êthos mystéthikos - Chapter 4 (From the work in progress: The Poetized Critique) By M. Santos

 

4. GENIUS AND IDEA, NECESSARY CORRELATION

If we consider that no human sense has greater objectivity than vision, then the other senses, especially smell and taste, will be the subjective senses par excellence.

However, in the metaphysics of the beautiful, music is the language of the thing itself, and this is due to its effect of resonance of the sound spectrum, but it is also something that operates in the realm of what is tactile. And yet, since such resonance and spectrum reach even to the subatomic level of DNA, as has been recently proved, then we have that musical language may indeed be the most direct and unreasonable language, a since the subatomic level reached by musical resonance is that of deepest consciousness.

Therefore, such a language is capable of entering the dimension of what we currently call quantum. But in the mysthesis, music being the most adequate object of Cosmic Energy, and what exposes the metaphysical for every physical, for every phenomenon the thing-in-itself, then it reflects a universal language in the highest degree.

However, through the eyes we have the only purely objective sense, since it is the one that exclusively serves knowledge, given the visual sensation, when it occurs to us in a purely natural, free and disinterested way.

A man born blind, for example, if he is cured, will immediately rejoice at the sight of natural light, for light is the instantaneous joy of the human spirit.

When we say that sight is the only purely objective sense, it is because this is the most perfect mode of intuitive knowledge, and the mode of satisfaction that is given to the senses as part of aesthetic enjoyment. 

In this way, we also emphasize that natural light is what makes it possible for the eyes to see, because it is beauty itself, and the aesthetic effect in itself.

Therefore, natural light is the correlate and condition of the most perfect mode of knowledge, free from selfishness and the greed of self-seeking 'eyes'.

Objectively, the feeling of satisfaction for the pure knowledge that the vision mediates to the one who sees, is the very joy of the beautiful, and what characterizes the primary aesthetic satisfaction. 

But this subjective side of aesthetic contemplation will demand something from our dialogical-dialectic-epistemic and, at the same time, its necessary correlate, that is, the more objective side, which is the intuitive knowledge of the thing in itself, according to the metaphysics of the beautiful. already identified it in the musical language.

We will deal in detail with the functioning of dialogic-dialectic-epistemic, even before we finish this work. But, for now, we must take care that, by activating the pure subject of knowledge, the human being overcomes the most threatening disorders of mundane effectiveness against himself, and, in this way, he pierces them through the gaze and reaches the overcoming of the objects that threaten him. This by the serenity of disinterested intuition. This is the genius level and the total absence of merely cognitive consciousness, therefore, free from suffering as well.

It is even clearer now that the dimension to be explored here is that of aesthetic intuition, in which the very immanent essence of what we are is revealed in the subject of pure knowing.

From now on, it should also be clarified that immanence is being used in this work by philosophical metonymy, that is, it is the foundation of material reality in its concreteness, and the quality of what belongs to the substance or essence of something into its interiority, in contrast to the existence real or fictitious of an external dimension, that is, from a merely empirical point of view.

But, now, it should also be noted that: when we apply it to dialogical-dialectic-epistemic procedure, the entire concreteness of the world starts to find immovable foundation solely and exclusively in the Idea of ​​Humanity.

To do so, let's start by understanding that a work of art is a medium that leads to an idea. Now, knowing the Beautiful always presupposes, inseparably and simultaneously, the pure subject that knows and the Idea known as object, since an idea and the pure subject of knowing always enter the scene in consciousness at the same time and as necessary correlates.

Thus, we see that the Idea and its necessary correlate, the pure subject of knowledge, is what acts simultaneously in consciousness and, at this point, the considerations related to time and the principle of reason vanish, because it is a question here of considering to two instances that cannot be encompassed by and not even related to such spheres.

Now, the best way we have to illustrate this is the example of the rainbow and the sun, where both do not participate in the incessant succession of falling droplets, but nevertheless form one and the same thing in themselves in that phenomenon.

