a êthos mystéthikos - EPILOGUE A (From the work in progress: The Poetized Critique) By M. Santos

Having offered undeniable theoretical support, mainly from what was already exposed in the 2016 text, which was the theoretical and bibliographic apparatus that served us as the main beam here, in short, that text served us merely as an excellent database, without the which we could not now allude to what has become called the Idea of ​​Humanity.

Even there, in 2016, we never proposed any surreptitious ethics, based on theologically based morals or something similar, because we never tried to deduce anything like that, that is, we never supported ourselves in dogmatic theology or in the imperatives of religions. Therefore, we do not incur a petitio principii in taking the existence of moral laws as facts not needing justification by the dialogical-dialectical-epistemic procedure, and we never attempt any prescriptive ethics, conceived as a doctrine of duty.

Metaphysically speaking, what we dared in this work was to propose the mystéthik of the concrete human multiverse, typified in the Idea of ​​Humanity as the immanent foundation of noumenal and empirical reality simultaneously (das Ding an sicht). Now, this being noumenal (wave of Cosmic Energy) and empirical (durable and observable particle) at the same time is a matter exclusive to the realm of mysthesis itself, and no longer to the metaphysics of the beautiful or even any other philosophical approach known to us. .

To do so, that is, to found the neologism mysthesis, we traced a fundamental triangle of teachings, whose vertices represent (1) the tradition of Vedanta Uttāra Mīmāṁsā, (2) Plato and Kant. All this seen, at the base, through the bias of (3) Metaphysics of the Beauty and Arthur Schopenhauer's Critique of Criticism. (The Metaphysics of Beauty brings beauty to the center of intellectual consciousness in a manner informed by contemporary metaphysics and engages with beauty as an enduring object of human thought and experience.)

Another essential triad for understanding what the mystic knowledge now inaugurated concerns the elements presented in those three sentences of Chapter 1, as a minimal synthesis of the mystic and empirical meaning of the human body. Just to recap, these were the sentences: (1) By their conduct towards us, people show themselves to us, therefore they teach us who they are. Therefore, we will live better remaining immune to what they try to impose on us, that is, what we are essentially not.

To this first consideration, we metaphorically associate the brain as the organ of reason, therefore, also of the correct discernment of judgments in general as well as actions, whether the most appropriate or not.

(2) In general intuition and glimpses of Eastern thought and Western philosophical monisms (eg advaita, monadology, etc.) we must not neglect metaphysics. Even because, in the intuitive human being, especially in the creative genius, everything is one and brings together the philosopher's thoughts, works of art and great actions.

To this second consideration we associate the pineal gland, metaphorically, as the seat of pure intuition.

(3) Perfection is secret and inaccessible to the egoist, that is, to the human being who is full of desires and whose vision never exceeds his own individualistic limits. But the disinterested creative genius is a sage accomplished in the intuition of the Idea of ​​Humanity and in the realization of the works of love.

To this third consideration we metaphorically associate the heart as the center and source of greatest strength in the body, where each cell pulses in tune with every other, producing an electromagnetic signal so powerful that it radiates beyond its own limits. This is how human compassion works in the world. And so even philosophizing, mysthetically speaking, will rely on creative intuition and on the neurons of the cardiac body as well.

Therefore, this was what served as a compass to guide us safely in the creation and in the first movements of mystéthika, unfolded from a relevant reading of metaphysical pessimism in general, but with an unequivocal and decisive focus on the metaphysics of the beautiful, as we have already said the our decisive starting point, but this motivated us to create mysthesis and metaquantum without ever having been seduced into some kind of stagnation of our critical and creative enthusiasm.

Even the tat tavam asi served us only as an appropriate illustration and so that we would not postpone the fusion of aesthetics with ethics any longer. In this way, the mysthesis of creative geniuses was duly presented. However, we must point out that, henceforth, as mystéthika should always give preference to non-dualistic and unified approaches to the human being, monodologically speaking and as they say, according to the ancient tradition of Advaita Vedānta as well; therefore, we have not neglected to present the Idea of ​​Humanity and the expression the works of love as being our most insinuating unifying formulas. Furthermore, the terms Cosmic Energy and Humanity's Consciousness also served as a support to the general understanding of what mystheisis actually intends. That is to say, by unifier we are suggesting that what dualisms and separatisms in general bequeath to us, the separate parts and worlds, in mistéthika are only accepted in the sense of being complementary opposites, but never irreconcilable.

