“In the 16th century, Europeans decided that the American Indians were not totally rational. The same was said on other occasions of blacks, Chinese, Hindus and other communities.
Dehumanization by difference:
In the 19th century, Hegel and Marx studied another variety, founded not on difference but on alienation. For Hegel, alienation is as old as the human species, it began at the dawn of history with the slave’s submission to the will of a master. Marx discovered another variant of the salaried worker, in these evaluations man is reduced to the status of thing and instrument. The Nazis in the name of a biological absolute and the communists in the name of a historical absolute.
Now, in the name of science, the manufacture of a mass of androids is sought. Technological slavery is in sight, humanity survived two totalitarianisms. Will it survive the technification of the world? (artificial intelligence).
The evils that afflict us are: political, economic, moral and spiritual. The human person has been the source of political and intellectual freedoms and the creator of one of the great human inventions: love”…
LOVE IN MODERNITY
… “Modernity has had two mornings:
1. The one lived by Hegel and his generation that begins with the French revolution and ends 50 years later.
2. The one that begins with the great scientific and artistic awakening that precedes the first great world war of the 20th century and that ends with the outbreak of the second.
Lucifer’s shadow covers the two wars, the Hitler and Stalin camps, the atomic explosion in Nagasaki and Hiroshima. The rebel angel of light is the spark that ignites all the great innovations of our times in science, morality, and the arts. From Picasso to Joyce and from Duchamp to Kafka, the literature and art of the first half of the 19th century have been Luciferian. On the other hand, in the period that followed the second war and whose end times according to all the signs that we live in (they are in decline), today it is spirituality that has been revived.
In the domain of art, cubism and abstractionism were important, followed by other passionate revolts such as surrealism, which was distinguished by its violence. The novel, poetry, theater, comedy, drama and cinema had a succession of changes in the form, orientation and meaning of the works.
At this time comes the simultaneity between poetry and the novel as a direct child of film editing.
(OP) says… “The rebellious angel, Lucifer left the century, the period we now live in has not been sterile – although artistic production has been seriously damaged by the plagues of mercantilism, profit and publicity.
Our time is simplistic, summary and brutal, after having fallen into the idolatry of ideological systems, our century has ended in the adoration of things and asks us: what place does love have in a world like ours?
Modern reason generalized the split or separation, having opposed the spirit against matter, the soul against the body, faith against understanding, freedom against necessity…
In this separation from the world, man “tries to return to himself and salvation becomes accessible”
Of the I am and the you are, of the now and the always, the there and the here. They are not reducible to concepts and we can only allude to them with paradoxes and images.
The romantics proclaimed the freedom of love. Between 1920 and 1930, doctrines of free love were proclaimed in certain groups where promiscuity reigned, disguised as freedom Breton fought on three fronts:
1. That of the communists determined to ignore private life and their passions
2. That of the prohibitions of the church and the bourgeoisie. (until now)
3. The one of the emancipated
(OP) left us a philosophical legacy said: … “The political and social reform of democracies must be accompanied by an urgent reform of contemporary thought. Kant made the critique of pure reason and practical reason, today the critique of scientific reason is needed.
In modern cosmology there is a movement of self-reflection and self-criticism. “The dialogue between science, philosophy and poetry could be the prelude to the constitution of the unity of culture” There are issues that concern scientists. We must initiate a philosophical reflection based on science:
1. The origin of the universe and that of life
2. Man’s place in the cosmos
3. Relations of the entity and the affect, the dialogue between the body and the soul
MODERNISM AND POST MODERNISM
To find more complete visions, one must go not only to philosophers but also to poets and novelists.
Reflecting on Eros and its powers is not the same as expressing it, the latter is the gift of the artist and the poet. Sade was a long-winded and heavy writer (in the exercise of sexuality in an erratic way), the opposite of a great artist. Shakespeare and Stendhal tell us more about the enigmatic erotic passion and its astonishing manifestations than Sade and his modern disciples went to great lengths to transform it into a failed philosophical discourse. In the writings of the latter, the dungeons and razor beds of sadomasochism have become a tedious university chair in which they endlessly dispute pleasure/pain.
Freud’s superiority lies in the fact that he knew how to unite his experience as a doctor with his poetic imagination. A man of science and a tragic poet, Freud showed us the way to understand eroticism, the biological sciences linked to the intuition of the great poets. Eros is solar and nocturnal, everyone feels it, but few see it. It was an impossible presence for the psyche in love with him for the same reason that the sun is invisible in broad daylight due to excess light.
The double aspect of eros, light and shadow, crystallizes in an image repeated a thousand times by the poets of the Greek Anthology, the lamp burning in the darkness of the bedroom.
If we want to know the luminous face of eroticism, its radiant approval of life, it is enough to look for a moment at one of those Neolithic fertility figurines. The stem of a young bush, the roundness of the hips, the hands that oppress some fruity breasts, the static smile. At least, if we cannot visit it, see some photographic reproduction of the immense figures of men and women sculpted in the Buddhist sanctuary of Karli, in India.
The world smiles for how long? The time of a sigh: an eternity.
If eroticism is detached from sexuality, it transforms it and diverts it from its end, reproduction; but this detachment is also a return, the couple returns to the sexual sea and sways in its infinite and gentle waves.
Eroticism is a rhythm, one of the chords is separation, the other is return, return to reconciled nature.
The erotic beyond is here and it is right now. All women and all men have experienced those moments, it is our portion of paradise.
… “The erotic encounter begins with the vision of the desired body. Dressed or naked, the body is a presence, a form that; for an instant, it is all the forms of the world. As soon as we embrace that form, we stop perceiving it as a presence and grasp it as a concrete, palpable matter that fits in our arms and that, nevertheless, is unlimited.
By embracing the presence, we stop seeing it and it itself ceases to be a presence. Dispersion of the desired body: we see only eyes that look at us, a throat illuminated by the light of a lamp and soon returned to night, the shine of a thigh, the shadow that descends from the navel to the sex.
Each of these fragments lives by itself, but alludes to the entire body.
… “That body that has suddenly become infinite, the body of my partner ceases to be a form and becomes a formless and immense substance in which I lose myself and recover at the same time, we lose ourselves as people and we recover as sensations”.
CLIMAX: Sensation of infinity we lose body in that body, identity is lost. … “A thousand sensations and visions, evaporation of the essence, there is no form or presence, there is the wave that rocks us, a circular experience begins an infinite substance that throbs, expands, contracts and encloses us in the primordial waters.
The substance vanishes, the body becomes a body again and the presence reappears, we can only perceive the beloved woman as a form that hides an irreducible otherness, which cannot be changed or as a substance that annuls and annuls us”.