Lorenzo Mammi e Agostinho: a música do tempo

We then start from the musical premise to understand the concepts that largely extend in Lorenzo Mammi's text and, therefore, develop philosophically the shift between the arts. The author begins his argument by proposing a historical retrospective that contextualizes musical activity as a tradition and also the result of a social and linguistic understanding.

It is from the thinking of the theologian Saint Augustine that the plot develops – here the term used is justified by the human complexity of the narrative – of the temporal understanding that is common to all men and, in Augustinian thought, it is treated by the sensory bias to exemplify what escapes matter.

By facing Augustine's work as a succession of propositions that develop throughout the author's life, Mammi establishes a perspective that is similar to the subject dealt with in the text. As a narrative composition, he proper view of the Saint's books as parts of a whole give didactic meaning to the understanding of form.

When the latter then questions early on about music and its place in the spatial or temporal imagination, he proposes the idea of ​​God Modulator while talking to the aesthetic object:

“A well-proportioned movement that has its end in itself is modulatio. In modern terms, any beautiful movement that has an aesthetic purpose.”

Concept presented here in consonance is the presentation of time as a human questioning and its answer, also human, for that is music.

No wonder the fidelity with which the apprehension of the temporal abstract is plausible through the senses and especially the melodious sounds.

"When I sing I know the form of the melody, although this form is never present in its entirety in the sounds I pronounce"

Form is understood from the tension that is established in the will, in the intention itself, and ends when there is no longer anything to intend.

The God Singer thus encompasses the circumstantial will of human existence. It is He who in his will determines, as in a song and its successive sounds, the natural path not only of man but of everything that inhabits his creative universe. When we open a parenthesis with the biblical narrative, when in the book of Genesis it is stated that God created man in his image and likeness, creativity is also presented as a characteristic not only inherent to the human but also divine. Or for that, every event is the result of a voluntary action, whether it comes from God (his song of human existence) or from divine sounds, humanity itself.

Reference: MAMMI, Lorenzo. Singer God. In: NOVAES, Adauto (Org.). Artthought. São Paulo: Companhia das Letras, 1994. p.43-5

Note

I always write the words for someone else, the reserve of memory indicates that there will be poetry in the event of truth.

In short, the conversation is of two, of many, of one to the same one, the turn that the word takes in itself is really a whole turn. I reside entirely in the skin of yesterday - memory is that image that, when traversed, slows down the eye. I print the substance of the I, the Geraes that meet, the concentrated permission of mine, I love it all or I am everything I love and am, what is the final word that fits without being chewed in the mouth, in the end and not in the end of text, but.

I follow, I tiptoe the door, I really hold the door with the tip of my foot. still is, love. And I remember: “What is at stake in every encounter with the work of art is never exhaustible in use, but necessarily presupposes the possibility of following the interpretative indications present in the work and assuming, to quote a famous position by Gadamer, the comprehensive dialogue with what she fears to tell us."

Reference: CASANOVA, Marco Antonio. Heidegger and the poetic event of truth. In: HADDOCKLOBO, Rafael (Org.). Philosophers and art. Rio de Janeiro: Rocco, 2010. p.151-180

Argument about death and life

The text that precedes this argument is guided by a dynamic closer to what could be understood as a class, as it is a transcription of the oral presentation made by Gilles Deleuze in a conference, rather than something written to be read. At first, this very designation of the communicative object already serves as an example of what is made explicit in the message. Deleuze here speaks to and to people and when he asks, however much the answer may have come out loud in the auditorium, his words soar in the air as much as his ideas – until such time as, as the philosopher himself says, “as the word rises in the air, what she tells us about sinks us into the earth.” (p.394). The silent treatise that permeates philosophy is unraveled in his speech. The same owner of human questioning is stripped of its until then primordial characteristic of talking about and answering about multiform issues and it no longer makes sense to approach it in the same way. Precisely, understanding the field about which one speaks and to whom one speaks is also the creative response of knowledge to the longings, which will not be resolved at all by the idea. The need for invention is the “I have something to say to someone” and this something is close to practically every human activity, beyond art, science, mathematics, cinema. As Deleuze points out: “a creator is not a being who works for pleasure. A breeder does only what he absolutely needs to do.” (p.391). As well as what is said, the way in which one chooses to say it is the medium and as important as it is, in such a way that it is impossible to dissociate the idea from its execution on the communicative level. By deepening the logic of communication, the informational process is introduced. Philosopher Byung-Chul Han (2019), for example, when proposing a relationship between the present and endless web of information and pornographic identification demonstrates:

The veiling also eroticizes the text. God darkens, says Augustine, the Holy Scripture on purpose with metaphors, with the figurative cloak to make it an object of covetousness. (...) Information cannot necessarily be hidden. They are transparent according to their essence. They simply must be present. In this way, they repel metaphor, the concealing garment. Speak directly. (HAN, 2019; p.46-48)

In any case, language and its encounter with content serve the human interest of communicating life. Deleuze, when stating that art is the resistance against death, reiterates something that in Portuguese was so well said by Ferreira Gullar (2013): “The rotting is sublime and terrible. But there are those that don't rot. Those who betray the only wonderful event of their existence. Listen: art is a betrayal.” (p.27) Still in time to process textual production and its relationship with my practice in painting, I hope the maxim is reiterated: “Let's not die as a challenge?” (LISPECTOR, 2019; p.93) and that the image is what the word cannot be, vice versa.

Reference: DELEUZE, Gilles. What is the act of creation? In: DUARTE, Rodrigo. (Org.). The autonomous beauty: classic aesthetic texts. Belo Horizonte: Authentic, 2012. p.387-398. GULLAR, Ferreira.1930- Chosen poems/ Ferreira Gullar; Walmir Ayala organization. Rio de Janeiro: New Frontier, 2013. HAN, Byung-Chul. The salvation of the beautiful. Petrópolis, RJ: Voices, 2019.