Creative genius in the Cosmic Energy that enables us to in-form objects, that is, that gives us ideas, even in the full reign of the stagnant worlds of understanding on the one hand and the synthesis of the object for a subject on the other side. Therefore, we made available the mysthesis, in order to fix all of this civilizational myopia about the dimensions that involve even the most materialistic citizen of this world.

The Idea of ​​Humanity demanded that we intuit the overcoming of all selfishness that involves this reason, which is merely compartmentalizing, analytical and pro-individualism. Thus, the suspension of all causality, therefore, is what occurs in that genius intuition, as a type of anamnesis, that is, as a progressive effort and through which the individual conscience goes back from sensible experience to the world of ideas, intuiting the possibility of knowledge. of the thing itself. Therefore, we have a type of monadic cosmological immanentism, that is, what we are calling epistemic-mysthetic or propaedeutic of all future metaquantics.

Thus, we verify the works of love in the same works of authentic creative geniuses, in any areas of human activity and in any point of the nunc stans. However, mystéthika further suggested that this mode of knowing and acting will someday become increasingly popular.

Therefore, this Poetized Criticism of ours, as an expression of the art of living well, is not prescriptive, nor does it even consist of any doctrine of initiation into living well. Even because, we know that the principle of the doctrine of science is that of the transcendental unity (being plus consciousness), from which it is possible to develop, from a critical point of view, a system of the sensible world and the intelligible world. However, far from having proposed mysthesis as a doctrine, what we did emerged from our better relationship with the art of living well. In this way, the mystéthika emphasizes the importance of the reflective and meditative conduct of each creative genius, with respect to which the philosophical exercise has its value, but only as an introduction. Now, what actually has an indelible value is the self-knowledge that becomes twinned with this expression of ours mystéthika.

In the past, Fichte has already taken care of analyzing and decomposing everything that appears to be significant to lead to a concrete existence and open existential possibilities, and his doctrine proposed to find the conditions of possibility of the tool offered by everyday existence and present a methodology that allowed the individual to understand his existence, making his choices in the horizon of a rational coherence.

In this sense, the art of living is a task very close to the one that Fichte attributes to his “ascetics” as an applied philosophical discipline. Being impossible as a rigorous science, ascetics has the function of keeping the human being firm in the fundamental decision that defines his individual existence, through the linking of the freedom of his will to the principle according to which each concrete action must express a full rationality; that is, completely justifiable and universal.

However, mystéthika derives from the understanding of the art of living based on the concretization of the works of love, therefore, it should never be understood in the sense of a doctrine of science along the lines of German idealism. Therefore, that of each concrete action having to express a full rationality would only interest mysthesis if it were submitted to the dialogical-dialectical-epistemic procedure. In short, only if, at the very least, the pineal gland (seat of intuition), the heart (center of cosmic magnetism and sensitivity) and the brain (organ of rational operations) are taken into account simultaneously. Now, we have said the least, because to say the most we will have to deal with the body in its entirety mystéthika living.

Leibniz postulated pre-established harmony in his Monadology. Daoism told us about wu wei. From Aristotle we hear about the motionless mover and about metaphysics as the science of first causes and originating principles. Akasha, as a non-locality, from which we can access all the information of the cosmos, we received it from the Hindus, along with all this from which we could derive the contemporary notion of a quantum vacuum. All these are just some of the inspiring examples without which our mystéthika could not have emerged, already so precise and accurate in its peculiar scope. And speaking of accuracy, the Pythagorean theorems cannot be left out of all this.

Thus, mystéthika emerges as the first genuinely epistemic translator of immediate knowledge of any and all natural phenomena. That is, and, for example, while an ordinary scientist looks at a plant and conceives some drug-chemical for the pharmaceutical industry and commerce; a creative genius before the same plant will conceive the universal cure, based on the Idea of ​​Humanity fully healthy, free and indefectible.

Even so, it is worth noting that, in paving this path of mysthesis, the metaphysics presented, as it is not 'canned', was compared with the subatomic multiverse of quanta, that is, it was 'un-inverted', as one N. R. Keppe would say. , for example.