In this way, we see that, no matter how massive and immense our world is, its existence, however, at all times, depends only on a single and very thin thread that is the Consciousness of Humanity, in which everything appears.

Later on, we will note the need to visualize Humanity's Consciousness as a sphere. But for now, this example of the thin thread is enough.

From the formula 'everything is beautiful', it is evident to us that everything in the world manifests an idea of ​​its own in consciousness. For example, the artist's free work functions as a kind of visual portal, through which another observer will also project himself on an idea, through that original aesthetic intuition, the state of pure intuition.

Each object, whether natural or artistic, thus manifests a particular beauty that is an idea to be expressed from organic nature, passing through inorganic nature and following to the sublime works of architecture and the plastic arts; even poetry and music, which is the most metaphysical thing there can be in the physical world, for, as we have seen; music affects, but does not demand any intellectual mediation from the listener.

In this sense numbers, geometric shapes, melodies and musical harmonies are the universals of the intellect, and the a priori forms of all possible objects as well.

From the metaphysics of the beautiful, we also infer that everything that is beautiful calls for aesthetic consideration, and also that the more beautiful the thing, the easier it becomes, through it, to intuit the truths in ideas.

But, let us also note that an artifact such as a table and a chair, for example, both do not properly express an idea, but rather a concept.

As we have seen, the most objective consciousness generates aesthetic satisfaction in the individual, and both occur as a fleeting suspension of all suffering; and by the complete suspension, albeit momentary, of individualism. 

All this will culminate in tranquility and liberation from all suffering, that is, in the genius subject, given over to the contemplation of nature, and who loses himself in it, absorbing himself to the point of becoming the very correlate of the natural idea.

The thing in itself is what determines the conditioned mode of individual knowledge, starting from the forms of the principle of reason, and, in the different degrees, in which it appears more and more distinct and perfect; while the adequate objectivity of the thing in itself manifests itself as the truth only in the ideas of actual phenomena.

Common sense says: 'to remember is to live', because the self-illusion of the past can suspend us from all suffering and care, those that cloud the images of the present, but, on the contrary, the fantasy of the past always brings us something of objective.

The past, in this way, would be exempt from the principle of reason and exempt from the will, due to the illusion of remembering those experiences that were lost in time. 

It is also worth mentioning that men like Schopenhauer and, later, Freud, studied this relationship of self-illusion with memory and fantasy.

It is from the displacement of the idea to the principle of reason that the multiple and varied aspects of things are determined; and all these are inessential, that is, they constitute the individualistic form of knowledge. That is to say, the phenomenon and everything that is foreign to the knowledge of an idea properly so called stem from this displacement carried out by human understanding.

In our view, whoever arrives at this kind of understanding of the world is able to differentiate the mere mortal human being from the Idea of ​​Humanity, which all humans in all ages strive to express.

And, this genius will be able to see in the vicissitudes of History, for example, nothing more than an alphabet, through which one can read about the idea of ​​the human phenomenon. 

It was also in this sense that Arthur Schopenhauer taught that the being of all the arts consists in the Platonic idea that the generic is contained in the individual and that each object is representative of its species.

Aesthetic satisfaction, that is, the feeling before the Beautiful, can still assume a double aspect, and so, too, will occur to the correlate of the idea, that is, beauty presents itself to us subjectively and objectively. Together, these two fundamental aspects elucidate the Beauty, because every natural image, by itself, allows us to have a purely objective disposition.

However, this double demands simultaneity, unfolded from dialogic-dialectic-epistemic procedure, because the subjective aspect alone does not have the necessary power to make the subject of knowledge enter the sphere of Cosmic Energy.

Therefore, the difference between the knowledge of the individual and that of the pure subject of knowledge lies in the fact that the former knows only particular things and their relations in actuality; the second, on the other hand, reaches the knowledge of ideas, knowledge related to phenomena, but only insofar as these hide the quality of the thing itself.

Obviously, every particular phenomenon depends on the principle of reason. Therefore, and by the same principle, knowledge is acquired, but only on the material plane. 

