Giotto's Campanile (/ˌkæmpəˈniːli, -leɪ/, also US: /ˌkɑːm-/, Italian: [kampaˈniːle]) is a free-standing campanile that is part of the complex of buildings that make up Florence Cathedral on the Piazza del Duomo in Florence, Italy.

 

Standing adjacent to the Basilica of Santa Maria del Fiore and the Baptistry of St. John, the tower is one of the showpieces of Florentine Gothic architecture with its design by Giotto, its rich sculptural decorations and its polychrome marble encrustations.

 

The slender structure is square in plan with 14.45 metre (47.41 ft) sides. It is 84.7 metres (277.9 ft) tall and has polygonal buttresses at each corner.[1] The tower is divided into five stages.

 

On the death in 1302 of Arnolfo di Cambio, the first Master of the Works of the Cathedral, and after an interruption of more than thirty years, the celebrated painter Giotto di Bondone was nominated as his successor in 1334.[1] At that time he was 67 years old. Giotto concentrated his energy on the design and construction of a campanile (bell tower) for the cathedral. He had become an eminent architect, thanks to the growing autonomy of the architect-designer in relation to the craftsmen since the first half of the 13th century. The first stone was laid on 19 July 1334.[2] His design was in harmony with the polychromy of the cathedral, as applied by Arnolfo di Cambio, giving the tower a view as if it were painted. In his design, he also applied chiaroscuro and some form of perspective instead of a strict linear drawing of the campanile. And instead of a filigree skeleton of a gothic building, he applied a surface of coloured marble in geometric patterns.

 

When he died in 1337, he had only finished the lower floor with its marble external revetment: geometric patterns of white marble from Carrara, green marble from Prato and red marble from Siena. This lower floor is decorated on three sides with bas-reliefs in hexagonal panels, seven on each side. When the entrance door was enlarged in 1348, two panels were moved to the empty northern side and only much later, five more panels were commissioned from Luca della Robbia in 1437. The number "seven" has a special meaning in Biblical sense: it symbolizes human perfectibility.

 

It is difficult to attribute artistic paternity to these panels. Some may be by Giotto himself, the others by Andrea Pisano (or their workshops).

 

Through this work, Giotto has become, together with Brunelleschi (dome of the cathedral of Florence) and Alberti (with his treatise De re aedificatoria, 1450), one of the founding fathers of Italian Renaissance architecture.

 

Giotto was succeeded as Master of the Works in 1343 by Andrea Pisano,[1] famous already for the South Doors of the Baptistery. He continued the construction of the bell tower, scrupulously following Giotto's design. He added, above the lower level of Giotto, a second fascia, this time decorated with lozenge-shaped panels (1347–1341).[dubious – discuss] He built two more levels, with four niches on each side and each level, but the second row of niches are empty. Construction came to a halt in 1348, year of the disastrous Black Death.

 

Pisano was replaced in his turn by Francesco Talenti who built the top three levels, with the large windows, completing the bell tower in 1359.[1] He did not build the spire designed by Giotto, thus lowering the designed height of 122 metres (400 ft) to 84.7 metres (277.9 ft). The top, with its scenic panorama of Florence and the surrounding hills, can be reached by climbing 414 steps.

 

Works of art

 

Relief on the Campanile representing Medicine, depicting the practice of uroscopy.

All the present works of art in the campanile are copies. The originals were removed[3] between 1965 and 1967 and are now on display in the Museo dell'Opera del Duomo, behind the cathedral.

 

The hexagonal panels

 

The hexagonal panels on the east side. From left to right: Agriculture, Art of festivals and Architecture.

The hexagonal panels on the lower level depict the history of mankind, inspired by Genesis, starting with on the west side:

 

The creation of man and woman: Creation of Adam, Creation of Eve, Labours of our first parents; Lorenzo Ghiberti claimed to have seen clay models of the "first two" works of creation fashioned by Giotto.[3]

The beginnings of "mechanical arts" and "creative arts" (according to the Bible): Jabal (animal husbandry), Jubal (music, harp and organ), Tubalcain (first blacksmith), Noah (first farmer). This series continues on the south side and the east side of the campanile.

 

"Euclid", by Nino Pisano, now in the Duomo's Museum.

The Genesis panels are attributed to Andrea Pisano, except "Jubal" to Nino Pisano and "Tubalcain" to an assistant of Andrea Pisano.

 

The seven hexagonal panels on the south side show us Gionitus (Astronomy), the Art of Building, Medicine, Hunting, Wool-working, Phoroneus (Legislation), Daedalus (flight). They are again attributed to Andrea Pisano, except Gionitus and the Art of Building to his workshop, and Medicine and Phoroneus to Nino Pisano.

 

The east side only contains five panels, because of the entrance door. They depict the 'liberal arts': Navigation, Social Justice, Agriculture, Art of festivals and Euclid (architecture). The first three panels are attributed to Andrea Pisano, while the last two to Nino Pisano. "The Madonna and Child" in the lunette and the "Two Prophets and the Redeemer" on top of the gable above the entrance door, are both attributed to Andrea Pisano.

 

The north side hexagonal panels depict: Sculpture, Phidias (both moved to this side from the east side in 1347–1348), Painting, Harmony, Grammar, Logic and Dialectic (represented by Plato and Aristotle), Music and Poetry (represented by Orpheus), Geometry and Arithmetic (represented by Euclid and Pythagoras). The first panel is attributed to Andrea Pisano, the second to Nino Pisano, the others to Luca della Robbia. The last five panels were added after removal of the raised passageway between the campanile and the cathedral.

 

The lozenges

The lozenges, on the next level, already show a different style: the marble figures stand out on a background of blue majolica. These allegorical representations are almost all attributed to Andrea Pisano or his school:

 

West side: The Planets — Saturn, Jupiter, Mars, the Sun, Venus, Mercury, the Moon. (Venus and Mercury are attributed to Nino Pisano).

South side: The three Theological and four Cardinal Virtues — Faith, Charity, Hope, Prudence, Justice, Temperance, Fortitude (Faith is attributed to Gino Micheli da Castello).

East side: the seven "Liberal Arts" — Astronomy, Music, Geometry, Grammar, Rhetoric, Logic, and Arithmetic. (Geometry and Rhetoric are attributed to Andrea Pisano; the others, except Astronomy, are attributed to Gino Micheli da Castello).

North side: the Seven Sacraments (represented realistically and not allegorically) — Baptism, Confession, Matrimony, Holy Order, Confirmation, the Eucharist, and the Extreme Unction. They are all attributed to Maso di Banco, except Matrimony, attributed to Gino Micheli da Castello.

The statues in the niches

5303 - Firenze - Campanile di Giotto - Foto Giovanni Dall'Orto, 27-Jan-2008.jpg

On the next level on each side there are four statues in niches. They have been sculpted in different periods:

 

The four statues on the west side were sculpted by Andrea Pisano and date from 1343. These Gothic statues are rather high-reliefs, left unfinished at the back. They represent the Tiburtine Sibyl, David, Solomon and the Erythraean Sibyl.

The four Prophets on the south side are already more classical in style and date between 1334 and 1341. The statue of Moses and the fourth statue are attributed to Maso di Banco.

The four Prophets and Patriarchs on the east side date from between 1408 and 1421: the beardless Prophets by Donatello (probably a portrait of his friend, the architect Filippo Brunelleschi), the Bearded Prophet (perhaps by Nanni di Bartolo), Abraham and Isaac (by Donatello and Nanni di Bartolo) and Il Pensatore (the thinker) (by Donatello).

The four statues on the north side were added between 1420 and 1435: Prophet (probably by Nanni di Bartolo, however signed by Donatello), Habacuc (a masterpiece of Donatello, a tormented and emaciated prophet, portraying Giovanni Chiericini, an enemy of the Medicis), Jeremias (by Donatello, portraying Francesco Soderini, another enemy of the Medicis), Abdias (by Nanni di Bartolo).

