êthos mystéthikos - Chapter 8 (From the work in progress: The Poetized Critique) By M. Santos

 8. THE CREATIVE GENIUS (2)

Francis Bacon (1561 -1626) had already warned us that: the artist's work is always to deepen the mystery. This made us think of a mystéthika of ethos, that is, of something deeper and in which philosophical mysticism, sapiential clairvoyance and aesthetic intuition come together to account for that Idea of ​​Humanity.

In this way, mysthesis, operating in the power of the dialectical-dialogical-epistemic procedure, allows us to know life and the set of fundamental customs and habits, from the perspective of the Cosmic Eye, the one in the eyes of the creative genius, the unveiling of every mystery of nature and also the enigma that is the human world.

At this point, we must point out a very interesting notion, one that goes back to the ancient myth of the Eye of Horus. In ancient Egypt, the Eagle was believed to be the daughter of the Sun and Moon. When such a bird laid its eggs on top of the mountain, during the night, most likely in dreams, the Pharaoh accessed the power to watch over his people, through the eye of the eagle (in many traditions, the bird mentioned is the hawk), the animal who can see far and who can aim at the sun, in addition to flying higher and for longer.

The deity associated with all this is Atum-Ra (the creator of heaven and earth).

The graphic representation of this belief was later presented as the Eye of Horus, due to that figure that was found on Tutankhamun's breastplate and on the mummy's wrapping. Even today these ancient artifacts can be visited in the Egyptian Museum in Cairo.

Later, the ancient Christian mysticism referred to the Eye of Providence, or, from an alchemical perspective, the All-Seeing Eye, mainly in the philosophical mystique of Jacob Boehme (1575 - 1624), author of famous works such as The Forty Questions on the Soul, the fourth work of the prince of divine philosophers, regarded as the first German philosopher. Boehme is quoted by Schopenhauer, when he also makes reference to the Cosmic Eye of Mysticism.

Currently, contemporary astronomy has named the Helix Nebula, a nebula that is 700 light-years from Earth, in the constellation of Aquarius, as the 'God's Eye' or 'Cosmic Eye'.

But if aesthetic intuition is really as powerful as the Eye of Horus, then who really can be considered a genius human being? This is a complex issue, however we can synthesize it, very much in the style of Goethe, and conclude with a poetic axiom, the following: whoever has a love for the truth is a genius. With this we realize that creative genius can arise in any area of ​​human activity and at any time, although our focus here is to highlight poetics, music and the fine arts in general.

Therefore, we have to highlight the possibility of this knowledge in us, which occurs through disinterested contemplation of the world, that is, through immediate intuition. Such knowledge is an exceptional way of knowing, best represented by creative genius.

In this sense, by ideas we must understand the most objective essences that the creative genius intuitively accesses, and that he can transmit through his work. These works are, so to speak, the essential objects and immediately ‘subsequent’ to the thing itself.

However, here, the authentic ontic reality, that is, what is infallible and definitive as epistemic knowledge, is what occurs only in the Idea of ​​Humanity, all other ideas being merely a merely ontological reality, that is, as schemes of intelligibility of the effective reality and that form a systemic and schematic reality, capable of providing intelligibility to the world of height, width, depth and space-time, enabling a type of contemplative and fleeting 'meta-abstraction', although capable of suppressing a desire, and thus elevating the human being to a pure and satisfying, though evanescent and fleeting, knowledge.

In this sense, for example, it is important to consider that: a great scientific discovery, or even the creation of a work of art, or even when an animal perceives a cause that acts on its body, as an object in space; All this manifests the overcoming of the old function of the understanding as a filter, that is, it manifests the reality of immediate and more accurate knowledge, but never as the result of a series of abstract reasonings and the synaptic operations of the brain. 

Therefore, such a more objective and pure intuition is not properly a function of the understanding, as understood by Kant, for example, in the Critique of Pure Reason, the “Transcendental Aesthetics” defined sensitivity as a faculty of intuition, through which objects are apprehended by the knowing subject. In this receptive apprehension, “pure intuitions” and “empirical intuitions” are provided that will make possible the knowledge of the object.

Therefore, in mystéthika we say that the understanding must stop filtering what occurs as an object to the subject.

In this way we can better understand what will serve to clarify how aesthetic intuition works in nunc stans. In short, we will understand what immediate knowledge actually is.