Now, the object of this type of knowledge is given by the relations between things, which also results in the pragmatic and utilitarian character of empirical science in general.

As we have seen, the pure subject of knowledge has its necessary correlate, which is the Idea, and both are independent of the principle of reason, there where subject and object of knowledge, relations and the like mean nothing.

Therefore, the world of Cosmic Energy only becomes possible by elevating the individual to the level of the pure subject of knowledge. With this, the object of contemplation rises to a pure idea, a perfect objectification of nature in a given phenomenon, and, at this point, the object becomes the very representation of the subject, who has lost himself and has emptied himself of his individuality, in the pure contemplation of the intuited object. 

In this way, one is identified with the other, and the Human Consciousness as a whole becomes the screen on which the clear Idea of ​​Humanity is projected.

That essence of the world as representation is what determines that, everything that exists in the present world, and even what has already existed, or even what will exist, all this is nothing more than the multiplication of ideas in determined degrees, and, the principle of reason is what provides everything that the individual properly knows, that is, the form of things and their relationships as they are presented to him in the chronology of the ordinary world.

Therefore, the essence of the world and what happens in the genius consciousness, since it is in it that all the degrees of objectification of Reality pass through, that is, the ideas of things. 

However, in the Idea, subject and object cannot be distinguished, because ‘in it’, the world is given only as a thing in itself, that is, as a type of pure objectification of the real.

This in-itself of the Idea only occurs outside sensible representation, and as one and the same thing, being also the in-itself of things and individuals, who know them, but always understand them imperfectly.

Now, the knowledge resulting from these operations by the subject and object formula is of the most rudimentary forms, because, in the absence of that distinction operated by the filter of understanding, then, one can no longer speak of an individual who knows and a thing known. 

This, then, is what happens in the pure subject of knowledge, the most objective in the Idea. But empirical knowledge, however, derives from the world itself as representation, and therefore, outside of this, all that remains is the mere limited understanding of Cosmic Energy, as a mere blind impulse of wild nature. 

On the other hand, the most objective knowledge, therefore ideal, cannot be apprehended in memory, much less by understanding, since the most objective is the Idea, something that cannot be understood by subjectivity.

Thus, by way of reason, the ideal and the scientific, both are incommunicable worlds, although one can think about them. Now, for the more objective world of the Idea to appear, it is necessary for the subjective world of the individual to disappear and vice versa. 

Therefore, only the pure subject of knowledge devoid of will can rise to the Idea, and he is the necessary correlate of the Idea.

Now, that sound universe, as well as the world of vision and image are even decisive issues in the mystéthika of the Idea of ​​Humanity, when it comes to proposing this as the foundation and the meaning of the most epistemic real in the end.

Therefore, from the aesthetic intuition, which is the vision detached from any and all self-interested appeal, the plane of vision, representation and images, can unveil the Idea.

Now, but in terms of that quantum level which is deep human consciousness, we accept here that both photonic irradiation and musical resonance both serve as examples of elements by which the creative genius can raise his consciousness to to that supreme level of the Idea of ​​Humanity.

However, and for that, at this point, we would already be saying goodbye to the metaphysics of the beautiful, to enter our most refined neologism, namely, metaquantum. 

But, it's still too early for that. However, this is already established, but not without first being careful to emphasize that at no point in the philosophy of metaphysical pessimism was there any allusion to terms such as quantum and metaquantum physics. Especially because such theories and scientific discoveries were not created during the years of Arthur Schopenhauer's life.

At this point, and to introduce some illuminating elements of our most cherished neologism, the metaquantum; we will now point out that: the ascending and descending spirals of the universe, in Phi, that is, in 1,618 as the golden ratio, such spirals illustrate the dialectical-dialogical-epistemic movement and, therefore, multineoconceptualist.

But, note here that the mystethizied concept assumes the same role as the work of art, in this sense, in the metaquantum future, the concept will no longer depend on the gap of understanding and will assume the value of an idea, that is, it will assume dialectical-dialogical-epistemic value.