The Sunnyray

Suffering is one: suffered, suffering, remarkable; SUFFERING. (December 5, 2008) The human being is an open mystery in the cycles of time. (January 11, 2009) I said to the machine: Stop! And it's over. (December 03, 2008) There is no external object and a good stuff that overcomes the contemplation of the Self in self love. (October 25, 2015) Loving always worked and still works, still save lives! (mid 2022.2) O sofrimento é um só:  sofrido, sofrente, notável; SOFRÍVEL. (05 de dezembro de 2008) O ser humano é mistério aberto nos ciclos do tempo. (11 de janeiro de 2009) Eu disse à máquina: Páre! E acabou. (03 de dexembro de 2008) Não há objeto externo e algum bem que supere a contemplação do Eu no amor próprio. (25 de outubro de 2015) Amar sempre funcionou e ainda funciona, ainda salva vidas! (meados de 2022.2)

Nothing is mine, Starting with the pains of this world! I-soul, tactile contact in this physique: I-sound. Non-being of contact, carnal-merchandise. Deaf and mute. A dying man. Something in the tone? Contemporary definition of avant-garde: Also, lull. Lonely joke and halberd insight. Mental metaphysics. OM! Speed on tachyon , Impossibility and metaquantification. Does eat dust, oh my old AUM! She, Now unlimited expression: My divine, almost always naked, living temple, And the work itself by hand. Flies and returns in amazement: Artistic language, always universal, never covension, Something and everything, right there on (1), My lullaby. The Gravitation Snake: A hell of a truth, World and reason like nothing. Poetics taking a tumble, Magnetism and Enjoyment. Kindness: beautiful winged, No back pain. guitar phrase, Rounding the Beck. Jeff: A very strong nuclear force and a lot of fun. Pajelança is science fully on glory. No stress, Musicality like that, without oratory. Seafood with ca

Nada é propriamente meu, A começar pelas dores deste mundo! Eu-"soul", contato tátil neste físico: Eu-som. Não-ser do contato, carnal-mercadoria. Surda e muda.  Um moribundo. Algo no tom? Definição contemporânea de vanguarda: Ademais, calmaria.  Chiste só e "insigth" de alabarda.  Metafísica mental.  OM! Velocidade taquiôn, Impossibilidade e metaquantificion. Fez comer poeira, aquele velho AUM.  Ela,  Ora ilimitada expressão: Meu divino, quase sempre nu,  Templo vivo,  E a própria obra à mão. Voa e volta no espanto: Linguagem artística, sempre universal, Jamais covencionada, Algo e tudo, bem ali no (1), Meu acalanto. A cobra da gravitação: Uma puta verdade, Mundo e razão como nada. Poética dando tombo,  Magnetismo e curtição. Bondade: Bela alada, Sem dores no lombo. Frase de guitarra,  Dando voltas no Beck. Jeff: Força nuclear bem forte e bem farra. Pajelança é ciência em plena glória. Sem estresse,  Musicalidade assim, sem oratória. Fruto do mar com alcaparra; Quas

(Work in progress) The human will to live is based on the Cosmic Will which it never poses as a phenomenon. In this book, Metaphysics is the philosophizing that aims at the ultimate explanation of all original phenomena, as such and taken from their totality, that is, from the World. However, Metaphysics of Beauty is characterized as philosophizing anchored in a romantic vision par excellence, as it highlights an exaltation of music as a privileged way of accessing Reality ("das Ding und sich"). Thus, the works of the great geniuses of humanity mediate the overcoming of the need for desire and reason, both of which imply the maintenance of human suffering in this world. About the mere knowledge guided by the phenomena, we emphasize that it is a vulgar optimism. In Metaphysical Pessimism: Ethics and Aesthetics are twins, that is, the Metaphysics of Ethics is based on the conscious denial of mere self-interested desire, which occurs both to the sage and the artist; but that can