File:Cityscape of Florence seen from Giotto's Bell Tower.ogv

View from the bell tower (video)

The three top levels

These levels were built by Francesco Talenti, Master of the Works from 1348 to 1359. Each level is larger than the lower one and extends beyond it in every dimension such that their difference in size exactly counters the effect of perspective. As a result, the top three levels of the tower, when seen from below, look exactly equal in size. The vertical windows open up the walls, a motif borrowed from the Siena campanile. Instead of a spire, Talenti built a large projecting terrace.

 

The reliefs, statues and decoration make a coherent whole when interpreted in terms of medieval scholastic philosophy.

Q Quiver (kwiv’ ẽr) verb intransitive. [Middle English, quivere(n), compare Middle Dutch quiveren], to shake with a tremulous motion; tremble. Noun. the act or condition of quivering; tremor; tremble. Synonymn: see shake.

 

noun. quyver(e); Anglo-French, quiver (Old French, quivre, quevre, cuivre, etc.( < Germanic, compare Old High German kochar, Anglo Saxon cocer, arrow case, sheath] 1. A case for holding arrows. 2. Its contents.

 

adjective. [Middle English, cwyuer; Anglo Saxon cwifer] [Obsolete or dialectical]. nimble; quick.

 

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

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Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.

 

Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.

 

Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.

 

Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.

 

Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.

 

Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.

 

Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.

 

Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.

  

Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.

 

Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.

 

Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.

 

Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.

 

White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).

 

White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.

 

Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.

 

Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.

 

Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.

 

Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.

 

Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.

 

Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.

 

Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.

 

Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.

 

Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

 

----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

The Phenomenology Woman.

Contradictions views spiritualis imperet that analyze,

et detractiones quae substantialis sansculottism alienated abstract betwuxfæc,

pronouncements enunciare coscienziosità theologus census becomes,

conceptual points αποφάσεις σύνθεσης εξωτερικεύσεις subjected to empiricists notions,

правительственная толковании парадигматическое историю coincidences of deductions feorh,

absurdité ambiguë traduit exhaustive undertaking connotations,

individualistic lækkanir noumenal höfuðstóll intuiting thoughts,

transmuted exemplifications universelle oppgivelse anslag arise,

propositions engaging secundus placitum speculationes powers,

φιλοσοφικές μέσα συμπληρώνονται dialectic justifications practiced,

objective depths consummations sýningin mismunandi freedoms,

conscious immediatio oppositionem certum in communi recognizes habban,

entraver limites de péréquation stubborn confessing όντα της συνέχειας,

dissemblance implicit moralità impulsi così peculiari felicità understands,

absoluteness framkvæmd reikningar indivisible antithesis tilung,

equilibrium erliegt ethische unabhängigkeit transformationen activity andefen,

verdwijnende uitspraken dryhtenbealu ramblings back,

her realization inquietum perturbatio is her essential ways.

Vikomt.d.Hammenggor.

 

Dialectical genesis

Fabrication means

Fundamental condition

“Carbon justice for All!” A global carbon tax will play a crucial role in climate reparations! Indeed, tax justice is the right mechanism to deliver climate reparations. Tax justice is a contributor to social(ist) justice, all of which tie into climate justice. “Climate justice is peace!” Climate change is not affecting everyone equally, but it is affecting the poorest countries and the most marginalized communities the most. Nations impoverished by colonialism cannot afford the infrastructure, the health care, or the loans needed to protect their citizens against the climate crisis, much less to invest in renewable energy. Resources were stolen by colonizing nations from countries that are now climate vulnerable. However, tax justice will allow us to rectify this imbalance by redistributing global wealth. It’s the communist way! Tax justice must be instituted to rectify the wealth gap between nations.

 

Under the United Nations, we will have inclusive international tax governance. The UN must oversee tax justice, climate justice, and human rights. They must set international standards and eliminate financial secrecy. We must have transparency to make a fair global tax, to fight inequality and promote equality. A carbon tax will hold each one accountable. A carbon footprint tracker will take into account emissions, income, wealth, individual carbon footprint caps, and carbon footprint inequality. Climate change is a human rights issue.

 

The United Nations will tax the green economy. They will tax the digital economy with its digital services to fight climate change. They will implement a financial interaction tax, changing the financial landscape. The global carbon tax will finance the Sustainable Development Goals (SDGs) of the United Nations. This tax will contribute to the achievement of sustainable development in three dimensions: economic, social and environmental. This global tax framework will fall under international law and will not be overridden. The United Nations (world government) will tax all countries (satellite states), corporations, and people (global citizens) to fund and promote policies aligned with its 17 Sustainable Development Goals.

 

The carbon market of the net-zero economy will be a powerful tool for the advancement of carbon justice. Carbon markets are trading systems in which carbon credits are sold and bought. Each offset credit is equivalent to one ton of carbon dioxide that is either reduced or removed from the atmosphere. The global carbon tax will align with ESG (Environmental, Social, and Governance) principles, which will significantly reduce emissions, incentivize investments in clean technologies, and generate substantial revenue. This will reduce poverty and inequality while enhancing societal wellbeing. Climate justice means putting equity and human rights at the core of decision-making and action on climate change. We will not tolerate any carbon leakage (cheating). The United Nations has declared that access to a clean, healthy, and sustainable environment is a universal human right.

 

The revenues from carbon taxes will be used for green infrastructure and low-carbon technology development. It will ensure a just transition, which will steer all society towards a net-zero future. This will achieve the goals of the Paris Agreement. A just transition doesn’t just help advance climate action, but it also helps advance the Sustainable Development Goals. The core purpose of a carbon tax is to shift the market towards less carbon-intensive fuels, energy efficiency, and clean alternatives. This will affect all sectors, including electricity, transportation, and manufacturing. Essentially, there will be a ban on carbon-intensive activities (such as a ban on coal-fired power stations). That is why you will own nothing and be happy. That is why you won’t drive or leave your 15-minute city. Just like Nova Scotia, you will be banned from the forest. Climate lockdowns! Don’t leave your house! Decarbonizing the planet is a systems-based circular (problem, reaction, solution) approach (dialectic) rooted in social(ist) justice principles. Decarbonization means decarbonizing you.

 

The future is headed towards carbon taxes, digital biometric IDs, central bank digital currencies, and social credit scores. Like every socialist state, a leader arises. Like Hitler, Stalin, and Mao, a future leader will rise up. The world will bow to the Antichrist! And the Antichrist will implement a digital Mark, which will be your global digital biometric ID. This Mark will be tied to a one-world digital currency and a one-world social credit score system. This Beast system will also track your carbon footprint. Then you’ll see what it’s like to serve the Antichrist. He will suck the life out of you, he will decarbonize you! BTW: this message is brought to you by the World Health Organization! Hahaha!

 

Matthew 11:28-30 “Come to Me, all you who are weary and burdened, and I will give you rest. Take My yoke upon you and learn from Me, for I am gentle and humble in heart, and you will find rest for your souls. For My yoke is easy and My burden is light.”

 

1 Peter 5:7 “Cast all your anxiety on Him because He cares for you.”

 

Manarola (Manaea in the local dialect) is a small town, a frazione of the comune (municipality) of Riomaggiore, in the province of La Spezia, Liguria, northern Italy. It is the second smallest of the famous Cinque Terre towns frequented by tourists.

Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.

Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages. Mostly all of the houses are bright and colourful.

Manarola was celebrated in paintings by the artists Llewelyn Lloyd (1879-1949) ("I ponti di Manarola" [:The Bridges of Manarola, 1904] and "Tramonto a Manarola" [:Sunset at Manarola, 1904] and Antonio Discovolo (1874–1956).

In visual arts, music, and other mediums, minimalism is an art movement that began in post–World War II Western art, most strongly with American visual arts in the 1960s and early 1970s. Prominent artists associated with minimalism include Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella.[1][2] It derives from the reductive aspects of modernism and is often interpreted as a reaction against abstract expressionism and a bridge to postminimal art practices.

