk-food spud-box with no power to store or process electronic information" (19);</div>
<div style="text-align: justify;">
"Nothing from our rich, glorious past will be eliminated... we will drive cars, as we now ride horses, for pleasure" (20);</div>
<div style="text-align: justify;">
"The film industry's never been able to do anything with <i>Gravity's Rainbow" </i>(27);</div>
<div style="text-align: justify;">
"Hesse was hanging out in Basel, home of Paracelsus" (30);</div>
<div style="text-align: justify;">
"Computers will not replace real people. They will replace middle and low-level bureaucrats" (33);</div>
<div style="text-align: justify;">
"The human brain has a hundred billion neurons, and each neuron has the knowledge-processing capacity of a powerful computer. The human brain has more connections than there are atoms in the universe" (35);</div>
<div style="text-align: justify;">
"Much of Steve Job's astounding success in developing the Apple and the Mac was explicitly motivated by his crusade against IBM, seen as the archenemy of the 1960s counterculture" (40); </div>
<div style="text-align: justify;">
"Physicists are traditionally assigned the task of sorting out the nature of reality. So it was Eistein, Planck, Heisenberg, Bohr, et. al, who figured out that the units of energy/matter were subatomic particles that zoom around in clouds of ever-changing, off-on, 0-1, yin-yang probabilities" (45);</div>
<div style="text-align: justify;">
"Next time you boot up your Mac, breathe a word of gratitude to Emerson, Stein, Yeats, Pound, Huxley, Beckett, Orwell, Burroughs, Gysin—all of whom succeeded in loosening social, political, religious linearities, and encouraging subjectivity an innovative reprogramming of chaotic realities... Imagine what James Joyce could have done with MS Word or a CD-ROM graphic system or a modern data base! Well, we don't have to imagine—he actually managed to do it using his own brainware" (47);<br />
"People spend more time gazing at electrons than they do gazing into the eyes of their loved ones, looking into books, scanning other aspects of material reality. Talk about applied metaphysics! Electronic reality is more real than the physical world. This is a profound evolutionary leap. It can be compared to the jump from ocean to the shoreline..." (48);<br />
"Perceptive observers realized that Orwell's nightmare of a Big-Brothers society was too optimistic. In 1984 the authoritarian state used television to spy on citizen. The actuality is much worse: citizens docilely, voluntarily lining themselves up in front of the authority box, enjoying the lethal, neurological fast food dished out in technicolour by Newspeak. Visionary prophets like Marshall McLuhan understood what was happening. He said, 'The medium is the message.' Never mind about the junk on the screen" (49);<br />
"'Cyberpunk is, admittedly, a risky term. Like all linguistic innovations, it must be used with a tolerant sense of high-tech humor. It's a stopgap, transitional meaning-grenade thrown over the language barricades to describe the resourceful, skillful individual who accesses and steers knowledge-communication technology towards his/her own private goals, for personal pleasure, profit, principle, or growth" (67);<br />
"The cyberpunk code: Think for yourself, question authority (TFYQA)" (69);<br />
"This global youth movement cannot be discussed in the terms of politics or sociology or psychology. We are dealing with a new, post-Darwinian, genetic science" (71).<br />
"Psychedelic concepts like glasnost and perestroika are based on the common-sense principles of quantum physics—relativity, flexibility, singularity" (73).<br />
"Countercultures go back at least as far as Hermes Trimegistus, and include Socrates, Dada, Gurdjief, and Crowley" (74).<br />
"The stated purpose of the student in Tien Men Saquare in June 1989 was to brig the 1960s to China"(76).<br />
"The Chinese students want something that is not mentioned by Marx or Margaret Thatcher... Gorbachev was dismayed to find that many Soviet youth, given freedom of the press, were more interested in UFOs, punk rock, astrology, and hashish than in political issues" (76).<br />
"Just as the USSR and the U.S. controlled the world for forty years by distributing weapons to every compliant dictatorship, now Japanese and Silicon Valley companies are liberating the world with an endless flood of electronic devices designed for individuals" (77).<br />
"But 'think for yourself' (TFYQA) does not mean 'think selfishly. It means 'think independently' (90). <br />
"I don't care what people think as long as they have thought for themselves. So if you end up a Republican, right wing, it's okay with me, as long you have done it having had a gourmet, a connoisseur's selection of all the options. As long as you haven't done it out of fear or laziness" (90). </div><div style="text-align: justify;">"Two people communicating through their fast-feedback computers can access a range of brain circuits arguably wider than can be reached by bodily contact. This is because the brain and the computer work the same way—in the language of electric impulses, of light" (148). </div><div style="text-align: justify;">"The elements of the universe are digital, electronic, linguistic. Matter and energy are transitory hardware constructions. (Plato and Buddha, it turns out, were early cyberpunks.) The human brain is hereby and henceforth owned and operated by an individual. It is equipped with a hundred billion micro-info-centers called neurons, and is a miniaturized digital representation of the galaxy, which is equipped with a hundred billion mini-info-centers called stars. The universe is equipped with (naturally) a hundred billion mega-info-centers called gallaxies" (174).</div>
***Everything from Timothy Leary's Chaos & Cyber Culture (Berkeley: Ronin, 1994/2014);<br />
<br />
See also:<br />
- <a href="https://aletche.blogspot.com/2018/12/recordar-eh-viver-eou-5g-get-real-who.html" target="_blank">5G?! get real...</a><br />
- <a href="https://aletche.blogspot.com/2018/07/facebook-community-and-nudity.html" target="_blank">Facebook community, nudity</a>;<br />
- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html" target="_blank">The Doors of Perception & the learned foolery of research</a>;<br />
- <a href="https://aletche.blogspot.com/2017/08/se-desubicar-lucrecia-martel-la-nina.html" target="_blank">Desubicarse (Lucrecia Martel)</a>;<br />
- <a href="https://aletche.blogspot.com/2016/12/godards-sympathy-for-devil-british.html" target="_blank">Godard's Sympathy for the Devil</a>;<br />
- <a href="https://aletche.blogspot.com/2016/12/cinema-novos-judgment-day.html" target="_blank">Cinema Novo's Judgment Day</a>;<br />
And also:<br />
- <a href="https://aletche.blogspot.com/2018/11/the-house-that-jack-builts-simple.html" target="_blank">The House that Jack's Built's simple equation</a>;<br />
- <a href="https://www.academia.edu/7759518/Natures_Horror_and_Grand_Style_in_Lars_von_Triers_Antichrist">Nature's Horror and Grand Style in Lars von Trier's Antichrist</a>;<br />
- <a href="https://www.academia.edu/26749411/ERRATA_list_for_Narrative_Outbreak_in_Contemporary_Conflict_Cinema_A_Case_Study_of_Steve_McQueen_s_Hunger_Mediations_of_Disruption_in_Post-Conflict_Cinema_London_Palgrave-Macmillan_2016_145-56" target="_blank">ERRATA list for "Narrative Outbreak in Contemporary Conflict Cinema: A Case Study of Steve McQueen’s Hunger"</a>;</div><div style="text-align: justify;">- <a href="https://link.springer.com/chapter/10.1057%2F978-1-137-57520-3_10" target="_blank">"Narrative Outbreak in Contemporary Conflict Cinema: A Case Study of Steve McQueen’s Hunger"</a>;</div><div style="text-align: justify;">
- <a href="https://www.academia.edu/7487123/Beyond_Subjectiveness_Non-Realism_and_Ontology_in_Gus_Van_Sants_Paranoid_Park" target="_blank">Beyond Subjectiveness: Non-Realism and Ontology in Gus Van Sant's Paranoid Park</a>;<br />
<div style="text-align: justify;">
- <a href="https://www.academia.edu/5934760/NARRATIVE_SELF-DECONSTRUCTION_IN_CONTEMPORARY_CINEMA_THE_EMERGENCE_OF_ONTOLOGICAL_ISSUES_IN_MCQUEEN_AND_ESMIR_FILHO" target="_blank">Narrative Self-Deconstruction in Contemporary Cinema (Steve McQueen & Esmir Filho)</a>;</div>
<div style="text-align: justify;">
- <a href="https://www.academia.edu/7487149/Woody_Allen_as_Impossible_Cassandra" target="_blank">Woody Allen as Impossible Cassandra</a>;</div>
<div style="text-align: justify;">
- <a href="https://www.academia.edu/12096742/THE_BLINDNESS_OF_MEIRELLES" target="_blank">The Blindness of Meirelles</a>; </div>
<div style="text-align: justify;">
- <a href="https://www.academia.edu/5934518/Bases_hist%C3%B3rico-conceituais_para_a_cr%C3%ADtica_cinematogr%C3%A1fica_n%C3%A3o_representacional" target="_blank">Bases histórico-conceituais para a crítica cinematográfica não representacional</a>;</div>
- <a href="https://www.academia.edu/12096742/THE_BLINDNESS_OF_MEIRELLES" target="_blank">The Blindness of Meirelles</a>;<br />
<span style="text-align: start;"></span><span style="text-align: start;"></span></div><div style="text-align: justify;">- <a href="https://www.researchgate.net/publication/303601082_Deleuze_Ontology_and_Mathematics" target="_blank">Deleuze, Ontology, and Mathematics (Elizabeth de Freitas)</a>; </div><div style="text-align: justify;">- <a href="https://doi.org/10.18061/emr.v16i2.7357"></a><a href="https://doi.org/10.18061/emr.v16i2.7357">"The Sticky Riff: Quantifying the Melodic Identities of Medieval Modes" (Kate Helsen, Mark Daley, Jake Schindler, Empirical Musicology Review 2021)</a>;</div>
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</div>A/Zhttp://www.blogger.com/profile/05193474978314485677noreply@blogger.com2tag:blogger.com,1999:blog-30487535.post-89429928740087258062018-12-13T14:35:00.048-08:002023-04-03T05:28:02.778-07:005G?! internet of things & the crap... (AI Debunked &/or Your Own Titanic Odessa's steps)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLdQSpvm_Vgt9lQYSV-fM5f-imQN1EcKImPZTN2N8KVeOKjOCokmf28eEB7NkJxmxiJiafIp62hzVM6IVvRstRB1CFkV1k9EPKy_IwI46egzNb2mCHn-0oVBKBZXqEJ-bU_sXFSg/s1600/asses_face_book_moon_ticket+%25281%2529+copy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="897" data-original-width="1600" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLdQSpvm_Vgt9lQYSV-fM5f-imQN1EcKImPZTN2N8KVeOKjOCokmf28eEB7NkJxmxiJiafIp62hzVM6IVvRstRB1CFkV1k9EPKy_IwI46egzNb2mCHn-0oVBKBZXqEJ-bU_sXFSg/s400/asses_face_book_moon_ticket+%25281%2529+copy.jpg" width="400" /></a>
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***Potlatch invitations, for more <a href="https://www.instagram.com/alessandro_zir/" target="_blank">see here</a> [Raffaello Santi's Angelo (1500-1501), Georges Méliès's A Trip to the Moon (1902); Katja Kolm and Maria Dragus in Barbara Albert's Mademoiselle Paradis &/or Mesmer against Society of the Ugly Wigs (Austria/Germany, 2017), <span>Tiziano Vecellio's </span><span>Amor Sacro e Amor Profano </span><span>(1514)]</span>;</div><div style="text-align: justify;">Gilbert Simondon Interview (1965/Youtube); </div>
