The mythical-ritual actions that center the order of the city on this mythical plane are those of the agrarian festivals, which cover the extension of the astronomical year and follow a triple cyclical pattern based on the birth of the divine child-king, his subsequent nuptials as an adult, and his death and resurrection. It is a staging, which can be complex and sophisticated, of something whose emotional content is extremely simple, a simplicity from which its effectiveness derives. Its extreme simplicity has saturated the possible additional interpretations, in fact, the pre-valuation of these actions, their understanding at a perfectly delimited prehuman level and conditioned by their evolutionary success, makes their symbolic expressions redundant, although it is precisely through this redundancy (that myths and art produce over and over again) how these representations reach their status as the center of social meaning, a position that is guaranteed by their basic emotional content. The tireless repetition of what has formed our identity, the formation of the simplest and most basic social persons, the child, the pregnant woman, the dead warrior, the ancestor, take on the masks of the relationship between the King-God and the fertility Goddess to represent the tragedy of personal mortality and the continuity of life. The fertility myths seek a symbolic confirmation of what our emotions had previously hidden in them, the fundamental evaluations of social emotions. The confirmation is produced by the ritual, which shows the meaning of life in the city, transforming the obviousness of life and death into a cosmic representation: the human community does what the gods and the entire universe have always done. It is the cosmic game of the city, whose order is a revelation, in the person and the life of the King-God, with respect to the chaos of the previous human habitats and the social order of the nomadic and barbarian people.
Existence is Encounter. Meeting at the limen. In the limen, the masks disappear, that is, the basic intuitions of identities, such as the identity that I feel and think in relation to the tree that I see in front of me. The identity of the tree is a projection of mine: the unity of my process of perceiving the tree generates a mask in me, the ghost of a limited unity separated from everything else. The simplest form of intuitive understanding of masks and limen is given to us by numbers. Numbers intuitively express the liminal tension that is Existence. A little etymological note. Rythmos in Greek means flow. Arythmos (number) is what does not flow, what remains solidified. Numbers express the liminoid, and flow, rhythm, expresses the liminal. A rhythm becomes liminoid when we can trace patterns in it, that is, when we can construct masks of identities. Mathematics has spoken of flow using the Latin word “continuum”, the continuous. All modern science, since Leibni...
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