 

Minimalism in music often features repetition and gradual variation, such as the works of La Monte Young, Terry Riley, Steve Reich, Philip Glass, Julius Eastman, and John Adams. The term minimalist often colloquially refers to anything that is spare or stripped to its essentials. It has accordingly been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and the automobile designs of Colin Chapman.

  

Contents

1Minimal art, minimalism in visual art

2Minimalist design and architecture

3Minimalist architecture and space

3.1Concepts and design elements

3.2Influences from Japanese tradition

3.3Minimalist architects and their works

4Literary minimalism

5Minimal music

6Minimalism in film

7Lifestyle

8See also

9Footnotes

10References

11External links

Minimal art, minimalism in visual art[edit]

Main article: Minimalism (visual arts)

 

Kazimir Malevich, Black Square, 1915, oil on canvas, 79.5 x 79.5 cm, Tretyakov Gallery, Moscow

Minimalism in visual art, generally referred to as "minimal art", "literalist art"[3] and "ABC Art"[4] emerged in New York in the early 1960s as new and older artists moved toward geometric abstraction; exploring via painting in the cases of Frank Stella, Kenneth Noland, Al Held, Ellsworth Kelly, Robert Ryman and others; and sculpture in the works of various artists including David Smith, Anthony Caro, Tony Smith, Sol LeWitt, Carl Andre, Dan Flavin, Donald Judd and others. Judd's sculpture was showcased in 1964 at Green Gallery in Manhattan, as were Flavin's first fluorescent light works, while other leading Manhattan galleries like Leo Castelli Gallery and Pace Gallery also began to showcase artists focused on geometric abstraction. In addition there were two seminal and influential museum exhibitions: Primary Structures: Younger American and British Sculpture shown from April 27 – June 12, 1966 at the Jewish Museum in New York, organized by the museum's Curator of Painting and Sculpture, Kynaston McShine[5][6] and Systemic Painting, at the Solomon R. Guggenheim Museum curated by Lawrence Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped canvas, Color Field, and Hard-edge painting.[7][8] In the wake of those exhibitions and a few others the art movement called minimal art emerged.

 

In a more broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncuși.[9][10]

  

Tony Smith, Free Ride, 1962, 6'8 x 6'8 x 6'8

In France between 1947 and 1948,[11] Yves Klein conceived his Monotone Symphony (1949, formally The Monotone-Silence Symphony) that consisted of a single 20-minute sustained chord followed by a 20-minute silence[12][13] – a precedent to both La Monte Young's drone music and John Cage's 4′33″. Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950—but his first public showing was the publication of the Artist's book Yves: Peintures in November 1954.[14][15]

 

Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s.[16]

 

Artist and critic Thomas Lawson noted in his 1981 Artforum essay Last Exit: Painting, minimalism did not reject Clement Greenberg's claims about modernist painting's[17] reduction to surface and materials so much as take his claims literally. According to Lawson, minimalism was the result, even though the term "minimalism" was not generally embraced by the artists associated with it, and many practitioners of art designated minimalist by critics did not identify it as a movement as such. Also taking exception to this claim was Clement Greenberg himself; in his 1978 postscript to his essay Modernist Painting he disavowed this interpretation of what he said, writing:

 

There have been some further constructions of what I wrote that go over into preposterousness: That I regard flatness and the inclosing of flatness not just as the limiting conditions of pictorial art, but as criteria of aesthetic quality in pictorial art; that the further a work advances the self-definition of an art, the better that work is bound to be. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article.[17]

 

In contrast to the previous decade's more subjective Abstract Expressionists, with the exceptions of Barnett Newman and Ad Reinhardt; minimalists were also influenced by composers John Cage and LaMonte Young, poet William Carlos Williams, and the landscape architect Frederick Law Olmsted. They very explicitly stated that their art was not about self-expression, and unlike the previous decade's more subjective philosophy about art making theirs was 'objective'. In general, minimalism's features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials.

 

Robert Morris, a theorist and artist, wrote a three part essay, "Notes on Sculpture 1–3", originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and one that would embrace the practices of his contemporaries. These essays paid great attention to the idea of the gestalt – "parts... bound together in such a way that they create a maximum resistance to perceptual separation." Morris later described an art represented by a "marked lateral spread and no regularized units or symmetrical intervals..." in "Notes on Sculpture 4: Beyond Objects", originally published in Artforum, 1969, continuing on to say that "indeterminacy of arrangement of parts is a literal aspect of the physical existence of the thing." The general shift in theory of which this essay is an expression suggests the transition into what would later be referred to as postminimalism.

 

One of the first artists specifically associated with minimalism was the painter Frank Stella, four of whose early "black paintings" were included in the 1959 show, 16 Americans, organized by Dorothy Miller at the Museum of Modern Art in New York. The width of the stripes in Frank Stellas's black paintings were often determined by the dimensions of the lumber he used for stretchers to support the canvas, visible against the canvas as the depth of the painting when viewed from the side. Stella's decisions about structures on the front surface of the canvas were therefore not entirely subjective, but pre-conditioned by a "given" feature of the physical construction of the support. In the show catalog, Carl Andre noted, "Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting." These reductive works were in sharp contrast to the energy-filled and apparently highly subjective and emotionally charged paintings of Willem de Kooning or Franz Kline and, in terms of precedent among the previous generation of abstract expressionists, leaned more toward the less gestural, often somber, color field paintings of Barnett Newman and Mark Rothko. Stella received immediate attention from the MoMA show, but other artists—including Kenneth Noland, Gene Davis, Robert Motherwell, and Robert Ryman—had also begun to explore stripes, monochromatic and Hard-edge formats from the late 50s through the 1960s.[18]

 

Because of a tendency in minimal art to exclude the pictorial, illusionistic and fictive in favor of the literal, there was a movement away from painterly and toward sculptural concerns. Donald Judd had started as a painter, and ended as a creator of objects. His seminal essay, "Specific Objects" (published in Arts Yearbook 8, 1965), was a touchstone of theory for the formation of minimalist aesthetics. In this essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values. He pointed to evidence of this development in the works of an array of artists active in New York at the time, including Jasper Johns, Dan Flavin and Lee Bontecou. Of "preliminary" importance for Judd was the work of George Earl Ortman,[19] who had concretized and distilled painting's forms into blunt, tough, philosophically charged geometries. These Specific Objects inhabited a space not then comfortably classifiable as either painting or sculpture. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd.

 

This movement was criticized by modernist formalist art critics and historians. Some critics thought minimal art represented a misunderstanding of the modern dialectic of painting and sculpture as defined by critic Clement Greenberg, arguably the dominant American critic of painting in the period leading up to the 1960s. The most notable critique of minimalism was produced by Michael Fried, a formalist critic, who objected to the work on the basis of its "theatricality". In Art and Objecthood (published in Artforum in June 1967) he declared that the minimal work of art, particularly minimal sculpture, was based on an engagement with the physicality of the spectator. He argued that work like Robert Morris's transformed the act of viewing into a type of spectacle, in which the artifice of the act observation and the viewer's participation in the work were unveiled. Fried saw this displacement of the viewer's experience from an aesthetic engagement within, to an event outside of the artwork as a failure of minimal art. Fried's essay was immediately challenged by postminimalist and earth artist Robert Smithson in a letter to the editor in the October issue of Artforum. Smithson stated the following: "What Fried fears most is the consciousness of what he is doing—namely being himself theatrical."

 

In addition to the already mentioned Robert Morris, Frank Stella, Carl Andre, Robert Ryman and Donald Judd other minimal artists include: Robert Mangold, Larry Bell, Dan Flavin, Sol LeWitt, Charles Hinman, Ronald Bladen, Paul Mogensen, Ronald Davis, David Novros, Brice Marden, Blinky Palermo, Agnes Martin, Jo Baer, John McCracken, Ad Reinhardt, Fred Sandback, Richard Serra, Tony Smith, Patricia Johanson, and Anne Truitt.