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<a href="https://jamesbridle.com/" target="_blank">James Bridle</a> (from the Youtube & Verso website/Jun 2018);</div><div style="text-align: justify;">Conférence Philippe Bihouix (École Polytech Montpellier/Youtube 2021); </div><div>La croissance est-elle infinie ou insoutenable? (Philippe Bihouix, AuCoffre/Youtube, 2021); </div><div>Le futur, entre 5G et Amish? Nicolas Meilhan et Phillippe Bihouix (Thinkerview/2020) [the video is not available anymore at Youtube];</div><div style="text-align: justify;">Éric Sadin: l'asservissement par l'Intelligence Artificiele (Thinkerview/Nov 2018) [the video is not available anymore at Youtube]; </div><div style="text-align: justify;"><span style="text-align: left;">Mary Robinson & Vandana Shiva: The Injustice of Climate Change (Oxford Climate Society);</span></div></div><div>Vandana Shiva Calls War On Bill Gates: Valhalla Movement Network; <br /><div style="text-align: justify;">Why renewables can’t save the planet (TEDx Talk & Michael Shellenberger);</div></div><div style="text-align: justify;">Michael Moore, filmmakers respond to criticism (Planet of the Humans) (The Hill); </div><div><div style="text-align: justify;">Miguel Nicolelis' interview to Ricardo Cavallini;</div><div style="text-align: justify;"><span style="text-align: left;">**************************************************************</span><br style="text-align: left;" /><h4 style="text-align: justify;">Vestibule (from the cyclopedia of Arts & Sciences, about which your reverences have so often been at odds with one another):</h4></div>
<div style="text-align: justify;"><br /></div><div><div><div><div style="text-align: justify;">"... and I just couldn't stop looking at her, because I was so fascinated-but-horrified. Her hands kept crawling, they couldn't sleep, they couldn't stay still..."</div></div><div><div style="text-align: justify;">The Philosophy of Andy Warhol</div><div style="text-align: justify;">"It seems the electronic brain went berserk playing six-dimensional chess with the Technician and released every subject in the Reconditioning Center."</div><div style="text-align: justify;">William S. Burroughs</div></div><div style="text-align: justify;">"Les synthétiseurs analogiques sont 'modulaire': ils mettent en connexion immédiate des éléments hétérogènes, ils introduisent entre ces éléments une possibilité de connexion proprement illimité, dans un champ de présence ou sur un plan fini dont tous les moments sont actuels et sensibles. Tandis que les synthétiseurs digitaux sont 'intégrés': leur opération passe par une codification, par une homogénéisation et binarisation des data, qui se font sur un plan distinct, infini en droit, et dont le sensible ne fera que résulter par conversion-traduction."</div><div style="text-align: justify;">Gilles Deleuze (Logique de la sensation)</div><div><br /></div><div style="text-align: justify;">"Even more curious than the wearing of mountains of artificial hair was the use of powder. This certainly did not originate with Louis XIV, who disapproved of it..."</div><div style="text-align: justify;">"Hats, strangely enough, were worn indoors and even at dinner."</div><div style="text-align: justify;">"The extreme width of women's dresses at this period was the cause of some inconvenience, since it was impossible for two ladies to pass through a door side by side or even sit on the same couch."</div><div style="text-align: justify;">"George Colman the Younger describes a contemporary headdress: 'A towering toupee pulled up all but by the roots and strained over a cushion on the top of her head, formed the centre of the building; tiers of curls served for the wings; a hanging chignon behind defended her occiput like a buttress; and the whole fabric was kept tight and water proof by a quantity of long single and double black pins.'" </div><div style="text-align: justify;">"The cushion was a pad stuffed with tow, wool or horsehair, and because it induced headaches, it was later replaced by a wire frame over which the natural hair was drapped, with false hair added. The whole was plastered with pomatum and covered with white powder. Such a structure, which sometimes remained untouched for months, soon became the resort of vermin, and the little ivory claws on the end of a long stick which antique dealers still refer to as 'back scratchers' were really made to insert into the headdress in an endeavour to relieve the intolerable itching. The headdress was sometimes crowned with the most fantastic objects: a ship in full sail, a windmill with farm animals grouped about it, a garden with real or artificial flowers." </div><div style="text-align: justify;">James Laver (Costume and Fashion)</div><div style="text-align: justify;">"As for great wigs, upon which I may be thought to have spoken my mind too freely,—I beg leave to qualify whatever has been unguardedly said to their dispraise or prejudice, by one general declaration—That I have no abhorrence whatever, nor do I detest and abjure either great wigs or long beards,—any further than when I see they are bespoke and let grow on purpose to carry on this self-same imposture—for any purpose,—peace be with them; mark only,—I write not for them."</div><div style="text-align: justify;">Tristram Shandy</div><div style="text-align: justify;"><br /></div></div><div><div style="text-align: justify;">"So my relation to the Sex Pistols was a direct link to that existential angst-ridden early motive... By the dawn of the seventies, the philosophy was that you couldn't do anything without a lot of money. So my philosophy was back to, 'Fuck you, we don't care if we can't play and don't have very good instruments, we're still doing it because we think you're all a bunch of cunts.' I think that's what really created the anger—the anger was simply about money, that the culture had become corporate, that we no longer owned it and everybody was desperate to fucking get it back."</div><div style="text-align: justify;">Malcolm McLaren (Please Kill Me)</div><div><div style="text-align: justify;">"Everyone's telling Debbie she's gonna be the next Farrah Fawcett, and she was saying that she didn't want to be Farrah Fawcett. All she wanted to do was sing."</div><div style="text-align: justify;">James Sliman (Please Kill Me)</div><div style="text-align: justify;">"They give this stuff to us just to keep us stoned, I don't even want it. You fucking take it. They just keep giving it to us! That's all the fucking guys give us! They want, they want, they want, and for that they give us this shit! James, this is for you, I don't even want it, my hotel room is full of it."</div><div style="text-align: justify;">Blondie/James Sliman (Please Kill me)</div></div></div><div style="text-align: justify;">"So griff ich... die Falschheit, die Instinkt-Halbschlächtigkeit unsrer 'Cultur', welche die Raffinirten mit den Reichen, die Späten mit den Grossen verwechselt."</div></div><div style="text-align: justify;">Nietzsche (Ecce Homo)</div><div><br /></div>
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"It is happening now, an evolutionary advance that needed only the practical mapping of the nervous system onto digital memory. It would be the master thrust of cyber-capital, to extend the human experience toward infinity as a medium for corporate growth and investment, for the accumulation of profits and vigorous reinvestment"</div>
<div style="text-align: justify;">
(ironic—DeLillo, Cosmopolis)</div><div style="text-align: justify;"><div>"... la quotidienneté d'une période marquée par la précarité et l'instabilité du tempo des collectivités locales en proie à l'effroi causé par les dégâts d'un progrès technologique interactif qui n'est jamais que celui d'un délirant empressement, voir d'un emportement collectif qui n'est autre que celui d'une panique soudain devenue pandémique, occasionnée par l'effet de réel d'une accélération de l'information..."</div><div>Paul Virilio</div></div>
<div style="text-align: justify;">
"... what happens in today’s society, with its decline of the Master-Signifier and the rise of consumption, is the exact obverse: the basic fact is the loss of symbolic identity, what Eric Santner called the ‘‘crisis of investiture,’’ and what we get in exchange for this loss is that we are all bombarded with forms and gadgets of enjoyment... The key point here is that the expert rule of ‘biopolitics’ is grounded in and conditioned by the crisis of investiture; this crisis generated the ‘post-metaphysical’ survivalist stance of the Last Men, which ends up in an anemic spectacle of life dragging on as its own shadow."</div>
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<div style="text-align: justify;">
Slavoj Zizek</div><div style="text-align: justify;">"Je vous confirme que ledit Foyer Médico-Psychologique (FMP) est en pleine crise maintenant, 'comme d'hab'... Les crédits diminuent, plus personne ne veut devenir psychiatre, on manque d'infirmières, et nos locaux surpeuplés débordent de patients aux pathologies innommables, si l'on suit les découpages des enquêtes et autres évaluations délirants dont nous assomment des technocrates déments aux commandes d'une société qui préfère ignorer que la folie existe..."</div><div style="text-align: justify;">Sylvia Leclercq (Thérèse mon amour)</div><div style="text-align: justify;">"Et si nous montons encore plus haut, nous verrons une confusion plus grande encore, comme dans une grande ville, solide, construite selon toutes les règles de la mathématique architectonique et secouée par des forces incommensurables."</div><div style="text-align: justify;">Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)</div><div style="text-align: justify;"><br />
"Malgré les secours que quelques cuistres célèbres ont apportés à la sottise naturelle de l'homme, je n'aurais jamais cru que notre patrie pût marcher avec une telle vélocité dans la voie du <i>progrès</i>. Ce monde a acquis une épaisseur de vulgarité qui donne au mépris de l'homme spirituel la violence d'une passion."<br />
Charles Baudelaire (Préface des Fleurs)<br />
"Il est encore une erreur fort à la mode, de laquelle je veux me garder comme de l'enfer. — Je veux parler de l'idée du progrès... Cette idée grotesque, qui a fleuri sur le terrain pourri de la fatuité moderne, a déchargé chacun de son devoir, délivré toute âme de sa responsabilité, dégagé la volonté de tous les liens que lui imposait l'amour du beau: et les races amoindries, si cette navrante folie dure longtemps, s'endormiront sur l'oreiller de la fatalité dans le sommeil radoteur de la décrépitude... Demandez à tout bon Français ce qu'il entend par progrès, il répondra que c'est la vapeur, l'électricité et l'éclairage au gaz, miracles inconnus aux Romains..."<br />