It should also be noted that there is a non-locality in this synthesis of the causative object with the sensation of Beauty in the creative genius. Therefore, there is non-locality and simultaneity. Therefore, we said that the movement of metaquantum presupposes dialogical-dialectic-epistemic, unfolded from the scope of pure aesthetic intuition.

In short, the first fifth-dimensional epistemic is now provided by mystéthika. With this, we are assuming that any possible rational-dialogical set will always be insufficient, in the face of the works of creative geniuses, that is, it will be less than a mere derivation of the game of reason with sensitivity.

Therefore, unless intuition/pineal is included in this elementary dynamic of the scientific way of trying to understand the world, which mysthesis did not neglect and did not hesitate to do, then ignorance and selfishness will prevail in a world that insists on maintaining become wild.

It is precisely because we have not been careless here that we will be able to deal with the definitive epistemic, the one that may occur in the sphere of the Metaquantik des allwissenden Bewusstseins (metaquantum of omniscient consciousness), in the future. Now, we said in the future, because in the metaquantum of omniscient consciousness, the nunc stans is simultaneously the basis of the pair of chromosomes 24 and the quantum vacuum, precisely the closure and the portal of dialogic-dialectic-epistemic. (Humans have only 23 pairs of chromosomes, while members of the other simian group have 24 pairs. To current science, this anomaly comes from the supposed and as yet unexplained fact that after our evolutionary branch separates from the that gave rise to modern apes, two chromosomes would have fused.But in the sphere of Metaquantik des allwissenden Bewusstseins it is considered that the 24th pair is considered to be five-dimensional, so it cannot be detected, even by contemporary quantum biology). Therefore, obviously this does not fit in this work, much less in these closing movements of the same.

That is, when we glimpse freedom in the Idea of ​​Humanity, the human consciousness of creative geniuses reaches the point of no return, then causality loses its power, through the immediacy of aionic time, understood here in consonance with the time of the present. eternal, something that had also been said before, with the expression nunc stans da in medieval scholasticism, but not quite.

In other words, we allude to a terminology expressed in the Middle Ages, however, only metaphorically.

Even because, the thing itself seems to have the quality of not belonging to three-dimensionality, so the fifth-dimensionality was what emerged in mysthesis, as the most appropriate dimension. But this will only be definitively clarified in another work, that is, when we are already definitely metaquantically speaking, of course.

Now, the very nature of the creative genius is to be guided by nature itself. It is in this sense that we can say that everything the sage does begins with the intuitive look and the sensitivity of the heart, and even when he thinks, he still remains in harmony with the natural Beauty. Therefore, the three dimensions (brain, pineal and heart), unlike the dimensions canned in the Cartesian plane, for example, contain the maximum expression of beauty in nature.

However, even if we add time as an extraordinary dimension to the old Cartesian model, the problem of the thing itself will still persist. It follows from this the need for the Idea of ​​Humanity to transcend effectiveness and establish itself as the sphericity of chronological suspension. It is in this way that the erupting of the fifth dimension dispels the three-dimensional (or fourth-dimensional, if we include time) illusion.

So in the metaquantum now the count is one, two, three, four, everything! Instead of the old monotony of telling one thing at a time, in the endless suffering and boredom of ordinary chronological linearity.

Now a form, when separated from the principle of reason, is an idea. In this way, mysthesis is what makes possible the very possibility of occurring, to the human being, some indefectible epistemic meaning. Therefore, it would not bother us if someone accuses us of presenting a type of Neoplatonic idealist monism or something similar to this, since the role of any philosophical concept here is merely allegorical, that is, it is nothing more than a representation of representation.

In this way, that separatist notion where the esthete overcomes the phenomenal world for a moment, but only the sage does it for a lifetime, all this has come to imply the same thing for us, that is, such quantitative differentiation does not overcome the qualitative and timeless quality of mystéthik knowledge, since the operations of quantification are useless, after the suspension of causality in the consciousness of the creative genius.

Therefore, it is in mystéthika that separatisms fall to the ground, both the boundary between the artist and the sage and the old wall, equally imaginary, that of the understanding interposed between the subject and the object of knowledge.