 

Ad Reinhardt, actually an artist of the Abstract Expressionist generation, but one whose reductive nearly all-black paintings seemed to anticipate minimalism, had this to say about the value of a reductive approach to art:

 

The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace to clear sight. The laying bare of oneself is obscene. Art begins with the getting rid of nature.[20]

 

Reinhardt's remark directly addresses and contradicts Hans Hofmann's regard for nature as the source of his own abstract expressionist paintings. In a famous exchange between Hofmann and Jackson Pollock as told by Lee Krasner in an interview with Dorothy Strickler[21] (1964-11-02) for the Smithsonian Institution Archives of American Art.[22] In Krasner's words:

 

When I brought Hofmann up to meet Pollock and see his work which was before we moved here, Hofmann’s reaction was—one of the questions he asked Jackson was, "Do you work from nature?" There were no still lifes around or models around and Jackson’s answer was, "I am nature." And Hofmann’s reply was, "Ah, but if you work by heart, you will repeat yourself." To which Jackson did not reply at all. The meeting between Pollock and Hofmann took place in 1942.[22]

 

Minimalist design and architecture[edit]

 

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The reconstruction of Ludwig Mies van der Rohe's German Pavilion in Barcelona

The term minimalism is also used to describe a trend in design and architecture, wherein the subject is reduced to its necessary elements.[citation needed] Minimalist architectural designers focus on the connection between two perfect planes, elegant lighting, and the void spaces left by the removal of three-dimensional shapes in an architectural design.[according to whom?][citation needed]

 

Minimalistic design has been highly influenced by Japanese traditional design and architecture.[citation needed] The works of De Stijl artists are a major reference: De Stijl expanded the ideas of expression by meticulously organizing basic elements such as lines and planes.[citation needed] With regard to home design, more attractive "minimalistic" designs are not truly minimalistic because they are larger, and use more expensive building materials and finishes.[citation needed]

 

There are observers who describe the emergence of minimalism as a response to the brashness and chaos of urban life. In Japan, for example, minimalist architecture began to gain traction in the 1980s when its cities experienced rapid expansion and booming population. The design was considered an antidote to the "overpowering presence of traffic, advertising, jumbled building scales, and imposing roadways."[23] The chaotic environment was not only driven by urbanization, industrialization, and technology but also the Japanese experience of constantly having to demolish structures on account of the destruction wrought by World War II and the earthquakes, including the calamities it entails such as fire. The minimalist design philosophy did not arrive in Japan by way of another country as it was already part of the Japanese culture rooted on the Zen philosophy. There are those who specifically attribute the design movement to Japan's spirituality and view of nature.[24]

 

Architect Ludwig Mies van der Rohe (1886–1969) adopted the motto "Less is more" to describe his aesthetic.[25] His tactic was one of arranging the necessary components of a building to create an impression of extreme simplicity—he enlisted every element and detail to serve multiple visual and functional purposes; for example, designing a floor to also serve as the radiator, or a massive fireplace to also house the bathroom. Designer Buckminster Fuller (1895–1983) adopted the engineer's goal of "Doing more with less", but his concerns were oriented toward technology and engineering rather than aesthetics.[26]

 

Luis Barragán is an exemplary modern minimalist designer.[according to whom?][citation needed] Other contemporary minimalist architects include Kazuyo Sejima, John Pawson, Eduardo Souto de Moura, Álvaro Siza Vieira, Tadao Ando, Alberto Campo Baeza, Yoshio Taniguchi, Peter Zumthor, Hugh Newell Jacobsen, Vincent Van Duysen, Claudio Silvestrin, Michael Gabellini, and Richard Gluckman.[27][page needed][verification needed]

 

Minimalist architecture and space[edit]

Minimalist architecture became popular in the late 1980s in London and New York,[28] where architects and fashion designers worked together in the boutiques to achieve simplicity, using white elements, cold lighting, large space with minimum objects and furniture.

 

Concepts and design elements[edit]

The concept of minimalist architecture is to strip everything down to its essential quality and achieve simplicity.[29] The idea is not completely without ornamentation,[30] but that all parts, details, and joinery are considered as reduced to a stage where no one can remove anything further to improve the design.[31]

 

The considerations for ‘essences’ are light, form, detail of material, space, place, and human condition.[32] Minimalist architects not only consider the physical qualities of the building. They consider the spiritual dimension and the invisible, by listening to the figure and paying attention to details, people, space, nature, and materials.,[33] believing this reveals the abstract quality of something that is invisible and aids the search for the essence of those invisible qualities—such as natural light, sky, earth, and air. In addition, they "open a dialogue" with the surrounding environment to decide the most essential materials for the construction and create relationships between buildings and sites.[30]

 

In minimalist architecture, design elements strive to convey the message of simplicity. The basic geometric forms, elements without decoration, simple materials and the repetitions of structures represent a sense of order and essential quality.[34] The movement of natural light in buildings reveals simple and clean spaces.[32] In the late 19th century as the arts and crafts movement became popular in Britain, people valued the attitude of ‘truth to materials’ with respect to the profound and innate characteristics of materials.[35] Minimalist architects humbly 'listen to figure,' seeking essence and simplicity by rediscovering the valuable qualities in simple and common materials.[33]

 

Influences from Japanese tradition[edit]

See also: Japanese architecture

 

Ryōan-ji dry garden.The clay wall, which is stained by age with subtle brown and orange tones, reflects "wabi" and the rock garden "sabi", together reflecting the Japanese worldview or aesthetic of "wabi-sabi".[36]

The idea of simplicity appears in many cultures, especially the Japanese traditional culture of Zen Philosophy. Japanese manipulate the Zen culture into aesthetic and design elements for their buildings.[37] This idea of architecture has influenced Western Society, especially in America since the mid 18th century.[38] Moreover, it inspired the minimalist architecture in the 19th century.[31]

 

Zen concepts of simplicity transmit the ideas of freedom and essence of living.[31] Simplicity is not only aesthetic value, it has a moral perception that looks into the nature of truth and reveals the inner qualities and essence of materials and objects.[39] For example, the sand garden in Ryoanji temple demonstrates the concepts of simplicity and the essentiality from the considered setting of a few stones and a huge empty space.[40]

 

The Japanese aesthetic principle of Ma refers to empty or open space. It removes all the unnecessary internal walls and opens up the space. The emptiness of spatial arrangement reduces everything down to the most essential quality.[41]

 

The Japanese aesthetic of Wabi-sabi values the quality of simple and plain objects.[42] It appreciates the absence of unnecessary features, treasures a life in quietness and aims to reveal the innate character of materials.[43] For example, the Japanese floral art, also known as Ikebana, has the central principle of letting the flower express itself. People cut off the branches, leaves and blossoms from the plants and only retain the essential part of the plant. This conveys the idea of essential quality and innate character in nature.[44]

 

However, far from being just a spatial concept, Ma is ever-present in all aspects of Japanese daily life, as it applies to time as well as to daily tasks.[45]

 

Minimalist architects and their works[edit]

The Japanese minimalist architect, Tadao Ando conveys the Japanese traditional spirit and his own perception of nature in his works. His design concepts are materials, pure geometry and nature. He normally uses concrete or natural wood and basic structural form to achieve austerity and rays of light in space. He also sets up dialogue between the site and nature to create relationship and order with the buildings.[46] Ando's works and the translation of Japanese aesthetic principles are highly influential on Japanese architecture.[47]

 

Another Japanese minimalist architect, Kazuyo Sejima, works on her own and in conjunction with Ryue Nishizawa, as SANAA, producing iconic Japanese Minimalist buildings. Credited with creating and influencing a particular genre of Japanese Minimalism,[48] Sejimas delicate, intelligent designs may use white color, thin construction sections and transparent elements to create the phenomenal building type often associated with minimalism. Works include New Museum(2010) New York City, Small House (2000) Tokyo, House surrounded By Plum Trees (2003) Tokyo.