Charles Baudelaire (Exposition uiverselle)</div><div style="text-align: justify;"><div>"Dans ces époques muettes et aveugles, les hommes attachent une valeur spéciale et exclusive aux succès extérieurs, ne se préoccupent que de biens matériels et saluent tout progrès technique qui ne sert et ne peut servir qu'au corps comme une grande réussite. Les forces purement spirituelles sont sous-estimées, sinon totalement ignorées. Isolés, les affamés et ceux qui voient sont moqués ou considérés comme anormaux."</div><div>Kandinsky (Du Spirituel dans l'art, traduction Nicole Debrand et Bernadette du Crest)</div><div><br /></div><div><div>"The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces... She asked me I was going to Araby... I could not find any sixpenny entrance and, fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a shilling to a weary-looking man... Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger."<br />Joyce</div><div>"... comment ne pas voir que les seuls esclaves ce sont les adorateurs du progrès matériel. Qu'ils soient riches ou pauvres, communistes ou fascistes; qu'ils s'appellent Monsieur de Wendel ou Madame ta concierge, Monsieur Marx ou Madame Mussolini, mais mon vieux! ils aiment tous la même merde."</div><div>André Masson (Lettre à Georges Bataille, 8 novembre 1935)</div></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><div>"Mais alors, n'est-ce pas que ces éléments, tout ce résidu réel que nous sommes obligés de garder pour nous-mêmes, que la causerie ne peut transmettre même de l'ami à l'ami, du maître au disciple, de l'amant à la maîtresse, cet ineffable qui différencie qualitativement ce que chacun a senti et qu'il est obligé de laisser au seuil des phrases où il ne peut communiquer avec autrui qu'en se limitant à des points extérieurs communs à tous et sans intérêt, l'art, l'art d'un Vinteuil comme celui d'un Elstir, le fait apparaître, extériorisant dans les couleurs du spectre la composition intime de ces mondes que nous appelons les individus, et que sans l'art nous ne connaîtrons jamais? Des ailes, un autre appareil respiratoire, et qui nous permissent de traverser l'immensité, ne nous serviraient à rien. Car si nous allions dans Mars et dans Vénus en gardant les mêmes sens, ils revêtiraient du même aspect que les choses de la Terre tout ce que nous pourrions voir..."</div><div>Marcel Proust (le narrateur, La Prisonnière)</div></div><div style="text-align: justify;"><br />
"On entre avec les Tarahumaras dans un monde terriblement anachronique et qui est un défi à ce temps. Mais j'ose dire que c'est tant pis pour ce temps et non tant pis pour les Tarahumaras."<br />
"... en présence d'une race comme celle-là, nous pouvons par comparaison conclure que c'est la vie moderne qui se trouve en retard par rapport à quelque chose et non pas les Indiens Tarahumaras qui seraient en retard relativement au monde actuel. Ils savent que tout pas en avant, toute facilité acquise par la domination d'une civilisation purement physique implique aussi une perte, une régression... Les vraies traditions ne progressent pas puisqu'elles représentent le point le plus avancé de toute vérité."<br />
A. Artaud (Trois textes à propos des Tarahumaras)<br /><br /></div><div style="text-align: justify;">
"[Ein wohlgerathner Mensch] reagirt auf alle Art Reize langsam, mit jener Langsamkeit, die eine lange Vorsicht und ein gewollter Stolz ihm angezüchtet haben, — er prüft den Reiz, der herankommt, er ist fern davon, ihm entgegenzugehn."<br />
"... das Leben krank an diesem entmenschten Räderwerk und Mechanismus, an der '<i>Un</i>persönlichkeit' des Arbeiters, an der falschen Ökonomie der 'Theilung der Arbeit'. Der Zweck geht verloren, die Cultur: — das Mittel, der moderne Wissenschafts-Betrieb, barbarisirt..."</div>
<div style="text-align: justify;">
Nietzsche</div><div style="text-align: justify;">"John Maynard Smith, an engineer by training, knows much of his biology secondhand. He seldom deals with live organisms. He computes and he reads. I suspect that it's very hard for him to have insight into any group of organisms when he does not deal with them directly. Biologists, especially, need direct sensory communication with the live beings they study and about which they write."</div><div style="text-align: justify;"><a href="https://www.edge.org/documents/Margulis-1996.pdf" target="_blank">Lynn Margulis (Gaia is a Tough Bitch Conversation)</a></div><div style="text-align: justify;"><br /></div></div><div style="text-align: justify;">
"This society has produced all sorts of discoveries and technology, but if it leads to destruction, either through war or through devastation of natural resources, then it will have been the least successful society that ever existed."</div>
<div style="text-align: justify;">
David Bohm (<a href="https://web.archive.org/web/20010303172350/http://www.fdavidpeat.com/interviews/bohm.htm">interview</a>)</div>
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<div style="text-align: justify;">
"... if particle physics was solved then there was nothing left for high energy physics theorists to do. Unwilling to pack their bags and leave the field... [they] began to look around for a new far-out cult to believe in... many made their offerings at the shrine of grand unification..."</div>
<div style="text-align: justify;">
Andrew Pickering<br />
"If the momentum of science gets absorbed into technology, we end up with 'extended present.' A technical product, as everybody expects, has to fulfil the purpose implemented in its construction. It is first and foremost an answering machine..."<br />
Hans-Jörg Rheinberger<br />
<div style="text-align: justify;">"... nothing succeeds like success..."</div>
<div style="text-align: justify;">
Maxim (quoted by Hacking, Why is there philosophy of Mathematics at all)<br />"... c'est un fait que les faibles triomphent; c'est même l'essence du fait..."</div><div style="text-align: justify;">
Deleuze, Nietzsche et la philosophie<br />
<div style="text-align: justify;"><br /></div><div style="text-align: justify;">
"... aucun progrès ne permet d'ignorer que jamais, en chiffre absolu, jamais autant d'hommes, de femmes et d'enfants n'ont été asservis, affamés ou exterminés sur la terre."</div>
<div style="text-align: justify;">
Jacques Derrida, Spectres de Marx</div><div style="text-align: justify;">"Faire partager le bien-être aux ouvriers qui l'on produit? — bien sûr, mais le vrai bien-être ce serait peut-être autre chose qu'une salle de bains, une auto ou un briquet à ressort — ce serait peut-être de fabriquer moins d'objets inutiles et affreux."</div><div style="text-align: justify;">André Masson (Letre a Charles Bataille, 6 octobre 1935)<br />
"Felicità Eterna is a resplendently beautiful, blonde young woman whose nudity denotes her contempt for perishable earthly things... Felicità Breve is a lady whose dress yellow and white signifies satisfaction. She is adorned with precious stones and holding a vessel full of gold and gems." </div>
Panofsky</div></div><div style="text-align: justify;">
"Quando as pessoas pensam em consumo, às vezes pensam em consumismo, como se o crescimento do consumo se refletisse no que é supérfluo. Isso ignora a realidade do Brasil, a miséria de milhões de pessoas excluídas do mercado consumidor e que têm um padrão de vida muito mais baixo do que seria digno. Quando essas pessoas não estão gastando todo o dinheiro que ganham para se alimentar, tendem a consumir mais coisas. Um cabeleireiro, cultura, restaurante, serviços. Bens essenciais para que passem do nível da pobreza. São eletrodomésticos básicos, geladeiras, celulares. As pessoas olham para esse período de redistribuição de renda na base [durante o governo Lula], que teve muito esse consumo, e acham que isso é condenável. Eu acho que isso é parte sim do que a economia brasileira precisa para ser retomada, o que não não significa que eu defenda o modelo de capitalismo mundial, que fica incentivando a troca de bens tecnológicos. São coisas diferentes."</div>
<div style="text-align: justify;">
Laura Carvalho (<a href="https://revistatrip.uol.com.br/tpm/a-economista-laura-carvalho-autora-do-livro-valsa-brasileira-explica-o-brasil-do-boom-ao-caos?utm_source=facebook&utm_medium=site-share-icon&fbclid=IwAR2bRUHPxC4klnI0BOENUqY1wGTPkrcdekaKxfPyR3QKr9iTLZoJaDqdApM">Revista Trip</a>)</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">"John Lucas' argued that minds are not machines on grounds of Gödel and Turing. From the day that was published, most analytic philosophers (including my immature self) were sceptical... "</div><div style="text-align: justify;">"Alain Connes believes that Gödel's first incompleteness theorem supports his Platonism, on the grounds that there are discoverable truths that lie beyond any one consistent axiomatization adequate for the expression of recursive arithmetic. Thus the theorem is not to be understood as an argument <i>for</i> Platonism, but as a fantastic new insight into the nature of mathematical reality... Thanks for Gödel we know that totality cannot be characterized by any recursive axiom system adequate to express its own syntax. This is not an argument for Platonism. It is an enrichment of Platonism with a new depth of understanding"</div><div style="text-align: justify;">Ian Hacking (Why Is There Philosophy of Mathematics At All?)</div><div style="text-align: justify;">"I should advise that by number... there be understood not the class (the system of all mutually similar finite systems), but rather something new (corresponding to this class) which the mind creates. We are of divine species and without doubt possess creative power not merely in material things (railroads, telegraphs), but quite specially in intellectual things... you say that the irrational number is nothing else than the cut itself, whereas I prefer to create something new (different from the cut), which corresponds to the cut..."</div><div style="text-align: justify;">Richard Dedekind (to Heinrich Weber, as quoted in Ian Hacking's Why Is There Philosophy of Mathematics At All?)</div><div style="text-align: justify;">**************************************************************</div></div><div style="text-align: justify;">
<h4>Main Hall, Artificial Intelligence (i. e. Mechanical Bêtise/Unvernunft) Debunked (either by nature, institution or example):</h4><div><br /></div>
twenty years later, this should sound like a collection of platitudes, but it really doesn't:<br />
<div style="text-align: justify;">
"The human nervous system does not process any information (in the sense of discrete elements existing ready-made in the outside world, to be picked up by the cognitive system), but interacts with the environment by continually modulating its structure... certain tasks should never be left to computers..."</div>
</div>
<div style="text-align: justify;">
"'... those of us who have contributed to the new science of cybernetics... stand in a moral position which is, to say the least, not very comfortable. We have contributed to the initiation of a new science which embraces technical developments with great possibilities for good and for evil... Let us remember that the automatic machine is the precise economic equivalent of slave labor. Any labor which competes with slave labor must accept the economic conditions of slave labor' [Norbert Wiener, 1946]..."</div>
<div>
<div style="text-align: justify;">
"... computers and the many other information technologies developed in the meantime are rapidly becoming autonomous and totalitarian, redefining our basic concepts and eliminating alternative worldviews... all forms of culture are being subordinated to technology, and technological innovation, rather than the increase in human well-being, has become synonymous with progress..."</div>
</div>
<div>
<div style="text-align: justify;">
"This spiritual impoverishment and loss of cultural diversity through excessive use of computers is especially serious in the field of education... the powerful computer industry... encourages teachers to use computers as educational tools at all levels... The use of computers in schools is based on the now outdated view of human beings as information processors, which continually reinforces erroneous mechanistic concepts of thinking, knowledge, and communication. Ideas are integrating patterns that derive not from information but from experience..."</div>
</div>
