Bøker av Augustinus Miri

UDDRAG: "Det er ikke ved angsten eller ved den andens blik, som Sartre insisterer på, men ved tvivlen, at mennesket sættes fri. Ved at lade kroppen erfare, kroppen eksistere og blive til, undslipper tanken tvivlen om et mig og mit forhold til verden, der aldrig lader sig forklare videnskabeligt". Bogen sammenfatter Merleau-Pontys fænomenologi i en kritik af tankens tvivl, og belyser, hvordan denne muliggør perceptionens uendelighed. Ved at udfolde Cézannes unikke farvemodulationer, som både ophæver stregens nødvendighed og Cézannes tvivlen på sig selv, forklarer bogen, hvordan det er perceptionens uendelighed, der former vores verden af ydre flader, men videnskaben hævder er en illusion. CITAT: "The percept is the landscape before man, in the absence of man. [...] But why do we say this, since in all these cases the landscape is not independent of the supposed perceptions of the characters and, through them, of the author's perceptions and memories? How could the town exist without or before man, or the mirror without the old woman it reflects, even if she does not look at herself in it? [...] This is Cézanne's enigma, which has often been commented upon: Man is absent from but entirely within the landscape." (Gilles Deleuze & Félix Guattari, What Is Philosophy, p. 169)

Have you ever read the Symposium but been left wondering? Have you ever asked yourself what philosophy is? Or why bother with philosophy at all? This book unfolds a consciousness of Plato's Eros. Eros is Plato's concept in the Symposium of a philosophy of consciousness that emerges from a poetry of beauty. To Plato, Eros is not a synonym for something specific or an expression of love, but embodies opposing views and different perceptions. As an opposite principle, Eros inspires our heart to feel, our mind to wonder and our intellect to think. At its heart, the book illustrates how Plato transforms storytelling into poetry about the heart of consciousness, as an infinitely poetic expression of our power to create, explore and understand. Because to Plato, the purpose of storytelling is not to seduce us with moral messages to learn from, but to inspire the wonder that can make us the true tellers of our own stories. Extract: "Plato's dialogues do not give us answers. They engage in a dialogue with concepts, examining how concepts are constructed from our narratives. On the one hand, concepts are created by persuasive narratives made up of words, phrases, and categorical beliefs. This has led us to see Eros as the most beautiful and therefore the one we love. But this makes Eros a great and deceptive happiness of what is the good, says Diotima. If we think of Eros as love, it is because historically, we have learned to love Eros as the most beautiful. On the other hand, we can learn to think with Eros." Quote: The Platonic project comes to light only when we turn back to the method of division, for this project is not just one dialectic procedure among others. It assembles the whole power of the dialectic in order to combine it with another power." (Gilles Deleuze The Logic of Sense, p. 291). Quote: "Why is it that Eros holds both the secret of questions and answers, and the secret of an insistence in all our existence?" (Gilles Deleuze, Difference and Repetition, p. 107).

Extract: >Merleau-Ponty's Cézanne seeks to illustrate Merleau-Ponty's phenomenology as a critique of the doubt of thought that enables the infinity of perception. The book explains how Cézanne's color modulations suspend Cézanne's doubt, in contrast to Descartes' Cogito, and illustrates the infinity of perception with examples. In describing the possibility of modulation to deform and reform the world around me, Merleau-Ponty describes the human ability to transcend the boundary between the flesh and the perceived world, which enables the mind to perceive anew through the hand. Quote: "The percept is the landscape before man, in the absence of man. [...] But why do we say this, since in all these cases the landscape is not independent of the supposed perceptions of the characters and, through them, of the author's perceptions and memories? How could the town exist without or before man, or the mirror without the old woman it reflects, even if she does not look at herself in it? [...] This is Cézanne's enigma, which has often been commented upon: Man is absent from but entirely within the landscape." (Gilles Deleuze & Félix Guattari, What Is Philosophy)