 

In Vitra Conference Pavilion, Weil am Rhein, 1993, the concepts are to bring together the relationships between building, human movement, site and nature. Which as one main point of minimalism ideology that establish dialogue between the building and site. The building uses the simple forms of circle and rectangle to contrast the filled and void space of the interior and nature. In the foyer, there is a large landscape window that looks out to the exterior. This achieves the simple and silence of architecture and enhances the light, wind, time and nature in space.[49]

 

John Pawson is a British minimalist architect; his design concepts are soul, light, and order. He believes that though reduced clutter and simplification of the interior to a point that gets beyond the idea of essential quality, there is a sense of clarity and richness of simplicity instead of emptiness. The materials in his design reveal the perception toward space, surface, and volume. Moreover, he likes to use natural materials because of their aliveness, sense of depth and quality of an individual. He is also attracted by the important influences from Japanese Zen Philosophy.[50]

 

Calvin Klein Madison Avenue, New York, 1995–96, is a boutique that conveys Calvin Klein's ideas of fashion. John Pawson's interior design concepts for this project are to create simple, peaceful and orderly spatial arrangements. He used stone floors and white walls to achieve simplicity and harmony for space. He also emphasises reduction and eliminates the visual distortions, such as the air conditioning and lamps to achieve a sense of purity for interior.[51]

 

Alberto Campo Baeza is a Spanish architect and describes his work as essential architecture. He values the concepts of light, idea and space. Light is essential and achieves the relationship between inhabitants and the building. Ideas are to meet the function and context of space, forms, and construction. Space is shaped by the minimal geometric forms to avoid decoration that is not essential.[52]

 

Gasper House, Zahora, 1992 is a residence that the client wanted to be independent. High walls create the enclosed space and the stone floors used in house and courtyard show the continuality of interior and exterior. The white colour of the walls reveals the simplicity and unity of the building. The feature of the structure make lines to form the continuously horizontal house, therefore natural light projects horizontally through the building.[53]

 

Literary minimalism[edit]

See also: Concision

Literary minimalism is characterized by an economy with words and a focus on surface description. Minimalist writers eschew adverbs and prefer allowing context to dictate meaning. Readers are expected to take an active role in creating the story, to "choose sides" based on oblique hints and innuendo, rather than react to directions from the writer.

 

Some 1940s-era crime fiction of writers such as James M. Cain and Jim Thompson adopted a stripped-down, matter-of-fact prose style to considerable effect; some classify this prose style as minimalism.[weasel words]

 

Another strand of literary minimalism arose in response to the metafiction trend of the 1960s and early 1970s (John Barth, Robert Coover, and William H. Gass). These writers were also spare with prose and kept a psychological distance from their subject matter.[citation needed]

 

Minimalist writers, or those who are identified with minimalism during certain periods of their writing careers, include the following: Raymond Carver, Ann Beattie, Bret Easton Ellis, Charles Bukowski, Ernest Hemingway, K. J. Stevens, Amy Hempel, Bobbie Ann Mason, Tobias Wolff, Grace Paley, Sandra Cisneros, Mary Robison, Frederick Barthelme, Richard Ford, Patrick Holland, Cormac McCarthy, and Alicia Erian.[citation needed]

 

American poets such as Stephen Crane, William Carlos Williams, early Ezra Pound, Robert Creeley, Robert Grenier, and Aram Saroyan are sometimes identified with their minimalist style. The term "minimalism" is also sometimes associated with the briefest of poetic genres, haiku, which originated in Japan, but has been domesticated in English literature by poets such as Nick Virgilio, Raymond Roseliep, and George Swede.[citation needed]

 

The Irish writer Samuel Beckett is well known for his minimalist plays and prose, as is the Norwegian writer Jon Fosse.[54]

 

In his novel The Easy Chain, Evan Dara includes a 60-page section written in the style of musical minimalism, in particular inspired by composer Steve Reich. Intending to represent the psychological state (agitation) of the novel's main character, the section's successive lines of text are built on repetitive and developing phrases.[citation needed]

 

Minimal music[edit]

Main article: Minimal music

The term "minimal music" was derived around 1970 by Michael Nyman from the concept of minimalism, which was earlier applied to the visual arts.[55][56] More precisely, it was in a 1968 review in The Spectator that Nyman first used the term, to describe a ten-minute piano composition by the Danish composer Henning Christiansen, along with several other unnamed pieces played by Charlotte Moorman and Nam June Paik at the Institute of Contemporary Arts in London.[57]

 

Minimalism in film[edit]

The term usually is associated with filmmakers such as Robert Bresson, Carl Theodor Dreyer and Yasujirō Ozu. Their films typically tell a simple story with straight forward camera usage and minimal use of score. Paul Schrader named their kind of cinema: "transcendental cinema".[58] Abbas Kiarostami is also considered a creator of minimalistic films.

 

Joshua Fields Millburn and Ryan Nicodemus directed and produced a movie called Minimalism: A Documentary.[59] that showcased the idea of minimal living in the modern world.

 

en.wikipedia.org/wiki/Minimalism

“Totalitarianism is not a historical coincidence. In the final analysis, it is the logical consequence of mechanistic thinking and the delusional belief in the omnipotence of human rationality. As such, totalitarianism is the defining feature of the Enlightenment tradition.” ‒ Mattias Desmet

 

Totalitarianism is a product of the Enlightenment tradition. It places faith in human rationality. It’s a belief system in which man’s intellect can save man, the world, and the universe. Man will solve man’s problems, thus bringing salvation to mankind. Its priests desire to form a new society built on rationality. They want a world without pain and suffering. They even want to conquer death. Science, man’s new religion, has its own creation story. In this story, man has been reduced to particles that interact according to the laws of mechanics. Life and mankind were randomly produced without any purpose or direction. Man is seen as a machine; he works (repetitively) as a machine; he will merge with machine. The universe is also a machine, and it too will eventually be manipulated. The spiritual elect of this religion look forward to an artificial heaven on earth, where man and nature have been replaced by perfect technological clones. Once this happens, man will have conquered both man and nature. He will then gain eternal life. He will synthetically live forever. “Amen and Hallelujah!” shout the transhumanists. As a result, the totalitarians will have realized their goal of a superman/super race like the New Soviet Man/Aryan Race. The idolatry of science, which aims to create a perfect world, will ultimately result in a dystopian nightmare. Their rationality will become irrational. Secular humanism will fail.

 

“Man is at last becoming aware that he alone is responsible for the realization of the world of his dreams, that he has within himself the power for its achievement.” – Humanist Manifesto I

 

With science came technological advancement. These advances separated man from nature, tradition, and family. The industrial revolution changed the social fabric of society. Before industrialization, most families lived in rural areas and did agricultural work. The family worked together to support itself. Multiple generations lived together in the same area. Extended families were an important part of society. After industrialization, many families moved to urban areas and did manufacturing work. They became cogs in the machine, working meaningless jobs. This movement split up the extended family unit. Then there was one: the nuclear family. “The dynamics of industrialization contributed to the rise of single-parent families. Factors such as increased divorce rates, the normalization of out-of-wedlock childbirth, and the empowerment of women to raise children independently all played a role in this shift.” As you can see, the nuclear family has not fared too well. Technology produced the radio, television, and social media, which have created an antisocial society. Technology was supposed to make life easier; it was supposed to make us happier, yet it has made us lonely and unhappy. Society has lost its meaning. People come home from meaningless jobs, only to live meaningless social lives online. Wolves chase after those separated from the herd, because they are easy targets. When the isolated are rounded up and killed, no one will fight for them because they are isolated from the herd. Those who are alone and isolated will be seen as useless eaters by their enemies. “To keep you is no gain; to kill you is no loss.” Indeed, a lonely society is very prone to accepting totalitarianism.