Once it became clear that the same motivations of the sage also occur to the artist, by the disinterested look at the world, and that, there is no selfishness or malevolence in this, but, rather, there is purity, in the sense that, the behavior of the sage it suggests an equally beautiful and lasting means of 'redemption', such as full human life in the daily life of the moment. So, in this way, the soil for the flowering of metaquantum is prepared, and there will be no ethics definitely independent of the Beautiful, because, from the harmony of beauty, more relevant laws naturally arise, and the pulse of life in every living being is the itself and the naturally beautiful perennial, just as the whole of the quantum vacuum is perennial in its simplicity.

Furthermore, the fleeting aesthetic intuition should no longer be distinguished from the time of sapiential clairvoyance and the attitudes of wise men in life, because every creative novelty will always demand more space, and this is what encompasses the artist and the wise man, aesthetics and to the ethics of all men as well. Mainly because life does not submit to any conventional imperative, and the time corresponding to it is always present time, for being nature (natural of Cosmic Energy) not measurable, that is, not differing in any way from what is perennial.

Finally, we culminate in the theoretical possibility where aesthetic intuition assumed a privileged character of knowledge of the Idea of ​​Human Life and also demonstrated that the constituent elements of our approach are more than enough to enable an aesthetic reading of Fifth Dimensional Humanity. in the Idea, so that this can become a relevant proposal for an interpretive approach, and something perfectly viable for introductory studies to metaquantics, which, here, was only prefaced.

Now, the Idea of ​​Humanity was unfolded from the metaquantic foundation, necessary for mystéthika, because we understand that life has an undeniable metaquantum tendency, regardless of the religious, metaphysical and even scientific considerations that come against it.

In short, ordinary life tends towards five-dimensionality and this will require the implosion of the old logical square and the Cartesian plane, here mere examples and metaphors, taken respectfully, without rancidity and without any kind of disdain.

However, in this now, metaquantum is available. Therefore, let the dead be buried by the living, because if we persist on the contrary, we will end the life of humanity with the dead burying their own dead, which would require us to always start over from the beginning, or rather, from the emergence of mysthesis . As such emergence has already occurred, then, we will move on, as we have already definitively assumed the role of gravediggers of the old epistemological paradigms.

It is no exaggeration to say that we have come out of individualism and the fallacious motto of time is money. For that, we enter the samādhi ज्ञानकोश of the suspension of rationality, in the creative insight. Mystetically speaking, this is what we proposed, with that contemplative Zen subject of the metaquantum of omniscient consciousness, even because the dialogical-dialectical-epistemic procedure always culminates in the same Idea of ​​Humanity from which it originated. Such an Idea is fully creative, and the time corresponding to it is spherical, that is, from a chronological point of view, it is a suspension of all linear succession, given the immersion of consciousness in the cosmic intuitive of the eternal and aionic present.

Beauty in itself is ethical, so, by intuiting the essential nature of suffering and human action in the world, we can propose to such an Idea, through the arts, the Idea of ​​Humanity, what makes us see ourselves as free in a cosmic sense. . But if the Beautiful were not ethical in itself, this would not matter here, since a fact independent of the Idea is a fact that is prisoner of reason, and not something that has epistemic value in the fifth-dimensional field of freedom. But this would already be a matter of metaquantics, so it is not appropriate to delve into this work.

Considering freedom as the positivity of the works of love, and no longer pain and suffering, as an exclusive positive way, something still from that old causal need of understanding, then, through the creative genius bias, to the detriment of the peripatetic bias, we the seed of the fifth-dimensionality, and, after the dialectical-dialogical-epistemic procedure in the realm of pure aesthetic intuition, we even established mysthesis.

This removal of the veil of understanding was even the elementary objective, so that we could present to our contemporary consumerist and technicist world, at the base, a relevant approach to the theme of the epistemic importance of the metaphysics of the beautiful. And, it is worth noting that, in mysthesis, the negation of Negativity in life and the positivity of the works of love are the same thing said in two ways.

In view of the almost dogmatic predominance of logical and ethical treatises, and also of the almost always apodictic posture of the academy, that is, that it is in science and ethics that the general meaning of existence culminates; we chose not to submit to the dogmatism of scientific analytics in general, that is, not to function as mere keepers of suffering and the endless tasks of Sisyphus disguised as decisive and indispensable knowledge.

