êthos mystéthikos - Chapter 12 (From the work in progress: The Poetized Critique) By M. Santos

 

12. THE CRITICISM OF THE INSTANT AND THE DURATION

If we accept that the place and duration of the individual are finite parts of an infinite and unlimited space, and that ideas are exposed in countless individuals and other isolated phenomena, then we can say that: ideas are for individuals, as are models they are so for their copies, for the knowledge of this plurality of beings originates solely from the principle of individuation.

Therefore, time, space, the birth and death of plurals can only be represented by causality, which, in turn, is the figure of the principle of reason, a necessary and decisive principle for any and all empirical conception of the world.

Now, this principle is also the universal form of representation of empirical knowledge. But an idea, on the contrary, does not submit to causality. That is why we have already said that neither plurality nor change occurs in the ideal sphere.

So, it did not seem sensible to us to imagine that what the sage sees in other individuals does not also happen to the aesthete and vice versa.

In this way, we assume that immediate knowledge is what transcends the principle of reason, in the direction of overcoming suffering. Thus, through compassion, the sage, as an ethical genius, has the clairvoyance that all individuals are united in suffering, and that, therefore, increasing the suffering of a human being would be a naturally reprehensible attitude, because the positivity of pain is already more than enough for the immediate knowledge that, to live affirming Negativity in life is to suffer always.

As we can see, that difference between the way of knowing the sage and the aesthete was soon diluted, with regard to the notion of greater or lesser permanence in the contemplative state of suspension of the principium individuationis. And even because it is in the interest of mystéthika to understand genuine works of art as an expression of works of love as well.

We also note that, for the artist and the wise, in both cases, the notion of the chronological must be replaced by the aionic of the eternal present, the 'time' of the Idea, 'where' a greater duration or brevity has no relevance, for not rather it is a measurement approach, since there is no succession either, and therefore any quantifying operations become impotent in this sphere.

However, when we say that there is no succession in the fifth-dimensionality of the Idea of ​​Humanity, we are referring to the tachyonic ubiquity, which can be preliminarily understood as the range and speed of Cosmic Energy in the OMniverse (or in the Multiverses, as you prefer).

As can be seen, what matters to us, ultimately, is the now of knowledge of the immediate, that is, what does not submit to causal understanding. To do so, we must advance and understand that the playful element is indispensable to relevant art, and even more indispensable in the realization of works of love themselves, that is, love in action in the now of immediate knowledge.

This brings us to the teachings of the ancient Greek world, such as the conception of the infantile kingdom, where time does not seem to have succession or connectivity, but only intensity of 'duration', the infantile force to which Heraclitus suggested to be the aión.

This type of temporal notion is, therefore, the one that allows us to know through another temporal logic, that is, while chrónos time proposes limits to us, in the linearity of succession, aionic time provides the wonderful 'duration' without end. , for a simple insight into the Idea of ​​Humanity is enough for the soul to have the reminiscence of its primordial indestructibility.

It is precisely on the basis of this notion of aión that we will present the general lines for a clear understanding, in order to overcome that patent contradiction that was Schopenhauer's, when proposing a type of superiority of the metaphysics of ethics over the metaphysics of the beautiful, in the sense of a duration of action, after the intuition of the idea and when deciding the metaphysics of ethics as the final and conclusive step of his bra magna, after having exhausted the possibility of finding something definitively serious in the metaphysics of the beautiful.

In other words, mystetically speaking, we cannot admit that the sage would remain longer in the state of pure subject of knowledge.

Therefore, and through what has already been exposed about the 'time' of the Idea, we deny any difference between the 'fleeting' intuition of the esthetic genius and the 'less fleeting' of the sage, since the condition of overcoming human suffering, in the metaphysical pessimism, is conditioned precisely to the overcoming of the principle of reason, therefore, of all causality and individuation as well.

Now, when we say causality, chronology is automatically posited, but, please note, the term here is chronology and not aionology. Therefore, definitively, the suspension of the principium individuationis implies the suspension of any chronological effect, in this sense, more or less fugacity becomes a silly comparison, since without the individual egoic subject there is no longer any need for chronology.

Apparently, we will have to write another work, which is exclusively focused on deepening the clarification of an aionology, as a new vision of the mystéthiko sense of time. But, new here is correct only in the sense that it will imply that we exclusively develop metaquantum discourse. In doing so, we will be dealing precisely with the chronological suspension in the fifth-dimensional sphere, that is, in the Idea of ​​Humanity.

Even because, in every degree that knowledge shines, an idea appears to the individual, but this, in turn, is still found as a finite entity, in space and time.

Compared in this way, a person is, in fact, just another evanescent physical magnitude, immersed in the outer immensity and having always relative existence, that is, determined by a when, a where, etc. In the face of all this, a human being could never be free and autonomous, in an absolute sense.

The artist and the sage both demand this temporary overcoming of suffering, each in their own way. But since the Idea of ​​Humanity is what underlies the condition of possibility of all liberating knowledge, and even of any more elementary meaning.

