Mythopoetics

 Is there really a clear line between the so-called dream worlds and the waking world? Isn't wakefulness another form of dream? Isn't waking another form of sleep in the sense that much of our waking life is a life of low consciousness (historical, psychological, epistemological, ethical)? Perhaps we are facing a continuum of experience that only the roughest forms of sensitivity polarize into two well-separated worlds. The aesthetic experience seems to confirm this hypothesis, and it should not surprise us since human beings are symbolic creatures. Only basic emotions are literal insofar as they point to some survival action. The rest is symbol. If we consider reality as a complex symbol, the traditional border of sleep-wake psychology vanishes. And what scene do we have before us then? What is experience? Our experience is a shared myth built from successful survival actions. But beneath these actions is the mystery of life itself, towering over something equally mysterious t...

Open door, threshold, the limen is what is in between, neither one thing nor the other, the place of change and of encounter with the Noumen, with the radical other. On the threshold opens up the chasm, the depth, and the individual sinks into a cosmos without limits or measures. There, space and time relationships are suspended, we are in the territory of dark and uncertain borders, we are on the edge, any form is imaginal and virtual flow. The liminal artist experiences himself at the limit of himself discovers areas that he did not know as his own, and checks how his/her individuality extends in Nature and the Cosmos. He or she opens the incurable wound within his/her community, to expose its members to the convulsion of its main values, a general convulsion of foundations that allows the subsequent growth and evolution. Limits are expanded, new experiences are included and the other, the different, the Noumen found on the threshold is assimilated. Liminality is not the only state o...

The Internet produces new forms of "Assembly" (which is exactly what is meant by "Church" in classical Greek (Ecclesia). The new forms of gathering and structuring of forms of group-consciousness of the internet are closer to the myths of the Universal Law than the myths of the Human Law because scientific psychology fails to function as an instrument for the generation of identity narratives that are harmonized with contemporary science and technology. Contemporary psychology fails to create meaning for our lives, and the old paradigms come back dressed in new costumes. The old myths of the great "Ecclesiae" revive without renewing their psychological contents. On the other hand, the Web has already begun to develop the foundations for future cults, such as Google, Facebook, WhatsApp, Instagram, etc. Kopimism , which is now a cult, will be incorporated in a syncretic way by other narrative forms that over the years will end up in new religions devoid of ...

     According to Aristotle [Nicomachean Ethics. Book VI], the rational soul has two thinking drives: one is a calculating action (to logistikon), the other a scientific impulse (to epistemotikon). The calculating aspect is the way humans deal with contingent matters (things that could be otherwise) while the epistemic aspect deals with necessary questions (things that could not be otherwise). Calculating leads to practical thinking while scientific thinking leads to theoretical knowledge. Following this basic distinction, we can say that what today we call technology falls in the first category, calculating, whose realm is the practical matters of life.  So technology is practical thinking, a knowledge embedded in everyday life. On the other hand, science or theoretical knowledge studies necessary objects and relations, the foundations of all knowledge, that are not directly related to everyday life thinking, but is its support, as is the case with philosophical a...

The artist Joseph Beuys defined art as the science of freedom  [What is Art? J.Beuys. Clairview. 2007]. Since freedom is an essential matter for the human being, the artwork and the artistic actions are anthropological primary productions, actually, the underlying production for everything else. The Romantic program resounds in his words, especially, Schiller’s “Uber die Asthetische Erziehung des  Menchen” (On the Aesthetic Education of Mankind”). Art is not only the science of freedom but the school o freedom, the place to learn and to practice freedom for oneself and for “the others”, the “I” and the “thou” among “the others”. Freedom is not to be understood in negative terms: we are not talking about freedom from the chains of necessity, the iron chain of “Agnanke”, the goddess “Necessity” of Ancient Times. We are talking about freedom in its positive unstoppable sense of “initial movement” both in the realms of active thinking and active feeling in relation to the developm...

  La relación mimética arte-naturaleza alcanza una nueva configuración teórica a partir de la praxis trovadoresca de los siglos XII y XIII. La relación ahora se va a fundamentar en el amor, en una forma de amor desconocida hasta la fecha en Occidente.Podemos encontrar precedentes en Safo de Lesbos: Algunos piensan que es la flota, o la caballería o la infantería, la visión más bella en el mundo; mas yo digo que es aquello que uno ama 1 .(1) Pero aunque estos versos sean quizá el primer ejemplo de la belleza como sentimiento amoroso, la idea alcanza una configuración única en el momento histórico de los trovadores. En las obras musicales de los poetas de amor cortés asistimos a la fundación del culto amoroso que hace de la mujer centro de la creación. Se trata de un amor razonador y proporcionado, más una tendencia de la razón hacia lo bueno y bello -en sus acepciones más neoplatónicas- que un impulso sexual 2 . (2) En las obras de Blondel, Gautier d’Epinal, Gillebert de Berneville ...

  Tema: El arte no reproduce lo visible. El arte hace visible. (Paul Klee) Variación 1. El arte no reproduce lo sensible. El arte hace sensible. Variación 2. El arte no reproduce lo sensible. El arte da sentido a lo sensible. Variación 3: El arte hace inteligible lo sensible y sensible lo inteligible. Variación 4: El arte no reproduce lo visible. El arte muestra lo oculto en lo visible. Variación 5: El arte muestra lo oculto en lo visible transformándolo en símbolo. Variación 6: El arte transforma lo oculto en sensible e inteligible. Variación 7: El arte transforma lo sensible e inteligible en vida. Variación 8: El arte transforma la vida en símbolo y el símbolo en vida. Variación 9: El arte transforma la identidad vital en identidad inteligible. Variación 10: El arte transforma la identidad vital en una identidad más amplia que la que puede  procesar la mente. Variación 11: El arte transforma la identidad fragmentada de la vida en identidad de Vida-Inteligencia.  Morphis...