<div>
<div style="text-align: justify;">
<div style="text-align: justify;">
"In the computer model of cognition... language is seen as a conduit through which 'objective' information is communicated. In reality... language is metaphoric, conveying tacit understandings shared within culture. In this connection it is also important to note that the language used by computer scientists and engineers is full of metaphors derived from the military—command, escape, fail-safe, pilot, target, and so on—which introduce cultural biases, reinforce stereotypes, and inhibit certain groups..."</div>
<div style="text-align: justify;">
"... when an animal is study while it is awake and behaving... its neural responses can no longer be interpreted in terms of stage-by-stage information processing... the most ordinary visual tasks, even by tiny insects, are done faster than is physically possible when simulated sequentially... a shift in focus, from symbols to connectivity, from local rules to global coherence... from information processing to emergent properties of neural networks... nonlinear mathematics... the living system also specifies which perturbations from the environment trigger [structural changes]... even a bacterial brings forth a world of warmth and coldness, of magnetic fields and chemical gradients... Francisco Varela describes cognition as embodied action..."</div>
</div>
</div>
<div>
<div>
****Everything from Fritjof Capra's <i>The Web of Life </i>(1998, p. 68-71, 265-68).<br />
<br />
<div style="text-align: justify;">
"A fair amount of recent philosophy of mind and cognitive science has emphasized the non-conceptual or aconceptual aspect of the human mind... For a physicalist it is natural to ask what the proposed physical or computational concomitants of such aconceptual mental processes might be. Connectionist models are one candidate for the computational concomitants. But, as e.g. Pauli Pylkkö [The Aconceptual Mind: Heideggerian Themes in Holistic Naturalism, 1998] has pointed out, these are (mostly) mechanically computable and thus deterministic. They are thus an implausible candidate to be the physical aspect of a truly non-mechanical level of aconceptual mental processes," <a href="https://www.diva-portal.org/smash/get/diva2:797486/FULLTEXT01.pdf">Paavo Pylkkänen's "Fundamental Physics and the Mind – Is There a Connection?" (in H. Atmanspacher's, C. Bergomi's, T. Filk's, K. Kitto's, Quantum Interaction 2014: 8th International Conference, Filzbach, Switzerland, June 30 - July 3, 2014)</a>;</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Preposterous (if not plainly stupid) arrogant passages in Marvin Minsky's Society of Mind (which has also some brilliant insights, for there was indeed an infinitude of oddities in him): </div><div style="text-align: justify;">"It really is amazing how certain sciences depend upon so few kinds of explanations. The science of physics can now explain virtually everything we see, at least in principle, in terms of how a very few kinds of particles and force-fields interact [why is this preposterous? <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html" target="_blank">see for instance here</a>]."</div><div style="text-align: justify;">"In physics [?], we're used to explanations in terms of perhaps a dozen basic principles."</div><div style="text-align: justify;">"We're often told that certain wholes are 'more than the sum of their parts.' We hear this expressed with reverent words like 'holistic' and 'gestalt', whose academic tones suggest that they refer to clear and definite ideas [?]. But I suspect the actual function of such terms is to anesthetize a sense of ignorance."</div><div style="text-align: justify;">"... the word life has already lost most of its mystery, at least for modern biologists [?], because they understand so many of the important interactions among the chemicals in cells [?]."</div><div style="text-align: justify;">"... only in logic and mathematics do definitions ever [?] capture concepts perfectly."</div><div style="text-align: justify;">"A common [?] concept of the soul is that the essence of a self lies in some spark of invisible light, a thing that cowers out of body [?], out of mind [?], and out of sight [?]."</div><div style="text-align: justify;">"We make ourselves behave by exploiting [?] our own fears and desires, offering ourselves rewards, or threatening the loss of what we love."</div><div style="text-align: justify;">"... How can you tell which beliefs are true? How can you tell what is good? These questions seem different on the surface, but all of them share one quality that makes them impossible to answer: all of them are circular [?]!"</div><div style="text-align: justify;">"A thing with no parts provides nothing that we can use as pieces of explanation."</div><div style="text-align: justify;">"... the mind has merely found some secondary pathway in the brain, through which one can mechanically dislodge each doubt and difference from its rightful place! This may be what happens in some of those experiences that leave a person with a sense of revelation..."</div><div style="text-align: justify;">"... to offer hospitality to paradox is like leaning toward a precipice. You can find out what it is like by falling in [?], but you may not be able to fall out again."</div><div style="text-align: justify;">"... a mind that wats to change itself could benefit from knowing how it works. But such knowledge might as easily encourage us to wreck ourselves [?]... Just see how everyone [?] is entranced by any promise to transgress the bounds of normal pleasure and reward."</div><div style="text-align: justify;">"Plants and streams don't seem very good at solving the kinds of problems we [?] regard as needing intelligence."</div><div style="text-align: justify;">"An author's job [?] is using words the ways other people do, not telling other how to use them [?]."</div><div style="text-align: justify;">"... it does help, philosophically, to replace our feeling of mystery about creativity by more specific and concrete questions about the efficiency [?] of processes."</div><div style="text-align: justify;">"... memory can't really take us anywhere..."</div><div style="text-align: justify;">"... making changes in your mind might only make things worse! As people often say, 'You shouldn't argue with success.'"</div><div style="text-align: justify;">"... it is no accident that there are no [?] exceptions to the rules in those mathematical worlds: there, we start with the rules [?] and imagine only objects that obey them [?]."</div><div style="text-align: justify;">"How do the signals that come through those nerves give rise [?] to our sense of 'being in' the outside world? The answer is that this sense is a complicated illusion [?]."</div><div style="text-align: justify;">"Artificial [?] realms like mathematics and theology are built [?] from the start to be devoid of interesting inconsistency [?]."</div><div style="text-align: justify;">"If you can already play the piano well, it is easy to start playing the organ in the same way... the easiest course is to keep applying your old technique..."</div><div style="text-align: justify;">"... there's little evidence that any of our adult memories really go way back to infancy..."</div><div style="text-align: justify;">"... memory can't really bring things back..."</div><div style="text-align: justify;">"... real-time experience is just as indirect [?]..."</div><div style="text-align: justify;">"... we can design our new machines as we wish, and provide them with better ways to keep and examine records of their own activities—and this means that machines are potentially capable of far more consciousness than we are."</div><div style="text-align: justify;">"On higher levels, we need protection against acquiring lethal goals like learning to suppress our other goals entirely—the way that certain saints and mystics do."</div><div style="text-align: justify;">"In a sense, that's just what mathematics is—the quest for absolute consistency."</div><div style="text-align: justify;">"Mary proceeds step by step, to construct a new version of p—call it q—inside her own mind."</div><div style="text-align: justify;">"Our sense of constant contact with the world is not a genuine experience."</div><div style="text-align: justify;">"What would a Martian visitor think to see a human being laugh? It must look truly horrible..."</div><div style="text-align: justify;">"In certain sense, there's really nothing humorous about most jokes..."</div><div style="text-align: justify;">"Minds share none of the usual properties of things, like colors, sizes, shapes, or weights."</div><div style="text-align: justify;">"Whatever actions we may 'choose,' they cannot make the slightest change in what might otherwise have been—because those rigid, natural laws already caused the states of mind that caused us to decide that way. And if that choice was in part made by chance—it still leaves nothing for us to decide."</div><div style="text-align: justify;">"... freedom of the will... we know it is false..."</div><div style="text-align: justify;">***The brilliant insights (most of them are connected to the recognition of the architecture of thought processes, which operate interdependently, or also in parallel, like a multiplicity, and could be viewed as a real "bureaucracy of agents"; one should note, however, that multiplicity does not precludes unity, something that Minsky seems to ignore completely):</div><div style="text-align: justify;">"We make our new ideas by merging parts of older ones—and that means keeping more than one idea in mind at once."</div><div style="text-align: justify;">"... the kinds of mental states that this 'hierarchical' type of memory produces will be based more on stereotypes and default assumptions than on actual perceptions. Specifically, you will tend to remember only what you recognized at the time... These 'K-line memory-trees' lose certain kinds of details, but they retain more traces of the origins of our ideas."</div><div style="text-align: justify;">"This policy of connecting new K-lines to old ones must be used in moderation. Otherwise no new agents would ever be included in our memories."</div><div style="text-align: justify;">"Eventually, all of our knowledge-structures become entangled with various sorts of exceptions, shortcuts, and cross-connections."</div><div style="text-align: justify;">"... hierarchies always end up getting tangled and disorderly because there are also exceptions and interactions to each classification scheme."</div><div style="text-align: justify;">"As S-agents excite K-agents and vice-versa, a sort of spiraling activity would ensue. Overt time, the location of that activity might tend to drift upward or down and might also tend to spread out; without some control, the system might soon become chaotic."</div><div style="text-align: justify;">"... the importance of Papert's conception is in emphasizing not merely the ingredients of reasoning, but how they're organized: a mind cannot really grow very much merely by accumulating knowledge..."</div><div style="text-align: justify;">"Without a many layered management, we couldn't use the knowledge in our low-level agencies; they'd keep getting in one another's way."