So, soon, we incumbent upon mystéthika the duty of ensuring that humanity does not return to the error of the old paradigms, already given up here for dead and buried. Emphasizing them, namely, those of the 'Manichean' model of knowing reality through a three/fourth-dimensional bias, always addicted to irreconcilable oppositions.

By Manichaeism is meant the game of contradictions of the logical square, of the false or true, where the universe of knowledge is limited to the binary code and the 'tick's game' of the false against the true. And, in this regard, it is worth noting that qubits are already working in our favor, and, to the same extent, paraconsistent logic and disinverted metaphysics. In other words, mysthesis and metaquantic are inserted as visionary concepts of the fifth-dimensionality and as what awakens us to the new paradigm, in the Idea of ​​Humanity.

In this work, we sometimes mystetize a little, in the style of the old analytic of sic et non, concatenating the different contradictory points of view and in relation to the same issue. In this way, our intention was as important as the act emanated from it, that is, what served to enliven the mystéthika, in the eyes of the reader, and to deepen the new themes, presenting, among these, the dialogic-dialectic-epistemically. We said in this work because, in the work of 2016, there was already the embryo of mysthesis.

That is, we mystetize in order to highlight the conciliations of opposites around each highlighted metaphysical landscape, but, without disregarding the indelible magnificence, persistently hidden in the human being, whenever we allow ourselves to be deceived, taking the merely analytical point of view as if it were the perfection of wisdom.

Something that mystéthika will never neglect to expose are the screaming colors and sounds of the magnificence of the human being, which will never be in the background for us, even in the face of the most absolute advance of science and technology.

Therefore, and now that we reinforce our undoubted predilection for mystéthika, from artistic languages ​​in general and whenever we deal with honest, safe, and healthy knowledge, of what we call the fifth dimensional based on the Idea of ​​Humanity. And, As the subjective mode of knowledge through the ordinary understanding is incapable of accessing universal and independent archetypes of the principle of reason, then, we dare to demonstrate that, through the empiricist path, there is only an insurmountable limitation in the attempt to access the Idea. That is why we emphasize the famous Frankfurter Begriff, that is, objective and independent knowledge of the principle of reason.

However, we put an end to this subject, highlighting now that mystéthika considers the intermediary line between the object and the subject (the understanding) as having been definitively erased, and also, because without it, the Idea of ​​Humanity would never be something simultaneously epistemic and immanent, concretized in the works of creative geniuses in this world, and this, posed by the dialectic-dialogic-epistemic dynamics.

In this way, we describe how it is possible to know immediately and beyond the mere phenomenal world to the immanent essence of the fifth-dimensionality of Human Consciousness, which, as a part, shows itself as the authentic representative of the whole. And that in a way that this Consciousness, free from all selfishness, is the most perfect knowledge of Reality.

Through the satisfaction of aesthetic intuition, a disinterested attitude towards the whole of life, we are able to overcome, in a second, all the suffering that comes from wanting to know, an attitude that is always a prisoner of cerebral reason. In this sense, the metaphysics of beauty was decisive for our option of striving for an innovative stylistics, and this was due to the understanding that only the artistic logic of music and poetry would assure us the essential elegance for good development, in addition to fertility and of accuracy, necessary for the sowing of the main neologisms (mystéthika and metaquantic), something that the philosophical style alone would not be capable of.

For example, in the painting of self-portraits, we saw that the idea of ​​being human appears clear. A human being, asserting himself in self-love, as an artist who has reached the knowledge of himself and who has expressed it, affirming life, free from all debt bondage and from all false sense of duty. And this has nothing in common with narcissism.

A self-portrait requires the artist to act as if he were 'incarnating' himself as an idea, starting from his own face and attitude in the world. Furthermore, in autobiographies, one can also reach essential self-knowledge, which is equally enduring in the work, and which always appears after the suspension of the principium individuationis, that is, by the entry into the scene of the pure subject of knowledge in what was the individual who enjoyed the idea.

