Mythopoetics

  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 Leibniz an

  The narrative tradition of India contains true gems of fantastic literature that give rise to the most entertaining ethical and metaphysical speculations. In the collection of stories from the 11th century Katha-Sarit-Sagara ( The Ocean that Contains Streams of Stories ), which collects traditional stories from India, the loquacious ghost of a corpse taken down from a gallows tells the king who took him off the macabre swing a very interesting tragicomic tale. Two friends undertook a pilgrimage to a sacred spa of the goddess Kali, and there they saw a beautiful girl. One of them fell ill with passion, stopped eating and sleeping, and was sure that he would die unless he could have that girl as his wife. His friend contacted her father and explained the situation. The father, hurriedly, went to the girl's parents in order to organize the wedding. Shortly after the hasty marriage, the young couple and her friend left for her parents' house. On the way, they ca

  The narrative grew in the process of being told, as myths always do. The Blog has become more labyrinthine over the years. It contains my Mythopoetics book and a few other things. For those who access these texts without knowing anything about Mythopoetics, I am going to post the introduction of the first part, so you can decide if you want to spend your precious time thinking about the identity narratives that we humans have developed over the years. throughout our eventful existence as a species. "Mythological narratives are the only intellectual activity that has been continuously practiced by human beings, a fact that makes them a unique tool for thinking synthetically our evolution as homo-sapiens. In this sense, they are the first valuation settings that humans have made about themselves and their environment, and as such, they have conditioned the ones that have come afterwards, both in form and content. Their communicative function places them at the basis o

       To understand and give meaning is to limit infinity. Whether in a model of physics or in an old myth, we limit reality (whatever it is) and only then claim to understand it. To understand is to verbalize, to make Logos, speech, and communication. And to do so, our limitation needs some rules and procedures. That apparent taming of the indomitable Universe is its conversion into a game. Kant said that we understand the universe insofar as we consider it the creation of an unknown creator. This amounts to saying that we understand the universe insofar as we consider it a work of art, or what is equivalent, we understand the universe when we see it as a game. Every explanation has to be made from outside of the explained system if it aspires to more than being mere gibberish. However, this simplistic distinction must be clarified: the game we are talking about, the Cosmic Game, is not a dual-action, there is not a game and a non-game (there is nothing outside the Game

The concept of mimesis allows us to access the deepest nature of music, especially when we compose it with the concept of "Will." I am going to approach this concept from the point of view of Schopenhauer, as the best and probably the first Western representative of Advaita Vedanta, the knowledge of non-duality. Musical mimesis occupies a key place in Schopenhauer's philosophical system. From the analogy of music with the other arts - says Schopenhauer - we can infer that music must be in relation to the world as the representation to the thing represented 1 . Its imitative reference to the world must be very deep, infinitely true, and really surprising, because it is instantly understood by the whole world, and presents a certain infallibility by the fact that its form can be reduced to fairly definite rules expressible in numbers, out of which cannot move away without ceasing to be completely music 2 . In this passage our attention is first drawn to t