</div><div style="text-align: justify;">"Many of our body joints can move in two independent directions at once... My hypothesis is that we do this by training little interaction-square agencies, which begin by learning something about each of the nine possible motion combinations."</div><div style="text-align: justify;">"Genetically, the swarms of social ants and bees are really multibodied individuals whose different organs more around freely."</div><div style="text-align: justify;">"... even inside the mind, no one really learns alone, since every step employs many things we've learned before, from language, family, and friends— as well as from our former Selves."</div><div style="text-align: justify;">"... we often think in terms of causes, similarities, and dependencies. What do all these forms of thinking share? They all use different ways to make chains."</div><div style="text-align: justify;">"Each serial connection makes a structure weaker, while each parallel connection makes it stronger."</div><div style="text-align: justify;">"Something amazing happens when you go around a loop like this [diagram for the language-agency]!"</div><div style="text-align: justify;">"... the significance of any agency's state depends on how it is likely to affect the states of other agencies."</div><div style="text-align: justify;">"When we represent the agents this way, we see that they can all be simple evidence-weighing agents, only with different threshold values."</div><div style="text-align: justify;">"... other agencies that share the same representation of location are likely to be forced to become engaged with the same object. Then this becomes the momentary 'it' of one's immediate concern."</div><div style="text-align: justify;">"But what's an IT? The ability to focus attention could start with some machinery for keeping track of simples polynemes for object-things. In later stages, an IT could represent more complex processes or scripts that keep track of entire Trans-actions with their various pronomes for Objects, Origins, Destinations, Obstacles, Trajectories, and Purposes. Eventually our ITs develop into complex systems of machinery that represent the things that are 'on one's mind' at the moment..."</div><div style="text-align: justify;">"Polynemes are permanent K-lines. They are long-term memories. Pronomes are temporary K-lines. They are short-term memories... One hypothesis would be that we don't really have temporary K-lines, but that after a pronome's K-line is used, it becomes permanent, and the pronome machinery gets connected to another, previously unused K-line. However this works, we know little about it..."</div><div style="text-align: justify;">"Both isonomes and polynemes are involved with memories—but polynemes are essentially the memories themselves, while isonomes control how memories are used. Pronomes are a particular type of isonome; there must also be 'interruption isonomes' that work similarly..."</div><div style="text-align: justify;">"By learning to manipulate our isonomes, we become able to combine mental representations into structures that resemble bridges, chains, and towers."</div><div style="text-align: justify;">"In English, almost every sentence form demands some sort of Actor noun—and I think this reflects the need to find a motive or a cause. Consider how we place that <i>it</i> in 'Soon it will begin to rain.' We are always chopping complex situations into artificially clear-cut chunks which we perceive as separate things."</div><div style="text-align: justify;">"Humor must have grown along with our abilities to criticize ourselves, starting with simples internal suppressors that evolved into more sophisticated censors. Perhaps they then split off into B-brain layers that became increasingly able to predict and manipulate what the older A-brains were about to do. At this point, our ancestors must have started to experience what humanists call 'conscience.'"</div><div style="text-align: justify;">"... our brain cells are all immersed in a liquid that conducts electricity, which means that every cell has at least a small effect on every other cell. If we tried to imitate your brain with a network of computer chips, many of those tiny interactions would be left out."</div><div style="text-align: justify;">"... it can make sense to think there exists, inside your brain, a society of different minds."</div><div style="text-align: justify;">"This suggests that certain pronomes can operate in several different realms at once. Let's call them 'paranomes' to emphasize their parallel activities."</div><div style="text-align: justify;">"... other forms of metaphors are as complex as can be. In the end there is little to gain by cloaking them all under the same name 'metaphor,' because there isn't any boundary between metaphorical thought and ordinary thought."</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">From J. A. Scott Kelso's Dynamic Patterns: The Self-Organization of Brain and Behaviour (MIT Press, 1995) (the choicest morsel of what this whole post has to offer to the world, angels and ministers of grace, defend Kelso!): </div><div style="text-align: justify;">"I resonate to the theme that concrete reality may, on the one hand, be represented in abstract and mathematical ways, and on the other, that mathematical concepts may achieve a kind of concrete reality. This is what I mean when I propose that the linkage across levels of description in complex systems is by virtue of shared dynamical principles... The sought-after oneness or globality of thought emerges, in my view, as a collective, self-organized property of the nervous system coupled, as it is, to the environment."</div><div style="text-align: justify;">"The conspicuous lack of a one-to-one relationship between self-organized coordination patterns and the structures that realize them is a central feature of the present theory, and surely constitutes one of the basic differences between living things and mechanisms or machine."</div><div style="text-align: justify;">"The cerebral cortex, it seems, does not plan its actions on the level of muscles. The self-assembly process appears to be spatially determined and hence far more abstract than the language of muscles."</div><div style="text-align: justify;">"Talk about the need to identify relevant collective variables in complex systems! To measure every single biomechanical degree of freedom in the human mouth and the elephant's trunk would be impossible and irrelevant."</div><div style="text-align: justify;">"The fact that speech perception is so robust is lucky for humans, who seem to extract the message no matter what, and has sparked a long and continuing search for the source of such invariance. To be blunt, no one has found this particular holy grail. Betty Tuller and I think that part is not all of the problem rests with the entire idea of invariance in language and speech."</div><div style="text-align: justify;">"Articulatory gestures place constraints on what can be acoustically realized and perceived. The more we learn about these constraints the better we will understand the entire communicative act... we've seen, using our phase transition methodology, such collective variables encompass production, acoustics, and perception, and offer new light on the time-honored invariance issue."</div><div style="text-align: justify;">"... the connection between relative coordination and intermittent dynamics suggests that biological systems tend to live near the boundaries separating regular and irregular behaviour. They survive best, as it were, in the margins of instability."</div><div style="text-align: justify;">"Both relative and absolute coordination fall out of the broken symmetry version of the coordination dynamics."</div><div style="text-align: justify;">"How is it that the will to act, from the setting up of the intention and its eventual realization by the muscles, takes longer than the reaction itself?"</div><div style="text-align: justify;">"The full coordination dynamics—spontaneous coordination tendencies perturbed or forced by specific parametric influences (here, intention)—is an open informational unit, not a closed physical system acted on from the outside."</div><div style="text-align: justify;">"Far from one thing changing, typically observed as improvement in a single task, I will present evidence that the entire attractor layout is modified and restructured, sometimes drastically, as a given task is learned. Learning doesn't just strengthen the memory trace or the synaptic connections between inputs and outputs; it changes the whole system."</div><div style="text-align: justify;">"Returning to evolution itself and specifically the origin of species, I find exhilarating recent work that suggests that it is the dismantling of genotypic constraints, described by words such as 'internal balance' and 'genetic homeostasis,' that effects speciation."</div><div style="text-align: justify;">"... the problem of perception is a kind of mirror image of the problem of action. Very large numbers of degrees of freedom are involved on both sides of the coin."</div><div style="text-align: justify;">"... self-organizing principles lie at the level of patterns themselves, supported by a multitude of different kinds of material substrates and mechanisms."</div><div style="text-align: justify;">"I stress the word tendency in contrast to pure mode locking, which if not wrong, is overly restrictive."</div><div style="text-align: justify;">"Leyton and Sherrington demonstrated beautiful context sensitivity in the cortex. It's not a static keyboard playing out a 'motor program' at all. Localization depends on a history of stimulation. That history takes the form of hysteresis and multistability, predominant features of self-organized, nonlinear, dynamical systems."</div><div style="text-align: justify;">"... not just one dynamic pattern was modified through learning, but the entire coordination dynamics or attractor layout was qualitatively and/or quantitatively changed."</div><div style="text-align: justify;">"It can hardly be overemphasized that the patterns formed by the nervous system depend on environmental or task requirements. The brain does not exist in a vacuum, detached from context. If the brain is intrinsically chaotic, possessing, by definition, an infinite number of unstable periodic orbits, it has the capacity to match an equally unpredictable environment."</div><div style="text-align: justify;"><span style="text-align: left;">**************************************************************</span></div><div>
<h4 style="text-align: left;">
Clipping & More (to read while whistling Lullabullero):</h4></div></div></div><div><br /></div><div><div style="text-align: justify;"><div style="text-align: justify;">
'the colonisation of everyday life by information processing...'</div>
<div style="text-align: justify;">
'The internet of things isn’t a single technology. About all that connects the various devices, services, vendors and efforts involved is the end goal they serve: capturing data that can then be used to measure and control the world around us.'</div>
<div style="text-align: justify;">
'Ask restaurateurs and front-of-house workers what they think of OpenTable, for example, and you will swiftly learn that one person’s convenience is another’s accelerated pace of work, or worse. You’ll learn that restaurants offering reservations via the service are, according to the website Serious Eats, “required to use the company’s proprietary floor-management system, which means leasing hardware and using OpenTable-specific software”, and that OpenTable retains ownership of all the data generated in this way. You’ll also learn that OpenTable takes a cut on reservations per seated diner, which obviously adds up to a significant amount on a busy night.'</div>