With this we can understand that: the genius ‘intellect’ is what is detached from wanting and, in the end, denies its own individualistic personality.

Thus, the essence of genius is constituted in the perfection and energy of intuitive knowledge and, also, in everything that has no utilitarian motivation, nor any intentionality in the Negativity in life.

Thus, the work of the creative genius is somewhat instinctive and almost unconsciously motivated, and the pure knowledge of the world is the intuitive element, from which he takes actions, that is, practices the works of love.

In this way, the soul of the artist cannot be distinguished from the soul of the sage, in anything, and can enter into communication with what we can call the spirit of the world, the Consciousness of Humanity.

Of creative geniuses, therefore, we say that their every attitude in the world is, in itself, a living idea. And, as can be seen, the intuitive way of accessing the world cannot be prevented from entering the ethical plane, if not from a merely formal point of view, since the common human being, and especially the genius, in all areas it is connected to everything, by the cosmic intuitive, which is inherent in it by nature.

Furthermore, in mysthesis, the metaphysics that involves aesthetic intuition is the same capable of involving the metaphysics of ethics, and this is based on the need to overcome the principle of individuation, something that must occur to the artist and the sage indistinctly.

Consequently, the creative genius is not a mere fantasist, as in the case of an author of a literary or pictorial work, for example; and he does not follow fixed patterns or mere whims of imagination, fleeting daydreams, or even dreams.

All this only serves to broaden your circle of vision beyond the objects that offer themselves to you, in three-dimensional reality, both in terms of quantity and quality.

Fantasy has been recognized as an essential component of genius, with good reason. But fantasy and genius have often been thought to be one and the same, which is a big mistake. This is because, by possessing this surplus of that faculty of knowing, the genius apprehends the perfect objectivity of an idea, 'a' thing in itself, that is, it contemplates something of the Idea of ​​Humanity, in the eternal, immutable and essential forms, from the actuality nature, that is, of the OMniverse and all its phenomena.

Therefore, the motivation of the creative genius is not, here, causality based on empirical knowledge, even because causality occurs to animals in general as well, that is, to all beings capable of representation, that is, to sentient beings as well as to knowing.

In short, even though it is still a human being, what really motivates the loving works of geniuses, and what sets them apart from everything else, is the love of truth.

Mystéthika, therefore, deals with the highest degree of genius, which is expressed in the language of the arts and in all other compassionate works that harmonize with the Consciousness of Humanity.

The creative genius is the one who, through the works of love, facilitates the knowledge of Freedom for others. Its quality is that of possessing the most perfect objectivity and the most objective orientation of the spirit, and in it, the intuition of the world is more purified than in the average human being, since he has a radical desire to make the human being himself, the object of fruition purified of all selfishness.

And, therefore, genius makes it possible to reach a supreme degree of intuitive purity because, for him, natural objects are, in themselves, the essential ideas corresponding to Life as a thing in itself.

Now, what we are saying here is that there is even this way of knowing, capable of conceiving the ideal 'content' of all natural phenomena, and that its impression in the eternal present is the pure subject of knowing, therefore, this it is the clear mirror of the human essence, the preponderant capacity to apprehend ideas by purely immediate intuition.

In this way, genius manages to penetrate the deepest being of things, through the immediate intuition of the Idea of ​​Nature.

It goes beyond the mere superficiality of the sense-intellectual plane and reaches the most essential sense of the universe, in a metaphysical gaze of pure, active, spontaneous and productive intuition - although disinterested, both in the action that produces art and in the art of acting brilliantly in society. -.

He is also the creative genius, someone who does not only seek to fulfill himself as an individual in history, but only as a subject of pure multidimensional knowledge, with a surplus disposition in all of this, which makes him go beyond individualistic desire and selfishness.

Now, in transcendental idealism, the concept has been announced quite explicitly. But here we are starting from an authentic metaphysics of the unconscious, where a universal idea is the same energy, the 'irrational' force that conditions a type of multiple determinism in nature. Something similar to the Immovable Engine of Aristotelian metaphysics.

Kantian transcendental idealism conceived a given system as a synthesis and overcoming of the two currents of philosophy, rationalism and empiricism. And, Kant's theory of knowledge - transcendental philosophy or transcendental idealism - sought to justify the possibility of scientific knowledge in the 18th century, starting from the observation that neither British empiricism nor continental rationalism satisfactorily explained science.