Then, the intuitive representations of the human phenomenon can be mediated to the knowledge of the individual of lesser disposition of genius, by the works of love and by the fact that matter itself connects an idea to a phenomenon, one that is removed the wall of the understanding.

In this way, both the artistic genius and the ethical genius, both face the matter and the phenomenon, before overcoming them, but the overcoming occurs only within the scope and from the perspective of the nunc stans.

Life can be violent to some, milder to others, through the light of empirical knowledge, the brute way of living and knowing. However, in the aesthetic-genius mode it will always occur with more lightness and grace.

Even in the metaphysics of the beautiful, the body was already considered as the immediate object of knowledge, because it is the first response that the subject finds when intuiting his own existence, even though he is still apart from any representation of scientific understanding. Mystetically speaking, it is in the body that the immanent condition of 'universal cognition' arises, which, together with aesthetic intuition makes us flow into the Consciousness of Humanity, as if we were rivers that flow into the great sea. (Vidi glossary).

In this case, the immediate something is the self of the pure subject, in which the seer of the world is also a seer of himself, and all this immediately and simultaneously. This something without the mediation of understanding and which puts the subject before himself, is the Idea of ​​the Human Being in the body in itself, that is, the thing in itself.

Here's our main focus here. Therefore, on the basis of this, we will be able to create our own full possibility of freedom, and freely ensure that in the Idea of ​​Humanity.

However, regarding the phenomenon of human behavior in general, we must also consider that intuitive representations only expose forms and qualities. Whereas, the representations of ordinary science need the support of dense matter, something like a phenomenal mirror of ideas, mystically speaking.

On the other hand, we know that every phenomenon derives from matter, but the quality that an idea has, of remaining invisible to the empirical, of disappearing, this happens through the entry into the scene of the principle of reason, that 'barrier of binary computers ', which is the interposition of understanding between the subject and the object of knowledge.

Therefore, raw matter is the link between an idea and a phenomenon, and what shapes the individualist's knowledge. Now, observe here, that condensed energy is the same as gross matter.

In a world of individuals isolated in the individualistic understanding of each one, this raw mode of knowledge is the mediator of suffering itself. Therefore, the human being cannot free himself like that. But in order for these grotesque externalizations to be mystically redrawn, metanoia must finally occur, that is, the entry of chronological consciousness into atemporal fifth-dimensionality.

Now, when we say causality, chronology is automatically posited, but, please note, the term here is chronology and not aionology. Therefore, definitively, the suspension of the principium individuationis implies the suspension of any chronological effect, in this sense, more or less fugacity becomes a silly comparison, since without the individual egoic subject there is no longer any need for chronology.

Apparently, we will have to write another work, which is exclusively focused on deepening the clarification of an aionology, as a new vision of the mystéthiko sense of time. But, new here is correct only in the sense that it will imply that we exclusively develop metaquantum discourse. In doing so, we will be dealing precisely with the chronological suspension in the fifth-dimensional sphere, that is, in the Idea of ​​Humanity.

Even because, in every degree that knowledge shines, an idea appears to the individual, but this, in turn, is still found as a finite entity, in space and time.

Compared in this way, a person is, in fact, just another evanescent physical magnitude, immersed in the outer immensity and having always relative existence, that is, determined by a when, a where, etc. In the face of all this, a human being could never be free and autonomous, in an absolute sense.

The artist and the sage both demand this temporary overcoming of suffering, each in their own way. But since the Idea of ​​Humanity is what underlies the condition of possibility of all liberating knowledge, and even of any more elementary meaning.

Then, the intuitive representations of the human phenomenon can be mediated to the knowledge of the individual of lesser disposition of genius, by the works of love and by the fact that matter itself connects an idea to a phenomenon, one that is removed the wall of the understanding.

In this way, both the artistic genius and the ethical genius, both face the matter and the phenomenon, before overcoming them, but the overcoming occurs only within the scope and from the perspective of the nunc stans.

Life can be violent to some, milder to others, through the light of empirical knowledge, the brute way of living and knowing. However, in the aesthetic-genius mode it will always occur with more lightness and grace.

Even in the metaphysics of the beautiful, the body was already considered as the immediate object of knowledge, because it is the first response that the subject finds when intuiting his own existence, even though he is still apart from any representation of scientific understanding. Mystetically speaking, it is in the body that the immanent condition of 'universal cognition' arises, which, together with aesthetic intuition makes us flow into the Consciousness of Humanity, as if we were rivers that flow into the great sea. (Vidi glossary).

In this case, the immediate something is the self of the pure subject, in which the seer of the world is also a seer of himself, and all this immediately and simultaneously. This something without the mediation of understanding and which puts the subject before himself, is the Idea of ​​the Human Being in the body in itself, that is, the thing in itself.

Here's our main focus here. Therefore, on the basis of this, we will be able to create our own full possibility of freedom, and freely ensure that in the Idea of ​​Humanity.

However, regarding the phenomenon of human behavior in general, we must also consider that intuitive representations only expose forms and qualities. Whereas, the representations of ordinary science need the support of dense matter, something like a phenomenal mirror of ideas, mystically speaking.