<div style="text-align: justify;">
'... the largely preconscious valuations, priorities and internalised beliefs of the people who devised Google Home. As throughout the industry, that is a remarkably homogeneous cohort of young designers and engineers. But more important than the degree of similarity they bear to one another is how different they are from everyone else.'</div>
<div style="text-align: justify;">
'Internet-of-things devices are generally conceived by people who have completely assimilated services such as Uber, Airbnb and Apple Pay into their daily lives, at a time when figures from the Washington DC-based Pew Research Center suggest that a significant percentage of the population has never used or even heard of them.'</div>
<div style="text-align: justify;">
'...the main problem with the virtual assistant is that it fosters an approach to the world that is literally thoughtless, leaving users disinclined to sit out any prolonged frustration of desire, and ever less critical about the processes that result in gratification,' *****<a href="https://www.theguardian.com/technology/2017/jun/06/internet-of-things-smart-home-smart-city" target="_blank">Rise of the machines: who is the ‘internet of things’ good for? (<i>The Guardian</i>)</a> (if you read the entire article you are going to realize that Adam <i>Greenfield</i>'s criticism is still <i>greyfully & disgracefully </i>mild, because definitely no, 'it wouldn't be foolish to dismiss' the internet of things' rhetoric out of hand, we should have done that already; it is just pseudo-innovation, it doesn't even make the best of what we have in AI, it doesn't improve the world, it doesn't give you more time, instead, it helps big corporations to keep things structurally the way they've been, stealing the little time you've been left with, stimulating your complacent laziness and passivity);<br />
<br /></div>
<div style="text-align: justify;">
<div style="text-align: justify;">
'The communications industry could use 20% of all the world’s electricity by 2025, hampering attempts to meet climate change targets and straining grids as demand by power-hungry server farms storing digital data from billions of smartphones, tablets and internet-connected devices grows exponentially.'</div>
<div style="text-align: justify;">
'The industry has long argued that it can considerably reduce carbon emissions by increasing efficiency and reducing waste, but academics are challenging industry assumptions.'</div>
<div style="text-align: justify;">
'A 2016 Berkeley laboratory report for the US government estimated the country’s data centres, which held about 350m terabytes of data in 2015, could together need over 100TWh of electricity a year by 2020. This is the equivalent of about 10 large nuclear power stations.'</div>
<div style="text-align: justify;">
'The data will be stored in vast new one million square feet or larger “hyper-scale” server farms, which companies are now building. The scale of these farms is huge; a single $1bn Apple data centre planned for Athenry in Co Galway, expects to eventually use 300MW of electricity, or over 8% of the national capacity and more than the daily entire usage of Dublin. It will require 144 large diesel generators as back up for when the wind does not blow,' *****<a href="https://www.theguardian.com/environment/2017/dec/11/tsunami-of-data-could-consume-fifth-global-electricity-by-2025" target="_blank">‘Tsunami of data’ could consume one fifth of global electricity by 2025 (<i>The Guardian</i>)</a> (cf. <a href="https://www.theguardian.com/environment/2018/feb/20/much-work-needed-to-make-digital-economy-environmentally-sustainable" target="_blank">''Much work needed' to make digital economy environmentally sustainable,' <i>The Guardian</i></a>);<br />
<br /></div>
<div style="text-align: justify;">
'Programmed to learn through trial and error, it shows just how difficult it is to teach a robot to complete a simple chore that we can do without thinking. This clumsy steel toddler may be at the cutting edge of AI and robotics, but here it struggles to even do the laundry. Domination by our robot overlords seems a safe way off.'<br />
'Most of the domestic items on show... are seemingly geared towards the same end: saving us time [great! but why should we all have to live in such a tearing hurry first of all no one asks]... But these labour-saving devices have increasingly been revealed to be serving a different purpose: the collection of masses of monetisable data. Simply by going about our business in our voluntarily surveilled homes, we are unwittingly carrying out huge amounts of valuable market research for the tech companies and online retailers waiting to sell us more stuff,' *****<a href="https://www.theguardian.com/artanddesign/2018/may/09/solar-powered-shirts-drunken-droids-smarthome-future-starts-here" target="_blank">Drunken droids and solar-powered shirts: what the smarthome will look like (<i>The Guardian</i>)</a>;<br />
<br />
'With more than 6m CCTV cameras in the UK, and 420,000 in London, we are primed to think that facial recognition technology is like CCTV and any concerns are soothed by arguing that “if we have nothing to hide, we nothing to fear” and that it’s worth sacrificing privacy and civil liberties if it helps to catch criminals. This misses the dangers that this technology poses. It does not work as well on people with darker skins, women and children – well over half the population – who are at risk of being misidentified and having to prove their innocence. This violates a core tenet of living in a liberal democracy – that we are innocent until proved guilty,' *****<a href="https://www.theguardian.com/commentisfree/2019/aug/18/facial-recognition-is-now-rampant-implications-for-our-freedom-are-chilling" target="_blank">Facial recognition is now rampant. The implications for our freedom are chilling (Stephanie Hare/<i>The Guardian</i>)</a>;<br />
<br />
'A few weeks ago, I received a letter from a worker at a British private airport. “I see things that really shouldn’t be happening in 2019,” he wrote. Every day he sees Global 7000 jets, Gulfstream G650s and even Boeing 737s take off from the airport carrying a single passenger, mostly flying to Russia and the US. The private Boeing 737s, built to take 174 passengers, are filled at the airport with around 25,000 litres of fuel. That’s as much fossil energy as a small African town might use in a year. Where are these single passengers going?' *****<a href="https://www.theguardian.com/commentisfree/2019/sep/19/life-earth-wealth-megarich-spending-power-environmental-damage" target="_blank">For the sake of life on Earth, we must put a limit on wealth (George Monbiot, <i>The Guardian</i>)</a>; </div>
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<b>The Very Good News </b>and/or when you realize people are not that stupid lazy bitches corporations take them to be (there should be more, but even <i>The Guardian </i>is only complacently critical, after all, what would be of voracious countries like ex-imperialist England without a global army of addicts and their unspeakable swarm of infantile-demential global gadgets?):</div>
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- <a href="https://www.theguardian.com/technology/2018/feb/02/global-smartphone-market-drops-biggest-fall-apple-china-iphone-x" target="_blank">Global smartphone market drops 9% in biggest ever fall (<i>The Guardian</i>)</a>;</div>
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<br />
<b>Parallel topics</b> (on the total idiocy of the contemporary consumer, yes you get your glorious genetic physician together with trash food, so the 0,001% become richer & richer and everyone is a consummate imbecil totally lost in the void):</div>
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'... the profits in olive oil crime are, as one EU official puts it, "comparable to cocaine trafficking, with none of the risks", and the regulations less effective than at any time in the last two millennia.'</div>
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'They got rich on the back of the incomprehensible twist in European law that, until 2001, allowed any olive oil bottled in Italy to be sold as "Italian olive oil", which, absurdly, is what we all pay most for. In fact, even now 80% of the oil Bertolli uses comes from Spain, North Africa and the Middle East. It it is still flogged in bottles with "Lucca" and "Passione Italiana" on the label. Today, Italy still sells three times as much oil as it produces.'</div>
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'"Gentle", "smooth" and "not peppery on the throat" are the sort of words Bertolli and its rivals used in ads promoting their generic extra virgin oil. But true extra virgin oil is peppery – it bites the back of the throat so fiercely it can make you cough. The flavours are vivid.'</div>
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'But you could tell the same story of almost any artisan's product we put in our mouths, from bacon to cheddar cheese or smoked salmon. Industrial production techniques and the supermarket's tendency to strip out quality in order to give "value" will debase any foodstuff once it becomes popular to the point where the producer has to abuse his animals, sin against tradition or commit fraud in order to stay afloat,' <a href="https://www.theguardian.com/books/2012/jan/13/extra-virginity-tom-mueller-review?CMP=share_btn_fb&fbclid=IwAR0a-jQ5ZbkH48euOmYn0JLVqG81xO1_qOK8w5QoVmIEp7c0XDZQiWrB6a8" target="_blank">Extra Virginity: The Sublime and Scandalous World of Olive Oil by Tom Mueller – review (<i>The Guardian</i>)</a> (cf. <a href="https://www.theguardian.com/environment/2015/apr/15/extra-virgin-100-real-olive-oil-goes-on-sale-in-uk?CMP=share_btn_fb&page=with%3Aimg-1&fbclid=IwAR06MnwsSywE_M_JRuj4qs7DmVNFGa64ayUKQ8beQZa4h9dsdudBBI2_a9U#img-1" target="_blank">Extra virgin '100% real' olive oil goes on sale in UK, <i>The Guardian</i></a>);</div>
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<b>And just in case you don't wanna be</b> the-next-plastic-homogeneous-hermetically-sealed-downright-stereotypical-immutable-imortal-unbreakable-impervious-doll:</div>
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'This newfound embrace of grey hair is, according to Prof Dr Carolyn Mair, who specialises in the psychology of fashion, an extension of the “anti anti-ageing movement that is taking hold”. She notes that “this outward display of self-acceptance and self-confidence brings a sense of empowerment and authenticity,' <a href="https://www.theguardian.com/fashion/2018/dec/14/glad-to-be-grey-how-women-changed-the-debate-on-hair-colour?CMP=share_btn_fb&fbclid=IwAR3lj67cOCe0SuIOf0g9syk6gmBgRd8NlMC0zf2Ge4Vy3v0M-yz0JU3GPPk" target="_blank">Glad to be grey: how women changed the debate on hair colour, (<i>The Guardian</i>)</a>;<br />