 

The Enlightenment was supposed to empower us, yet we have become more powerless. The Enlightenment was supposed to make us more independent, yet we have become more dependent. Plus, technology is controlled by the few. With science, a perfect artificial world is being built. It’s creating a fake Garden of Eden that is full of genetically modified foods, lab-grown meat, sex dolls that look like Eve, and synthetic-fiber clothing to hide our naked bodies of sin. Don’t eat the genetically modified fruit, it will kill you! Automated machines, robots, and artificial intelligence will replace man’s toil. Artificial wombs will replace the pain of childbirth. The digital paradise being constructed dehumanizes us. It steals our humanity. It makes us insecure, unempathetic, narcissistic, apathetic, cowardly, lonely, and isolated. An insecure society is less resilient. An insecure society is easier to control. An unempathetic, narcissistic, apathetic, and cowardly society will look the other way when people are rounded up and killed. A lonely and isolated society is weak and submissive. They feel empty and meaningless, and they have little self-worth. Such a society yearns for direction and authority. They are weak and lazy and want someone (the state) to take care of them.

 

We have a dumbed-down society. The education system teaches us how to be cogs in the machine. Mass media is a giant propaganda machine, indoctrinating the masses. The ignorant zombies have been trained to listen to the experts. These experts lead the sheep with twisted data and statistics. Thus, the people are easily led. Safety: give up your freedom of privacy to fight terror. Misinformation: give up your freedom of speech to fight hate speech. 15-minute cities: give up your freedom of movement to fight climate change. Mass immigration: give up your culture for multiculturalism. Abortion is women’s health. Euthanasia is good. By the way, how many genders are there? Society has been molded and shaped. You have been taught what to think, not how to think.

 

“I don’t want a nation of thinkers, I want a nation of workers.” ‒ John D. Rockefeller

 

Students have been indoctrinated and radicalized by feminism, gender theory, critical race theory, and decolonialism. The goal: abolish women, gender, race, borders and nations. All hail the tranhumanist new world order! The youth are taught that capitalism is bad and socialism is good. They’ve been taught to hate their own country, traditions, values, and culture. They’ve been taught to hate their own race! Humiliation is a tool of control to shape and guide them. If a person loses their identity, they can be easily manipulated and brainwashed. Our youth have been taught that a communist revolution is necessary to overthrow capitalism. The end justifies the means! Therefore, radicals in the education system have raised up an army of woke activists. These woke evangelists have been poisoned by envy, hate, and bitterness. It doesn’t help that subversive billionaires are pouring hundreds of millions of dollars into supposed ‘organic’ protests, which are being organized by professional protesters (communist agitators). Wokeism is the new puritan movement of today, with its moral values and commandments. These born-again socialists preach the dialectic gospel of social(ist) justice and equality. These radicalized saints promise a perfect world. A radicalized society is prone to accepting totalitarianism. In fact, it’s extremely prone to accepting totalitarianism. Especially when the youth are radicalized!

 

“Give me just one generation of youth, and I’ll transform the whole world.” ‒ Vladimir Lenin

 

Science, the religion of the day, has become corrupted. Fraud in scientific research is increasing. Falsified scientific papers are becoming more and more common. The perception of reality can be steered by crunching numbers in any desired fashion. (Climate change data is famous for distorting numbers.) Totalitarians mold the perception of reality with propaganda. The COVID-19 hysteria, with its “follow the science,” was proof of its degeneration. People blindly became disciples of the experts. Their apostles commanded: Mask up, even though it’s ineffective! Social distance, even though it’s useless! Take a PCR test, even though it’s unreliable! Take the vaccines, even though they haven’t been properly tested! Ivermectin is bad, even though it can help some patients! The population must be locked down, even though it’s physically and mentally bad for their health and weakens their immune system! Herd immunity, what’s that? Small businesses must be shutdown, even though big corporations like Walmart can stay open! Schools must be shut down, even though the average age of death is 70+ years old! Fire the unvaccinated healthcare workers, even though the emergency rooms are supposedly full and short-staffed! TicTok nurses! Dance, baby, dance! We’re in a pandemic, can’t you see!?! Falsely mark down unrelated deaths as COVID deaths—beef up those numbers! Big numbers, big money! Since this is science, we must suppress opposing ideas! Science that censors different opinions is not science. Much of society faithfully trusted the science, with its religious experts and scientific doctrines, numbers and graphs. In Nazi Germany, children were conditioned to accept any form of authority without question. Without question, many people blindly obeyed the COVID restrictions. To this day, some people mask up in public. They are religious zealots! They still haven’t woken up from their indoctrination. The science of today: take a big pharma flu shot, rather than rely on your own immune system; take a big pharma flu shot, rather than eat foods that are high in antioxidants like vitamin C. Could you not just find a natural vitamin C supplement? Nope! We love big pharma! We love big corporations! We love Big Brother! We love fascism! Since you’ve been trained to be a consumer, you’ll consume what has been marketed to you. Oh, the science of propaganda! Ah, the science of marketing!

 

“Scientism has remained to this day one of the strongest Gnostic movements in Western society.” – Eric Voegelin

 

During COVID-19, people were not only begging for totalitarian measures, but they were applauding them. They wanted strict rules to ease their uncertainty, fear, and insecurity. They coped with their insecurity by running others down. The big bad enemies were not the Jews, but the unvaccinated. Fear needs an enemy! People were calling for the unvaccinated to be rounded up. Some even wanted the unvaccinated killed. This made them feel more secure, like they had the upper hand. They had the camaraderie of the mob; they felt like they belonged! The extra rules helped ease their anxiety. They felt more in control of their fear. The fellowship of the mob helped to further ease their stress and insecurity. There is security in numbers! They rebuked, denounced, and excommunicated heretical friends and relatives who strayed from the holy narrative. They felt righteous, because they were supposedly fighting for a righteous cause. This made them feel virtuous. They were crusaders for the truth, and they felt heroic! They felt relief as they took out their frustrations on their enemies. They blew off steam! They felt good! They felt energized!

 

These people had an authoritarian mindset. Their true selves, their true natures, came to the surface. They had a mob mentality. They had a pack mentality. These people were so filled with fear, hysteria, and panic that they could not think straight. They lost their ability to calm down and think things through. They could not regulate their fears and emotions. As a result, they could not think critically. How can one think critically in a panic? In fact, since they were taught to be cogs in the machine, they weren’t really taught to be critical thinkers. Just as a child must learn how to walk, a child must be taught how to critically think. They were taught to solve problems related to the machine, but they were not taught to think outside the machine. That is why they say things like: I support free speech, ‘but’ not hate speech. They don’t even understand how speech operates under the framework of free speech. They literally can’t understand the concept of free speech! It’s over their heads. Will these people ever change? Nope, I’ve yet to see any of them apologize for their actions during COVID. Given the right crisis, our society will accept totalitarianism.

 

Big government, with its increased bureaucracy, administration, and management, loves to make ever-increasing rules and regulations. We are drawing closer and closer to totalitarianism. We will soon have a totalitarian system with digital biometric IDs, central bank digital currencies, and social credit scores. We are becoming a total surveillance society. Our data is being collected, tracked, analyzed, and sold. COVID caused a worldwide hypnosis, a mass hysteria, in which the masses were ready to trade their freedoms for safety. Nothing much has changed. The world’s population is slowly being boiled like a frog; it’s slowly being corralled into a worldwide authoritarian system. Like Nazi Germany, many today would pick totalitarianism if they were promised economic solutions in a time of financial hardship. If we had another great depression like the 1930s, many in our decadent society would pick a totalitarian system. They would choose digital IDs, CBDCs, and social credit scores if they could receive universal basic income to feed their families. Is it really a stretch to see why people would accept the Mark of the Beast?