A vontade humana de viver se fundamenta na Vontade Cósmica, a que jamais se põe como fenômeno.  Neste livro, Metafísica é o filosofar que visa à explicação última de todos os fenômenos originários, enquanto tais e tomado da sua totalidade, ou seja, do Mundo.  No entanto, Metafísica do Belo caracteriza-se como o filosofar ancorado numa visão romântica por excelência, pelo fato de destacar uma exaltação da música, como modo privilegiado de acesso à Realidade ("das Ding und sich").   Assim, as obras dos grandes gênios da humanidade mediam a superação da necessidade  de desejo e de razão, ambos implicando a manutenção do sofrimento humano neste mundo. Sobre o mero conhecimento pautado pelos fenômenos, destacamos que se trata de um otimismo vulgar. Já no Pessimismo Metafísico:  Ética e Estética se geminam, isto é, a Metafísica da Ética se baseia na negação consciente do mero desejo interesseiro, o que ocorre tanto ao sábio quanto ao artista; mas que pode ocorrer a qualquer ser hum

  SUMMARY GENERIC Starting from the poetized critique of metaphysical pessimism and with a clear focus on the metaphysics of the beautiful, taken as both a starting point and a background, this book embodies a unifying understanding of the notions of value and freedom in aesthetics and ethics. From the exaltation of music as a privileged way of accessing reality (das Ding an sicht), the possibility and how of immediate and timeless knowledge unfolds, something that presupposes an epistemic extrapolation of the logical square of science, guided by the paradigm of subject and object, both mediated by the understanding. Some neologisms are presented, highlighting mistese-mystéthika, the basic 'binomial' for future metaquantum. Thus, instead of perpetuating the old three-dimensional dualism, the stylistic boldness of M. Santos will lead us to a new interpretation of the meaning of the world, proposing five-dimensionality as the new epistemic paradigm, something that will have reper

  1. THREE GUIDING CONSIDERATIONS Throughout this book, we will develop a discourse capable of activating the reader's creative imagination. Initially, and to better explain our intention, we will use three aphorisms that can serve as guides.  In this way, before proceeding to the following chapters, an initial reflection can be made, something that will extremely facilitate the full understanding of the book at the end of the study. These are the sentences: 1. It is by way of conduct that people show themselves to us, therefore they teach us who they are. Thus, we will live better remaining immune to what they try to impose, that is, what we are essentially not. To this first consideration, we will metaphorically associate the brain as the organ of reason and also of the correct discernment of judgments in general as well as of actions, whether the most appropriate or not. 2. In general intuition and insights into Eastern thought and Western philosophical monisms (eg advaita, mona

 2. THE VALUE OF DISINTERESTED HUMAN BEING There is an intuitive way of approaching the world that is capable of generating rest and tranquility in the face of the incessant swing in the pendulum of human desire and suffering. In turn, this ideal knowledge is non-subjective and occurs to those who merge with the natural Beauty as directly as disinterestedly. This elevation of the individual to the pure subject of knowledge defines the primacy of immediate knowledge over the empirical, and it is where the possibility of knowledge of reality itself occurs. This immediate condition of knowledge of the Idea occurs in human consciousness, understood here as a quantum field that intertwines with the organism, based on the three indispensable pillars of the human body.  The three pillars on the screen are: reason (embodied in the brain), intuition or immediate knowledge (embodied in the pineal gland) and vitality (embodied in the heart and which configures the emotional and compassion center

  3. DECLINE OF ALLEGORY AND CONCEPT IN FACE THE BEAUTY It has become clear to us that in the metaphysics of the beautiful there is a primacy of aesthetic intuition over ordinary rationality, of the Idea over the concept, and also of beautiful art over allegory.  Therefore, if there is a differentiation between the fleeting freedom of the artist and that probable duration of the sage's clairvoyance in the world, this seriously compromises the notion of nunc stans. However, mystetically speaking, what happens is just the opposite, that is, through the notion of nunc stans both the fleeting of art and the enduring of ethics become something indistinguishable. However, this will be clarified in detail throughout this work. Now, as there is no beauty in the pleasure of pure thought, mas only pure intuition diverts us from the occupation with our individualistic goals and ejects us definitively from our egocentric personality. So, a work of art is not produced by the artist, with the ai