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<b>What looks like an interesting book</b> (unfortunately I didn't as yet read): '... we are lost in a sea of information, increasingly divided by fundamentalism, simplistic narratives, conspiracy theories, and post-factual politics. Meanwhile, those in power use our lack of understanding to further their own interests. Despite the apparent accessibility of information, we’re living in a new Dark Age,' <a href="https://www.versobooks.com/books/2698-new-dark-age" target="_blank">James Bridle's <i>New Dark Age (Verso</i>, 2018)</a>;<br />
**************************************************************</div><div style="text-align: justify;"><div style="text-align: left;"><div><div><h4 style="text-align: left;">About Jeremy Rifkin & the so-called Third Industrial Revolution:</h4><div><br /></div><div style="text-align: justify;">"Overall, I found that Jeremy Rifkin's ideas are not ‘radically new’, but merely a new version the same old ‘more is better’ paradigm — more technology, more energy, more people, more jobs, more work, more impact, more control. There is an increasing number of people who disagree with this..."</div></div><div><div style="text-align: justify;">"Many of the essential elements of a third Industrial Revolution (and the technology it requires, produces, and advocates) are REE’s, extracted from Rare Earth Minerals (REM’s) or obtained as a byproduct of mining metals like tin, zinc and copper. Despite their name, REM’s are quite common in the Earth’s crust, yet all but a few reserves are utterly inaccessible for us. Those REM’s (and several other crucial elements needed to produce any advanced technology) are indeed getting increasingly scarce, as easily accessible reserves are being depleted at record rates. The mining of mineral ore and the extraction of REE’s causes "severe environmental damage" and creates some of the most toxic chemical compounds known to mankind, as well as, according to the Environmental Protection Agency, a "tremendous amout" of solid waste. For each ton of REM’s mined, one ton (!) of radioactive waste is created, dwarfing the environmental impact of the much-criticized nuclear sector."</div><div><div style="text-align: justify;">"Several major ecological catastrophes were directly caused by the mining and extraction of REE’s, such as the Samarco tailings dam collapse (2015) in Brazil or the silicon tetrachloride spill by a solar energy company in Henan province, China (2008), and, as implied by a recent, peer reviewed estudy (paywall) in the prestigious journal Nature, there is no reason to believe that this risk is going to decrease if global demand rises as predicted by all involved scholars and institutions. The study finds that there is no less harmful way to extract, refine and process REE’s in sight, and that more environmental restrictions to limit pollution will inevitably lead to a soaring increase in the price of those essential elements (and concomitantly in all technological gadgets)" (<a href="https://medium.com/@FeunFooPermaKra/a-third-industrial-revolution-would-seal-our-fate-why-jeremy-rifkin-is-dead-wrong-d224127ec195" target="_blank"><i>A ‘Third Industrial Revolution’ Would Seal Our Fate — Why Jeremy Rifkin is Dead Wrong</i>, Medium & David B Lauterwasser, April 30 2018</a>);</div></div><br /><div style="text-align: justify;">"... what's happened here and this is really enormous — this year the cost of solar and wind, the levelized cost of scaled solar and wind has now plummeted below the cost of nuclear, below the cost of oil, below the cost of coal and now below the cost of natural gas. So what's happening is we're sitting on the biggest bubble in history — stranded assets in the fossil fuel industry — because now the cost of solar and wind are cheaper, it means all of the gas-fired power plants and the pipelines and the refineries and all the way to the gas stations are stranded assets. They will not amortize out..."</div><div style="text-align: justify;">"... the digital communication internet has to join with an energy internet and a mobility internet. And we have to transform all the buildings to internet-of-things-smart platforms. Businesses don't do infrastructure. It is up to local governments and it's up to regional governments and national governments. They have to lay out the infrastructure to make possible the new business opportunities and the new jobs." </div><div style="text-align: justify;">"... all the money is there through public pension funds and other investments, they've all gotten out of fossil fuels but now the cities have to step up. The regions have to step up. Countries have to step up. Governments have to help lay out this infrastructure — involve their communities in this transformation and that's where the millions of new jobs will come from" <span style="text-align: left;">(<a href="https://www.dw.com/en/taking-a-look-at-jeremy-rifkins-the-green-new-deal/a-50752788" target="_blank"><i>Taking a look at Jeremy Rifkin's 'The Green New Deal'</i>, </a></span><a href="https://www.dw.com/en/taking-a-look-at-jeremy-rifkins-the-green-new-deal/a-50752788" target="_blank">DW & Malte Rohwer-Kahlman, 09/10/2019</a>);</div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">***Also, from <a href="https://youtu.be/TU0j3O_n_Ns">Vandana Shiva's debate with Mary Robinson for Oxford Climate Society (see the video above</a>): "... there are now scientists saying we should change the patterns or the colours of the clouds to reflect the sunlight back and engineer the climate, but they have no idea what else it would do because they never look at these things as a system. Sadly Bill Gates is a very big promoter of geoengineering. Second is genetic engineering. You can't genetically engineering your way out of the climate crises. Those salt-tolerant and flood-tolerant rices that we sale in our resource seed banks have helped farmers get back after every cycle. This has been evolved by nature and farmers over millennia. They aren't genetically engineered, they are pirated, their genome might be mapped. But the complexity of environmental resilient traces are in the plant that I use, not in the one gene that is extracted or the genome that is mapped... [And] even with the discourse on nature based solutions, there is the disease of offsetting... in a way, these false solutions are indulgences of the polluting corporate world, and if you look during the Kyoto protocol, emissions increased 15% and the polluters became much richer. That is of course a totally failed solution, carbon offsets... we can only address these foundational injustices by removing the colonisation paradigm and decolonising, getting rid of the fossil poor paradigm, including all the categories it creates, the category of productivity so fraudulent, because my work in agriculture has shown that when we work with nature, when we work with biodiversity, we can produce far more nutrition and food. We measured nutrition and health per acre, we could feed two times India by conserving the earth. We can heal the broken carbon and nitrogen cycles... so we do need to go deeper into science, but a science of ecology, a science of relationship. And through that we realize that when we do honest calculations everyone can live better. The people who live well today don't have to be called primitive and their economy destroyed. The people who have been trapped into the fossil age don't have to continue to be trapped... 100% of the lands should have gardens, pavements should have gardens, balconies should have gardens, schools should have gardens, and they'll give us more food, they'll regenerate biodiversity, they'll bring back the disappearing insects, but most importantly: many, many, many millions of gardens there together will have the capacity to drawn down nature's excess carbon and nitrogen and heal the cycles."</div><div style="text-align: justify;">**************************************************************</div><h4 style="text-align: left;">Some history, philosophy & child psychology:</h4></div><div><br /></div><div style="text-align: justify;">
"... the big acceleration towards microelectronics did indeed begin with the invention of the integrated circuit, when at first small and later large circuits were formed on a single chip fo silicon. The net result was systems far larger and far more complex than could even have been dreamed of before..."</div>
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"The forerunner of today's devices was the point-contact transistor made by John Bardeen and Walter Brattain at Bell Laboratories in December 1947, hailed by some as the most important invention of the 20th century..."</div>
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"Within ten years the transistor itself underwent massive changes and emerged in new applications in integrated circuits (ICs)..."</div>
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"... the key to the whole future of semiconductor work was the planar process developed by the new Fairchild Semiconductor Company from 1958 to 1960."</div>
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"... silicon integrated circuit... enabled miniaturization to be pushed to such limits that the essential components of a computer that would outperform ENIAc (one of the first digital electronic computers, which occupied a volume of over 100m3) could be held easily in one hand..."</div>
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"The U.S. military proved to be a major marked for electronics as well as a major source of finance as the nation went through the Cold War, the space race, and the Vietnam war."</div>
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"In twenty years the industry's most complex devices have changed from chips containing one component in 1959, to about 10 in 1964, about 1000 in 1969, about 32000 by the mid seventies, and around 250000 by the late seventies... Costs have also fallen dramatically... The industry may run out of adjectives if the trend continues, though some see signs that economic limits are being approached..."</div>
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"... electronic computers have given us undreamt of powers for 'number crunching' and logical manipulation..."</div>
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"... in 1843... Charles Babbage was at work designing an 'analytical engine,' the first design for a genuine computer. It was to be a full-scale, general-purpose mechanical computer with a memory, arithmetic unit, Jacquard-type punched cards for input and output, and card-controlled programs that allowed iteration and conditional branching... This machine was never built partly because of Babbage's hunt for perfection and partly because of the limitations of the mechanical engineering of the day; but the design incorporated the major features of today's digital computers except that they were to be achieved mechanically instead of by electronics... Lady Lovelace, daughter of Lord Byron, worked closely with Babbage and today is honoured with the title of the world's first computer programmer..."</div>
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"... digital computers are the successors to the abacus and Babbage's Analytical Engine..."</div>