 

In the fourth industrial revolution, man will physically merge with technology. Of course, this technology is supposed to make man smarter and healthier. It’s supposed to turn man into the perfect superman. How can the imperfect make the perfect? Man is an imperfect sinner. He has sinned against God. God is perfect, and sin is imperfect. Perfection and imperfection do not mix. Righteousness and sin do not mix. Light expels darkness, God expels sin. God’s punishment for sin is death. God will permit sinful man to utilize his strength and rationality to attempt to work out his own salvation. Ultimately, man will fail. Christ will return to stop man from destroying all life on earth at the battle of Armageddon (Matthew 24:22). Jesus will destroy those who, in their sin, are destroying the earth (Revelation 11:18). Jesus first came as a sacrificial Lamb for the atonement of sins. The second time, Jesus will come as a roaring lion to destroy His enemies. His enemies will choose His imposter, the antichrist. They will accept the transhuman Mark of the Beast. As a result, they will forfeit salvation. Only in Christ (the perfect sacrifice) is sin forgiven. Will you accept His salvation? Or will you try, in your sin, to work out your own salvation?

 

Revelation 3:20 “Behold, I stand at the door and knock. If anyone hears My voice and opens the door, I will come in and fellowship with him, and he with Me.”

 

alternative title : Master-Slave dialectic over 38° N

 

__________________________________________________

Outlining a Theory of General Creativity . .

. . on a 'Pataphysical projectory

 

Entropy ≥ Memory ● Creativity ²

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Study of the day:

 

Everything, as much as it is in it, endeavors to persevere in its being. (...) The effort by which everything tends to persevere in its being is nothing more than the present essence of this thing.

 

There is no singular thing, in the nature of things, that there should be an other more powerful and stronger. Thus, any thing given, there is always an other more powerful, by which the former may be destroyed.

 

Toute chose, autant qu’il est en elle, s’efforce de persévérer dans son être. (...) L’effort par lequel toute chose tend à persévérer dans son être n’est rien de plus que l’essence actuelle de cette chose.

 

Il n’y a pas de chose singulière, dans la nature des choses, qu’il n’y en ait une autre plus puissante et plus forte. Ainsi, étant donnée une chose quelconque, il y en a toujours une autre plus puissante, par qui la première peut être détruite.

 

( Baruch Spinoza, Eth. III - prop VI..VII, Eth. IV La servitude humaine )

  

Just as monstrous and mutant algae invade the lagoon of Venice, so our television screens are populated, saturated, by ‘degenerate’ images and statements. In the field of social ecology, men like Donald Trump are permitted to proliferate freely, like another species of algae, taking over entire districts of New York and Atlantic City; he ‘redevelops’ by raising rents, thereby driving out tens of thousands of poor families, most of whom are condemned to homelessness, becoming the equivalent of the dead fish of environmental ecology.

 

De même que les algues mutantes et monstrueuses envahissent la lagune de Venise, de même les écrans de télévision sont saturés d’une population d’images et d’énoncés "dégénérés". Une autre espèce d’algue relevant, cette fois, de l’écologie sociale consiste en cette liberté de prolifération qui est laissée à des hommes comme Donald Trump qui s’empare de quartiers entiers de New York, d’Atlantic City, etc. pour les "rénover", en augmentant les loyers et refouler, par la même occasion, des dizaines de milliers de familles pauvres, dont la plupart sont condamnées à devenir "homeless", l’équivalent ici des poissons morts de l’écologie environnementale.

 

( Félix Guattari, Three Ecologies, 1989 )

 

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Poem of the day:

 

. . /. .

And death shall have no dominion.

No more may gulls cry at their ears

Or waves break loud on the seashores;

Where blew a flower may a flower no more

Lift its head to the blows of the rain;

Though they be mad and dead as nails,

Heads of the characters hammer through daisies;

Break in the sun till the sun breaks down,

And death shall have no dominion.

 

. . /. .

Et la mort n’aura point d’empire.

Les goélands, fini d’entendre leur crierie,

Et les vagues venant se briser sur les grèves ;

Où la fleur a fleuri, nulle autre fleur ne lève

La tête pour l’offrir aux bourrasques de pluie ;

Qu’importe qu’ils soient fous, clous morts, minés de rouille,

Leurs têtes de bouffons battront les marguerites,

Forceront le soleil jusqu’à ce qu’il s’écroule

Et la mort n’aura point d’empire.

 

( Dylan Thomas - Twenty-Five Poems, 1936 )

 

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rectO-persO | E ≥ m.C² | co~errAnce | TiLt

(spacial dialectic)

Competing currents

Practical conventions

Dialectical duration

Splitting (also called all-or-nothing thinking) is the failure in a person's thinking to bring together both positive and negative qualities of the self and others into a cohesive, realistic whole. It is a common defense mechanism used by many people. The individual tends to think in extremes (i.e., an individual's actions and motivations are all good or all bad with no middle ground.)

The concept of splitting was developed by Ronald Fairbairn in his formulation of object relations theory it begins as the inability of the infant to combine the fulfilling aspects of the parents (the good object) and their unresponsive aspects (the unsatisfying object) into the same individuals, but sees the good and bad as separate. In psychoanalytic theory this functions as a defense mechanism. It is a relatively common defense mechanism for people with borderline personality disorder in DSM-IV-TR.

  

Splitting creates instability in relationships because one person can be viewed as either personified virtue or personified vice at different times, depending on whether he or she gratifies the subject's needs or frustrates them. This along with similar oscillations in the experience and appraisal of the self lead to chaotic and unstable relationship patterns, identity diffusion, and mood swings. The therapeutic process can be greatly impeded by these oscillations, because the therapist too can become seen as all good or all bad. To attempt to overcome the negative effects on treatment outcome, constant interpretations by the therapist are needed.

Splitting contributes to unstable relationships and intense emotional experiences, something that has been noted especially with persons diagnosed with borderline personality disorder.

Treatment strategies have been developed for individuals and groups based on dialectical behavior therapy, and for couples. There are also self-help books on related topics such as mindfulness and emotional regulation that have been helpful for individuals who struggle with the consequences of splitting.

Borderline personality disorder

Splitting is a relatively common defense mechanism for people with borderline personality disorder. One of the DSM IV-TR criteria for this disorder is a description of splitting: "a pattern of unstable and intense interpersonal relationships characterized by alternating between extremes of idealization and devaluation". In psychoanalytic theory, people with borderline personality disorder are not able to integrate the good and bad images of both self and others, resulting in a bad representation which dominates the good representation. This school hypothesizes that they consequently experience love and sexuality in perverse and violent qualities which they cannot integrate with the tender, intimate side of relationships.

Narcissistic personality disorder

People matching the diagnostic criteria for narcissistic personality disorder also use splitting as a central defense mechanism. Most often the narcissist does this as an attempt to stabilize his/her sense of self positivity in order to preserve his/her self-esteem, by perceiving himself/herself as purely upright or admirable and others who do not conform to his/her will or values as purely wicked or contemptible. Given "the narcissist's perverse sense of entitlement and splitting ... [s]he can be equally geared, psychologically and practically, towards the promotion and towards the demise of a certain collectively beneficial project".

The cognitive habit of splitting also implies the use of other related defense mechanisms, namely idealization and devaluation, which are preventative attitudes or reactions to narcissistic rage and narcissistic injury.

Travelers of Space and Time -The Immortal and Timeless Soul in Symbiosis with Matter by Daniel Arrhakis (2026)

  

Travelers of Space and Time: The Immortal and Timeless Soul in Symbiosis with Matter

 

The Rovingian Animistic Perspective of the Soul

 

The Rovingian animistic view conceives of the soul as a traveler of space and time, proposing a cosmological perspective where consciousness exercises the fundamental free will of the universe.

 

In this approach, the soul manifests and evolves through successive incarnations and experiences in multiple physical realities and unimaginable cosmologies. Matter, in turn, is not presented as a simple inert substrate, but rather as a living extension of the soul itself, forming a symbiosis in which the spirit expresses and renews itself.

 

The Soul as a Cosmic Traveler

 

In animism, it is recognized that not only humans, but also plants, animals, stones, and rivers possess a soul, consciousness, or vital breath. Rovingian animism expands on this view, considering the soul as a spark of energy that travels through the universe, manifesting and evolving in a symbiotic relationship with matter. In this relationship, soul and matter are inseparable: one does not exist without the other.

