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(Fragmento escrito por Ignacio Muñoz Cristi para el texto colectivo del proyecto Ethical Matrix Of Human Habitat, 2009)
The art is a cognitive domain that arises of the pleasure of the creation starting from the aesthetic experience, that is to say ,the art arises from the look and the poetic act, understanding with it, not the notarize of poems but the production or generation of worlds. The poetic view is the one that captures relational, operational and structural configurations looking at the matrixes of the existence, seeing what appears as being there, maybe not visible for the daily living. And the poetic act consists on taking the relational, operational and structural coherences that the observer distinguishes in his or her experience and that transports with his or her behavior to another ambient, generating worlds in that interconnection when taking what is apparent and what is hidden in the appearances, and what the evident does invisible, transforming it so that it evokes saying without saying, pointing out, inspiring. In other words, it consists on the abstraction of experiential coherences that are brought forth in a certain ambient of processes; social, cultural, spiritual, etc. and are move to another ambient whatever be, so what was hidden before for the obvious of the daily living, now appears revealed and raised. In this sense all the human beings as long as observers, livings beings that we inhabit immerses in language and conversations, possess the poetic view and we carry out poetic acts, because as the reflection, the view and the poetic act arise with the human conversational existence that is brought forth by the interlaced dynamic of languaging and the emotioning. All the human beings are born with the poetic view and we intertwine distinctions of our experiences with other experiences generating worlds in the doing, distinguishing, and feeling. Everyone live worlds that literally go creating with our daily poetic extrapolations characteristic of the multidimensionality of our living, unconscious and conscious creations that evoke us the configurations of relational feels that at the same time move us and touch us around the existence matrix that we want to conserve. The infants go generating from nothingness the worlds that they live when resulting immerses in the mother/child relationship that the adults with those who coexist knit spontaneously with their conversations. And the adults permanently find themselves modulating the worlds of other adults that we find in our path when walking around together, be for co-inspirer or to misappropriate.
In this sense it is necessary to emphasize that the view and the poetic act are also demoniac powers, that is to say they are not intrinsically desirable or generating of well-being, and it depends on the closed networks of conversations that one inhabits the poetry that we will bring forth spontaneously. This way there has been dominance poetry, of genocide and racketeering as well as of spirituality, democracy and liberation. And I don't refer to poems that exalt one or another ambient of processes but the concrete of doing that realize them and conserve them, like all the inventions of the inquisition or all the inventions of the Red Cross for example. The poetizing is neuter; it depends on us living it and coexisting it and either to generate inhabitings that contribute to conserve the social coexistence, or inhabitings that contribute to destroy it, inviting to all type of alienations of negation among people. As it has already been said by Humberto Maturana, the same science has a poetic aspect, concretely in the first two points of the criterion of validation of the scientific explanations, these are fundamentally of poetic nature: 1) the arbitrary election of a phenomenon to explain, and 2) the generative mechanism that one intends to explain it. And in fact if was not for the other two points that are of engineer type, they would not pass such explanatory propositions of the merely poetic thing. The poetic nature because it is constituent to the human inhabiting, and it verifies it looking at the children, at most that they have been somehow denied according to that, always has a relationship with the artistic creation from an unitary poetic view that connects the visual one and the sonorous, the plastic one, the written one and the theatrical, without establishing rigid divisions among painting, making music, theater or literature. And underlying to this dynamics appears a supporting foundation of the poetizing that is even more primary than the view and the poetic act, since have to do with our biological constitution in what is emotional, previous to language as much in the ontogenic as in the phylogenic, we refer when playing, the spontaneous and deep ludic humanness orientation. But when speaking of playing and the ludic orientation doesn't refer to the act of carrying out games, but to the corporal and psychic disposition of being guided exclusively to the realization of the doing that is doing, whatever be, and without putting attention to the result, that is to say being in the pleasure of carrying out what is do by the mere pleasure of carrying out it. Orientation from which one can, for example to realize the own work. If one enjoys their work and still one knows that it has to have certain consequences and results but one is guided to the present of the realization of the same one taking care pleasantly of the composition of the same one in a harmonic flow, it is in the emotion of playing. The artistic creation is this way, fed continually by the pleasure of playing when being lived in the spontaneous conservation of a stationary flow of feels that evoke the pleasure for poetizing (looking and doing). Configuration of feels that doesn't have to be exuberant,
well can be sober and subtle, depending on the coexistence history of each one of us. In fact like every artist and everyone knows, when one is in front of an artistic work, of any type that one finds beautiful, it evokes in one the poetizing desire, of creating something although it is in any other not relating domain to the kind of the experienced work. The distinction of the creative act inspires on us the desire to create. In this sense although it has been come rescuing for already1 time the central aspect of playing in what is calling the psychic development of boys and girls, we want to emphasize here that such a theoretical view emphasizes the functional concern (issue) of playing, which always is a posteriori comment that the observer does and that in fact it can distort the boy-adult ludicrelationship if one invites to play from there and not from the conscience of the spontaneously playful nature of humanness. In fact we like to play, in one or another way, included the day we die, we play as adults and as old men, and when there are not game dimensions in our living this appears us as hard, heavy and unconscious. Playing is a neotenic feature of human psychic inhabiting, a feature of conservation of the characters of the childhood. Here it would be necessary to speak of another fundamental element that is interlaced with all above-mentioned, the aesthetic experience. The experiences are distinctions that an observer does of its living as features of its living, and they occur for it in the flow of conversations inside of a particular culture, different experiences correspond this way to different events in living and that we live in particularly different ways. And what is usually denoted in daily living when referring to the aesthetic experiences, it is a feature of our living in a form of well-being that it is originates when we find that we are coherent or we are in coherence with a peculiar aspect of our existence ambient in the matrix that we inhabit and that it arises with our living. In other words, an aesthetic experience happens as a reflexive comment or distinction that we do on our own one living when being flowing in the harmony of our living in the matrix that we inhabit, distinction associated to the configuration of feels characteristic of a feeling of full connectivity in that matrix, in a flow of livings and co-livings without emotional contradictions that it invites to a moment of rest. Natural well-being characteristic of the Homo Sapiens Amans inhabiting, it arises of living in the relational harmony between the living being and the medium, and
1The professor Carlos A. Jiménez, a Colombian specialist in learning of the ludic
topic as well as alternative therapies, he reports a tendency to go beyond the functional look, as he says: "The Ludic is not a state; it is the whole human existence." Among their multiple books we highlight: " La inteligencia Lúdica”. Cooperativa Editorial Magisterio. Colombia 2005.. and " Ludoterapias " Cooperativa Editorial Magisterio. Colombia. 2007. Also we emphasize the concrete work that “Movimientot Lúdico” has become doing for 14 years, artistic association playing to poetize the daily life.