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"Programming a computer involves breaking down the problem to be solved into small steps and then instructing the machine how to perform them. Around the time of the French Revolution a famous French engineer called M. R. de Prony, who is also remembered for his dynamometer, was given the task of calculating a vast set of mathematical tablets that were to be bigger and better than any previously made or even conceived. He solved this immense problem by using a handful of mathematicians who broke the work down into relatively simple tasks of addition and subtraction, which were then performed by a small army of mathematical slaves. In a sense Prony had programmed a computer of around 90 people."</div>
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****Everything from W. A. Atherton's From Compass to Computer (1984, p. 237-304).</div><div style="text-align: justify;"><br /></div>
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[Besides all the mysterious mystifying names, one should note that all the hardware developments referred above depend on insights going back to Faraday's experiments with electricity and magnetism, later mathematised by Maxwell. Further innovations rely also in paradoxical theories such as quantum mechanics, but the overall approach has always been mainly computational, that is, derived from a mechanistic and stereotypical, that is, ROUGH, if not primitive understanding of information processing processes. Or perhaps, to be really fair, it is better to say that what seems most refined depends on the <i>systematic linear repetition of the same strategy of approximation</i> (that is never itself refined): "The proposition that whatever can be expressed by means of an irrational sequence is susceptible of representation by means of a sequence of rational numbers is of fundamental importance. It assigns to rational numbers a special role in the theory. Inasmuch as any real number [including irrationals and transcendentals] can be expressed by infinite convergent rational sequences, the rational domain, reinforced by the concepts of convergence and limit, will suffice to found arithmetic, and through arithmetic the theory of functions, which is the cornerstone of modern mathematics... this fact is of just as great importance in applied mathematics. Since any rational sequence can be represented as an infinite decimal series, all computations may be systematized. <i>By limiting himself to a certain number of decimal places, the computer may obtain a rational approximation</i> to any irrational or transcendental problem. And what is more, the degree of accuracy of this procedure not only can be readily estimated, but even assigned in advance," Tobias Dantzig, <i>Number: the language of science </i>(2007, p. 159). Even if our own minds operate just like computers, <a href="https://aletche.blogspot.com/2018/12/timothy-leary-in-1990s-how-to-talk.html">would it not be much more interesting to focus on the reverse side, on the total nonlinear transfiguration of the entire process?</a>]<br />
<br />
Even High Energy Physics detectors, including accelerators and colliders "are only sensitive to electrically charged particles, since in different ways they all register the disruption produced by such particles in their passage through matter," Andrew Pickering, <i>Constructing Quarks </i>(1984, p. 24). </div>
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"In 1936, Alan Turing showed that no mechanical procedure could solve the 'halting problem.' The halting problem is the question of wether a given computer program will eventually stop. A real number is computable if there is a computer program for calculating its digits one by one. Surprisingly, almost all real numbers are not computable," Amir D. Aczel, <i>The Mystery of the Aleph </i>(2000, p. 224).</div>
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"The noun 'algorithm' and the adjectives 'computable, 'recursive', and 'effective' are all used by mathematicians to denote the mechanical operations that can be performed by theoretical machines of this type—the Turing machines," Roger Penrose, <i>The Emperor's New Mind</i> (1989, p. 47); "... the complete details of the complication of the structure of Mandelbrot's set cannot really be fully comprehended by any one of us, nor can it be fully revealed by any computer. It would seem that this structure is not just part of our minds, but it has a reality of its own... The Mandelbrot set is not an invention of the human mind: it was a discovery," Penrose (p. 95); "... in certain sense, the complement of the Mandelbrot set (i.e. the white region) is recursively enumerable. If the complex number <i>c</i> is in the white region, then there is an algorithm for ascertaining the fact. What about the Mandelbrot set itself—the black region? Is there an algorithm for telling for sure that a point suspected to be in the black region is in fact in the black region? The answer to this question seems to be unknown, at present," Penrose (p. 125); "... in fact when a neuron 'fires' it emits a whole sequence of such pulses in quick succession. Even when a neuron is not activated, it emits pulses, but only at a slow rate. When it fires, it is the frequency of these successive pulses which increase enormously... The interconnections between neurons are not in fact fixed, as they would be in the above computer model, but are changing all the time," Penrose (p. 395-96); "... the kind of obviousness that a child can see—tough that child may, in later life, become browbeaten into believing that the obvious problems are 'non-problems'... What happens to each of our streams of consciousness after we die; where was it before each was born; might we become, or have been, someone else; why do we perceive at all; why are we here; why is there a universe here at all in which we can actually be? These are puzzles that tend to come with the awakenings of awareness in any one of us—and, no doubt, with the awakening of genuine self-awareness, within whichever creature or other entity it first came," Penrose (p. 448).</div><div style="text-align: justify;"><br /></div>
<h4 style="text-align: left;">Irony:</h4><div style="text-align: justify;">"Physics employs sophisticated mathematical models of physical situations. Economists also construct complicated models. They run computer simulations of gigantic structures they call 'the economy' to try to figure out what will happen next or in ten years' time. The economists are as incapable of understanding the reasoning of the physicist as most physicists are of making sense of modern econometrics. Yet they are both using what we call mathematics, and the skills are to some extent transferable. Witness the post-Cold War exodus of high-energy physics PhDs to Goldman-Sachs (etc.) a few years before the near collapse of the global banking system," Ian Hacking, <i>Why is there Philosophy of Mathematics at all? </i>(2014 p. 51).</div><div style="text-align: justify;">
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<div style="text-align: justify;">See also (to clear up the mist which still hangs upon the page above, since we live in a world beset on all sides with mysteries and riddles):</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2021/02/stop-leveling-down-lifes-multiple.html">the whole lunacy of united megalomaniac billionaires</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/12/agamben-lovelock-greta-thunberg-coluna.html">Agamben, Lovelock, Greta Thunberg</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/12/timothy-leary-in-1990s-how-to-talk.html">Timothy Leary in the 1990s</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/03/actual-infinite-falling-all-together.html">actual infinite falling (against Carlo Rovelli's pseudo-problem)</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/two-sentences-dogma-of-semantic.html">the dogma of semantic uniformity & Python Gored Naturalism</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/the-odd-transformation-of-der-herr-warum.html">the odd transformation of Der Herr Warum (Gödel & Resnais)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/the-only-three-types-of-ingenuity-when.html">the only three types of ingenuity (with Cantor & Dedekind)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/02/why-self-help-books-are-not-to-be.html">self-help books (with Rupert Sheldrake)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/the-most-auspicious-tetrahedron-two.html">the most auspicious tetrahedron</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/what-is-real-space-what-is-real-number.html">what is REAL space? what is REAL number?</a> </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/10/list-of-two-charming-scientists-under.html">list of charming scientists/engineers</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2017/03/the-doors-of-percpetion-learned-foolery.html">The Doors of Perception (with Huxley)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/03/structuralism-poststructuralism.html">Structuralism, Poststructuralism (with Julia Kristeva)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/03/liste-de-quelques-metaphores-du-chaos.html">List des figures du chaos primordial (Deleuze)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/08/eduardo-viveiros-de-castro-brazilian.html">Brazilian Perspectivism (Viveiros de Castro vs. Haroldo de Campos)</a>; </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2015/04/lafirmation-de-lane-criticism-of.html">L'Affirmation de l'âne (review of Smolin/Unger's The Singular Universe)</a>; </div><div style="text-align: justify;">And also: </div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2018/07/facebook-community-and-nudity.html">Facebook, community nudity...</a></div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/03/instead-of-revolution-demontage-super.html">Instead of revolution: démontage</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/blue-crab-siri-azul-torres-brazil-jan.html">Blue Crab/ Siri Azul</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2019/01/environmental-issue-brazil-novo-porto.html">Environmental Issue (Brazil)</a>;</div><div style="text-align: justify;">- <a href="https://aletche.blogspot.com/2016/10/who-wants-to-be-worlds-5th-largest.html">Who Wants to Be the World's 5th Largest Economy?</a></div><div style="text-align: justify;">- <a href="https://www.wired.com/2017/08/robots-will-not-take-your-job/">The Great Tech Panic (Wired)</a>;</div><div style="text-align: justify;"><a href="https://www.academia.edu/31233486/Sloterdijk_Rules_for_the_Human_Park">***Peter Sloterdijk's Rules for the Human Park</a>;</div><div style="text-align: justify;"><a href="https://doi.org/10.1007/s13347-023-00617-8">***Ecomodernism and the Libidinal Economy: Towards a Critical Conception of Technology in the Bio‐Based Economy (Roel Veraart, Vincent Block, Pieter Lemmens, Philosophy & Technology/2023);</a></div><div style="text-align: justify;"><a href="https://www.ihu.unisinos.br/images/stories/cadernos/ideias/326cadernosihuideias.pdf">***Técnica e Ética no Contexto Atual (Oswaldo Giacoia, IHU)</a>; </div><div style="text-align: justify;">Related news:</div><div style="text-align: justify;">- <a href="https://theintercept.com/2019/12/20/mit-ethical-ai-artificial-intelligence/">The Invention of Ethical AI: How Big Tech Manipulates Academia to Avoid Regulation (The Intercept)</a>;</div><div style="text-align: justify;">- <a href="https://www.bbc.com/portuguese/brasil-47587873">"Professor do ano: como brasileira entre 10 melhores do mundo quer revolucionar escola pública," (BBC)</a>;</div></div></div><div>
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