In this way, beautiful art, when portraying the idea of ​​the sage, stands out as the most objective knowledge of the human multiverse, proposing this idea, but this occurs without the artist necessarily having to experience the ascetic way of life of the religious, for example. . With this, it became clear that the artist's moral exemption is as radical as that asceticism of the 'sage', since both act disinterestedly in life. A conduct produces a work of art; another behavior makes of itself a living work, both being attitudes capable of expressing the highest idea of ​​the human.

So, doing good is the compassionate attitude, common to the creative artist and the sage because both are always disinterested. Therefore, they are not motivated by individualism. Although, to the rest of men, being compassionate and not selfish is generally regarded as nothing of value, since it is not quantified in finances, and therefore, genius men are prejudiced as useless. and often, too, like madmen.

And that's because music and painting, all the arts that express the idea of ​​universal human suffering, are where it can be seen that aesthetic knowledge is the deepest and truest of the very essence of the world.

The I and the persona represent this human will as an ever-renewed desire for something to which one desires, from external motives, of something that can even be a someone. That is why immediate knowledge must be applied to human behavior, that is, the genius can propose the Idea of ​​Humanity, starting from the disinterested contemplation of himself, and in this way, intuiting the essential nature of the actions of the human being. in the world. Thus, what is Ethical, and even what is scientific and technological, can be mysthetically understood in the Beautiful.

Therefore, as we understand it, the genial state, and so also the sapiential state, in both cases the principle of reason was overcome, or rather, the mystic principle shone, in the freedom that occurs to the artist and the sage, to creative souls in general and irrespective of occupation, ethnicity, place, etc. In this sense, there is no exaggeration in understanding that a 'sage' is ethically brilliant and that an artist is aesthetically 'wise'.

In this way, aesthetic genius and ethical wisdom can be understood as coming from the same natural faculty, which manifests itself, in some human beings, in an excessive way and in a disposition exceeding what happens with others, and which, being in a supreme degree, it is something that theoretically equates both aesthetics and ethics, since they can only be disinterested works, those resulting from this intuitive faculty at work in the works of love.

Thus, what would differentiate the conduct of the aesthetic genius from that of the sage is more an option for a compassionate and distinguished way of life than a more or less lasting state in cosmic intuition. Even because, the egoist only knows how to differentiate himself from others, and judge them as if they were ghosts, mere illusions alien to him. Meanwhile, by the actions purified in the Beautiful, the genius human being, in aesthetics and ethics, is the same that culminates, mysthetically, in an undifferentiated relationship between the Self and the other, compassionately welcoming everyone into the sphere of the Idea of ​​Humanity.

Thus, both the genius artist and the sage have this, by nature, this capacity for immediate knowledge. In this way, the highest degree of manifestation of free life can occur in the realization of each and every compassionate work, that is, it occurs in the mystéthika of works of love.

However, such works remain as if impracticable by analytical reason, from which it can be concluded that any normative rationalist attempt to condition human behavior tends to remain incapable of the works of love, at best they only generate the aggravation of general insalubrity and the consequent maintenance of civilizational decay, as there are no impediments to the freedom of Cosmic Energy. But even so, artificial and empty moralism and legalism insist on going against the natural order, whether in ethics or in science and even in politics.

Now, the meaning of each and every phenomenon is always indirect in the face of the privileged and immediate perspective of the pure subject of knowledge. Therefore, as long as there is knowledge by trivial reason, the natural truth of the Beautiful will remain hidden, until at least that direct and more perfect metaphysical objectivity of the 'language' of light and music enters the scene.

In proclaiming that the Beautiful is naturally ethical and disregarding the primacy of the serious (the denatured Ethic, mystethically speaking), something that was suggested at the heart of metaphysical pessimism, we already knew that we could be labeled comic. But what a sublime art comedy is! Mystéthika, however, if understood only as art, will be more focused on tragicomedy, and in the mold of what was already said in the writings of Calderón de La Barca: “What is life? A frenzy. What is life? An illusion, a shadow, a fiction; the greatest good is sad, because all life is a dream, and dreams, dreams are.”

However, and finally, we must emphasize that the decisive objective of mysthesis is none other than to serve as fertile soil for the flowering of metaquantics. Now that we have a writing model suitable for such a relevant and undertaking, then, it is time to take care that people in general are not left out of the new metaquantum dimension that is already announced here.