On the other hand, we know that every phenomenon derives from matter, but the quality that an idea has, of remaining invisible to the empirical, of disappearing, this happens through the entry into the scene of the principle of reason, that 'barrier of binary computers ', which is the interposition of understanding between the subject and the object of knowledge.

Therefore, raw matter is the link between an idea and a phenomenon, and what shapes the individualist's knowledge. Now, observe here, that condensed energy is the same as gross matter.

In a world of individuals isolated in the individualistic understanding of each one, this raw mode of knowledge is the mediator of suffering itself. Therefore, the human being cannot free himself like that. But in order for these grotesque externalizations to be mystically redrawn, metanoia must finally occur, that is, the entry of chronological consciousness into atemporal fifth-dimensionality.

Metaphorically, and to give more clarity at this point, we can say that: the mondrongo of empiricism can be increased, in such a way that it reaches the point of no return, where there is a sudden change in the whole of the mode of self-knowledge, that is, the The whole of the individual phenomenon no longer eludes consciousness, and therefore, the pure subject of knowledge sees itself through its own form in the principle of individuation, being able to finally overcome it by virtue of the genius knowledge that unifies it in Full Consciousness. of the Idea of ​​Humanity.

Thus, a clearer and more precise notion of similarity and change in the operative mode of knowledge is what can be observed, precisely in the works of love, that is, the works of creative geniuses.

However, we must anticipate here, that this elevation of knowledge to the point where the pure subject sees itself passing over the principle of individuation, this is what suppresses the individual's selfishness, and only in this way will it be recognized in the Consciousness of Humanity as a thing in itself. .

According to that tat-tavam asi of the Hindus, only in this way will such a subject see something of himself in all other individuals and vice versa, and will he jump from the mere individualistic consciousness to the supreme Consciousness of Humanity, the 'place' par excellence of all and any creative genius.

As the most adequate object of Cosmic Energy is the Idea of ​​Humanity, then, we have that: this is the ideal knowledge, through free exposure to the Beautiful, objectified in nature and in all the ingenious arts, which, without exception, clearly imply the Idea of ​​Humanity.

Now, as our world is nothing more than the general phenomenon of ideas in the plurality and through the entry of all this into the principle of individuation (the individual's form of knowledge), then music, beyond all this, only 'speaks' to us of ideas.

Therefore, music is also and entirely independent of the phenomenal world, something that it absolutely ignores and that could exist, even if the other phenomena did not exist. Now this is something that cannot be said of the other arts.

It may seem exegetical to think of music in this way, but Indian tradition teaches us about Om, the seed mantra that is the primordial vibration, the sound from which the Universe itself emanates, the essential substance and the germ, the root of all others. nature sounds.

OM is considered the primordial sound. It is believed that before the creation of matter there was this sound and therefore such sound contains all the energies that allowed the formation of the universe.

Now, vibration can be described as frequency, frequency can be expressed in numbers, and numbers can be understood as well as organized. And, more recently, Nicola Tesla claimed that to unlock the secrets of the universe we must think in terms of energy, frequency and vibration. Furthermore, in archaic alchemy the principle of vibration, one of the seven hermetic laws, has always been highlighted as an indispensable power and wisdom for cosmic balance.

Thus, when comparing with the various forms of fine arts, it is not difficult to accept that music alone does not copy phenomena like the other arts. In this way, it alone expresses nature in itself and the Idea itself.

Music is, therefore, the art that can express the essence of humanity more immediately than others, and that includes expressing the essence of the artist and the sage, obviously, and equally magnanimously, that is, through resonance that lingers in the aeon of space and in the soul of every listener. The music of the spheres expresses the Idea of ​​Humanity.

So far it is clear what we are calling the Idea of ​​Humanity, meaning that there is, strictly speaking, no superiority of ethics over aesthetics.

In this sense, probably, the most coherent theory would be that: the Beautiful contains enough theoretical elements to, in a certain sense, encompass and overcome any and all aesthetic and ethical proposals based on pure reason, because, music, as we said, it is the only human expression of the Idea itself, science in its most accurate epistemic potency, if we prefer to say so.

Finally, it is no exaggeration to say that: musical intuition can serve as an indefectible epistemic foundation to unravel the meaning of the world, and this, to the detriment of the empiricist foundation in general, commonly accepted as the touchstone of all secure knowledge, but which, at least until today, has been nothing more than a sophisticated way of maintaining a suffering world.

However, even the other arts in general also mediate only ideas. Therefore, if there were an art capable of mediating even the totality of the Idea of Humanity, then this would no longer be just the metaphysics of art, but the whole metaphysics, once purified by the dialogical-dialectical-epistemic procedure. Well, it was also and for this reason that we chose the name mysthesis in this work.

At this point we must insert our most dear term, namely, instead of dwelling more on metaphysics, we must inaugurate something new, and which has an unprecedented name, until then. Therefore, in this now of mysthesis, there is already some irradiation of the future metaquantum.