Now, in Kant's Transcendental Logic, only sensibility is intuitive. Kant dealt with the origin of concepts, specifically the a priori concepts referring to objects, not merely given but those that are thought.

However, Mystesis focuses on systems and approaches that describe the basic structures of being, not an ontology (theory of being), but the framework for the emergence and validation of epistemic (ideal and ultimate) knowledge.

That surplus of genius Creative Energy is qualitative and not quantitative, and everything great in the works of genius human beings is done through enthusiasm and passion, it is what always tends to the immediate knowledge of the Idea of ​​Humanity.

But the effort is tremendous, that is, to deprive oneself of the principle of reason in order to rise to the Idea of ​​Humanity, engendering reality, in the in-itself of the works of love.

It is only in this sense that we can suggest this indistinction, increasingly indistinct between ethics and aesthetics, and between creative geniuses in both cases. Therefore, we can say, mystically, that the esthete is genially ethical and vice versa.

Now, considering it in essence, we can understand that: the creative genius is constituted in the perfection and energy of intuitive knowledge, because his work does not have a self-interested motivation, but a natural foundation, basically unconscious, in an indirect sense of that term.

Thus, the pure knowledge of the world is the intuitive element, from which one can live, understand and create without selfishness.

As can be seen, and unlike what happens in the way of knowing the common human being, in the creative genius, there is no establishment of relationships between things, and he does not allow himself to be trapped by the causal relationships of mechanistic chronology, rather, in the effectiveness apprehends ideas, which are, for him, clearer than the individual himself in his relations with the world.

Therefore, detaching itself from the will to knowledge, that related to the doctrine of understanding, and assuming a new posture, neutral with respect to the principle of reason, that is, assuming a contemplative and disinterested attitude towards phenomena, the creative genius exhausts the normosis of effectiveness, exposing it in his compassionate works, and also in works of art in general.

Thus, the Idea of ​​Humanity is communicated to others, and facilitated access is given to them, that is, to something of real freedom.

Finally, such genius ‘clairvoyance’ appears as the very progenitor of human understanding and reason, and in the sense that, as in aesthetic intuition, but mystically speaking, a kind of retrocausality occurs.

In short, understanding is incapable of doing so, and ends up being discarded by Mystética. That is to say, only in the mysthesis of the Idea of ​​Reason, or rather, of future metaquantics - the science of omniscient consciousness (Metaquantum ist die Wissenschaft vom allwissenden Bewusstsein) - can the ideal epistemic character, the pentadimesional superqualified knowledge occur, because mysthesis is found , in this sense, simultaneously in a position of anteriority and posteriority to the emergence of the faculties of empirical knowledge of the world.

Even because, height, width, depth and time form the four-dimensional notion of human consciousness. On the other hand, the fifth-dimensionality enters the scene in the concretization of the works of love, that is, in the suspension of all utilitarian chronology.

However, it should be noted that it is only possible to speak of aionics (previousness of metaquantics) as a condition of possibility of the empirical knowledge of the world itself, when we presuppose the retrocausality of the dialogical-dialectical-epistemic procedure of mystéthika, the special form of conceiving to the mystical- aesthetic-ethical, at the same time, and which 'antecedes' to other forms of knowledge, in the sense that it first admits to the necessary suspension of all chronology, because it is not associated with the rational faculty in the common sense, and because it does not need to abstract concepts, raw empirical data, nor scientific facts.

In short, and definitively clarifying what was intended to be exposed about the figure of the genius artist, we have that the essence of genius is this ability to apprehend, in effective things, their ideas, and, since this can only occur in a purely objective contemplation , and in which all relations disappear - in particular, the relations of things with the will itself disappear from consciousness - then genius can also be defined as the most perfect objectivity of the spirit, that is, the ability to proceed purely intuiting , of losing oneself in aesthetic intuition, of abandoning knowledge in the service of individualism, that is, of losing sight of one's egocentric interest, one's will and one's ends, getting rid of one's personality and remaining only as the pure subject. know and the clear cosmic eye.

It is precisely this ability that differentiates a creative genius from ordinary human beings. But, let us finally emphasize that: mysthesis took an extra step, by suggesting the possibility of accessing the fifth-dimensionality. However, only future metaquantics will be able to definitively elucidate what we are sketching here.