well-being characteristic of the aesthetic experience is part of this natural wellbeing. And as we know, natural well-being can get lost in some of the many dimensions of the human living and living together, either in a transitory or permanent manner (making with that permanency an impossible life), with that which and while this happens the aesthetic experience gets lost in those inhabiting dimensions which the harmony of living and living together gets lost. Desires and incompatible emotions destroy the coherence of the flow of living and living together, generating with it the experience of ugliness. Previously we mention the nature of the poetic view that is the one that reveals the existence coherences by means of the ability of capturing them understandingly still when the observer cannot describe them. And natural well-being happens as long as we flow in living in the poetic look, and it interferes with when in the coincidence of incompatible emotions we bring forth in our inhabiting contradictory ambient of actions. When happening this, our inhabiting loses their aesthetic coherence and it becomes fragmented like a mosaic, and non fluid in the systemic-systemic interconnectivity characteristic of a matrix, generating, realizing and conserving dynamics of pain and suffering as recurrent dynamics of loss of the aesthetic coherences, which are lived in feels of the observer like a loss of the intimate sense of living. Finally we can enlarge what we said considering the mystic experience, which also belongs to the experiential multidimensionality of the human living and living together from where natural well-being is conserved. The mystic experience as we said before, it is described by an observer as the amplification experience from the conscience of ownership to the existence matrix from which one is part, and for that, the mystic experiences are given so much in very different ambient that exceed the religious, in the friendship, in the couple, in concern to the citizenship, etc. And for the above said according to the aesthetic experience we can see that this and the mystic experience are inextricable than happens crisscross, and only in the observer saying we can bring forth them as different. In many ways the mystic experience is fundamental in the artistic creation, in fact in the human history the first manifestations of what today we would call art arises unitarily constituted with the mystic and spiritual manifestations. The art ancestrally was part of the rite and the myth, and these in turn were part of the daily living, ambient in which sensibilities and concrete aptitudes were cultivated to inhabit the cultural matrix of each community. Today in a planetary culture that for many the divine already is not part of their living and coexistence, the art has constituted more than two hundred years ago a manner to conserve the approach to those ineffable environments of human inhabiting that traditionally the religions and the mystic paths guided, as well as the approach to manners of sensitizing according to the joyful understanding of the multidimensionality of the human nature that the art knows to inspire.
With all that said here we want to invite to enlarge our conscience according to the enormous systemic-systemic presence that has the poetic creation in the constitution of the cultural - biological matrix of the human inhabiting, and we want to invite to discover and to verify each one of us from oneself this poetizing nature in their own one living and living together, in fact like a fundamental issue for the realization and conservation of well-being characteristic of a reflective co-inspiringly inhabiting in the mutual respect of the democratic coexistence. And at the same time we invite to take conscience from there of the centrality of the intentional cultural cultivation of the poetic practice in the education of the children and in the daily living of the adults. As well as to take conscience of the beautiful gift that the artists, dedicating their life to it, they preserve which guardians for the rest of humanity, the imaginary collective, which generate, realized and conserve, not only inventing but also memorizing, and especially listening and registering the living and living together of the rest of their sisters and brothers, where the human experience inhabits. Who wants to live the path of the poet, of the artist, are somebody that cultivates a living and coexistence that it puts to the center emphatically the act and the poetic view. The transformation path around know-how of the art and science of poetizing for the mere pleasure of sharing and curiosity. As a manner of colophon we listen what Humberto Maturana is telling us: “Sometimes the world change that the poetic act evokes consists on conserving something that had disappeared in an undesired forgetfulness. To live the daily life in the beauty and harmony of a living that makes sense in the middle of a world that seems hard, unacquired and ugly, it is a poetic act. We all are primarily poets. As children we create our world from nothingness. As adults we modulate the worlds of others. What happens us is frequently we don't know we are poets, living beings that transform the world only to think it and we forget the beauty, of love, of the other one that welcomes us, of the other one that illuminates us and we immersed in the concealment of the beauty, of the friendship, of the love believing that we should fight and not to collaborate, to compete and not to create among everyone a desirable world as the most fundamental poetic act. ¡Yes! We all are poets. Let us take advantage of this curious eddy in dark flow of the disenchanted, of the apathy, of the fatigue that this invitation opens up. ¡Yes! We all are poets. Let us make visible the loving beauty that constitutes us as human beings." 2 The dream of the most visionary poets was always of an Era where everybody would be poets. What they didn't know was that that Era has always been
2Taken from the paper: “El acto poético es un acto transformador del mundo” for the festivity of
Chilean poetry: Poetry to 100 %.
conserved in the biological-cultural depths of our living and living together from its evolutionarily millennial origin.
Ignacio Muñoz Cristi Antropólogo Instituto Matríztico
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