 

According to this view, the soul is not static; it progresses through a cycle of successive lives, learning and evolving in different worlds, physical universes, and temporal realities, whether distinct (Past, Future) or contemporary (Present). The relationship between soul and matter is characterized by symbiosis, where the physical body serves as an expression for the soul, and matter is shaped by spiritual energy. Thus, spirituality and matter coexist, not opposing each other, but complementing each other.

 

Learning and Evolution in Diverse Realities

 

This approach postulates the plurality of worlds, admitting the existence of multiple inhabited worlds, each with different types of matter, densities, and physical realities, suitable for various evolutionary levels of the soul. The process of reincarnation is seen as a school, where the soul assumes bodies appropriate to the environment of each planet, learning new lessons and evolving through experience in varied physical realities and relative temporal planes.

 

As it learns and purifies itself, the soul brings the matter that envelops it closer to its spiritual nature, making it less dense and more subtle. This universal and timeless evolutionary dialectic advances towards a balance between matter and spirit.

 

The Role of the Soul in the Cosmic Journey

 

The soul is seen as an active agent, an intelligent principle endowed with free will, capable of detaching itself from the denser lower worlds to return to higher, less dense planes.

 

It acts as an intermediary between the universal spiritual world and the physical form of matter, propelling evolution. In the animistic view, by recognizing the world as a society composed of human and non-human beings—encompassing humans, animals, and nature—the soul perceives its connection to the whole, evolving benevolently as an insatiable learner.

 

In short,

 

Rovingian Animism proposes a vision that merges spirituality, cosmology, and personal evolution.

 

The central idea is that consciousness is not merely a byproduct of biology, but the driving force that shapes the physical universe.

 

Here are the fundamental points of this perspective:

 

1 - The Soul as an Evolutionary Engine

 

The soul is not seen as a static entity, but as an active traveler:

 

- Free Will: Consciousness chooses its experiences.

 

- Continuous Learning: Each life is a "school year" in different worlds and times.

 

- Transcendence of Matter: The goal is to make matter more "subtle," bringing it closer to the spirit.

 

2 - Inseparable Symbiosis

 

Unlike philosophies that see the body as a "prison," here the relationship is one of partnership:

- Living Extension: Matter is where the soul expresses and renews itself.

- Interdependence: One does not fully exist without the other on the manifested plane.

- Balance: Evolution moves towards perfect harmony between the physical and the spiritual.

 

3 - Multidimensional Cosmology

 

Reality is not limited to what we see; the universe is a vast field of possibilities:

- Plurality of Worlds: Different densities and physical laws for different levels of soul. On planets with distinct physical realities, the soul assumes biological or energetic forms unimaginable to the human mind.

 

- Fluid Temporality: The soul can experience past, present, and future as simultaneous or successive realities.

 

- Expanded Society: The recognition of "non-human persons" (plants, stones, rivers) creates an ethic of total connection with the cosmos.

 

Key Point:

 

In Rovingian Animism, existence is a journey of benevolence and self-discovery, where the entire cosmos collaborates in the evolution of consciousness.

  

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Viajantes do Espaço e do Tempo: A Alma Imortal e Intemporal em Simbiose com a Matéria

 

A Perspetiva Animista Rovingiana da Alma

 

A visão animista rovingiana concebe a alma como um viajante do espaço e do tempo, propondo uma perspetiva cosmológica onde a consciência exerce o livre-arbítrio fundamental do universo.

Nesta abordagem, a alma manifesta-se e evolui através de sucessivas encarnações e experiências em múltiplas realidades físicas e cosmologias inimagináveis. A matéria, por sua vez, não é apresentada como um simples substrato inerte, mas sim como uma extensão viva da própria alma, formando uma simbiose em que o espírito se expressa e se renova.

 

A Alma como Viajante Cósmica

 

No animismo, reconhece-se que não só os humanos, mas também plantas, animais, pedras e rios possuem alma, consciência ou sopro vital. O animismo rovingiano amplia esta visão, considerando a alma como uma centelha de energia que viaja pelo universo, manifestando-se e evoluindo numa relação simbiótica com a matéria. Nesta relação, alma e matéria são inseparáveis: uma não existe sem a outra.

 

A alma, segundo esta visão, não é estática, ela progride através de um ciclo de vidas sucessivas, aprendendo e evoluindo em diferentes mundos, universos físicos e realidades temporais; sejam elas distintas (Passado, Futuro) ou contemporâneas (Presente). A relação entre alma e matéria é caracterizada por uma simbiose, onde o corpo físico serve de expressão à alma, e a matéria é moldada pela energia espiritual. Assim, espiritualidade e matéria coexistem, não se opondo, mas complementando-se.

 

Aprendizagem e Evolução em Diversas Realidades

 

Esta abordagem postula a pluralidade dos mundos, admitindo a existência de múltiplos mundos habitados, cada qual com diferentes tipos de matéria, densidades e realidades físicas, adequadas a diversos níveis evolutivos da alma. O processo de reencarnação é visto como uma escola, onde a alma assume corpos apropriados ao ambiente de cada planeta, aprendendo novas lições e evoluindo por meio da experiência em realidades físicas variadas e planos temporais relativos.

 

À medida que aprende e se purifica, a alma aproxima a matéria que a reveste da natureza espiritual, tornando-a menos densa e mais subtil. Essa dialética evolutiva universal e intemporal avança em direção a um equilíbrio entre matéria e espírito.

 

O Papel da Alma na Jornada Cósmica

 

A alma é vista como um agente ativo, um princípio inteligente dotado de livre-arbítrio, capaz de se desprender dos mundos inferiores mais densos para retornar a planos superiores, menos densos.

Atua como intermediária entre o mundo espiritual universal e a forma física da matéria, impulsionando a evolução. Na visão animista, ao reconhecer o mundo como uma sociedade composta por pessoas humanas e não humanas — englobando humanos, animais e a natureza — a alma percebe sua conexão com o todo, evoluindo de maneira benevolente como um aprendiz insaciável.

  

Resumindo,

 

O Animismo Rovingiano propõe uma visão que funde espiritualidade, cosmologia e evolução pessoal.

A ideia central é que a consciência não é apenas um subproduto da biologia, mas a força motriz que molda o universo físico.

Aqui estão os pontos fundamentais dessa perspetiva:

 

1 - A Alma como Motor Evolutivo

 

A alma não é vista como uma entidade estática, mas como uma viajante ativa:

- Livre-Arbítrio: A consciência escolhe as suas experiências.

- Aprendizagem Contínua: Cada vida é um "ano letivo" em diferentes mundos e tempos.

- Transcendência da Matéria: O objetivo é tornar a matéria mais "sutil", aproximando-a do espírito.

 

2 - Simbiose Inseparável

 

Ao contrário de filosofias que veem o corpo como uma "prisão", aqui a relação é de parceria:

- Extensão Viva: A matéria é onde a alma se expressa e se renova.

- Interdependência: Uma não existe plenamente sem a outra no plano manifestado.

-Equilíbrio: A evolução caminha para uma harmonia perfeita entre o físico e o espiritual.

 

3- Cosmologia Multidimensional

 

A realidade não se limita ao que vemos; o universo é um vasto campo de possibilidades:

- Pluralidade de Mundos: Diferentes densidades e leis físicas para diferentes níveis de alma. Em planetas com realidades físicas distintas, a alma assume formas biológicas ou energéticas inimagináveis para a mente humana.

- Temporalidade Fluida: A alma pode experienciar passado, presente e futuro como realidades simultâneas ou sucessivas.

- Sociedade Alargada: O reconhecimento de "pessoas não humanas" (plantas, pedras, rios) cria uma ética de ligação total com o cosmos.

 

Ponto Chave:

No Animismo Rovingiano, a existência é uma jornada de benevolência e autodescoberta, onde o cosmos inteiro colabora na evolução da consciência.