Narrar artisticamente o Mistério Santo que habita entre nós: Leitura místico-teológica da obra “Guerra e Paz” de Cândido Portinari. (Narrating artistically the Holy Mystery that lives among us: Mystical-theological reading of the panel "War and Peace"). - DOI: 10.5752/P.2175-5841.2013v11n31p867 A revelação é um conceito fundamental para a teologia cristã: ele se refere à experiência que fundamenta o discurso sobre Deus. No século XX, operou-se uma transformação importante nessa concepção fundamental, uma renovação que implicou na desconstrução do conceito tradicional de (...) revelação focado em doutrinas e dogmas e na emergência de uma nova concepção que coloca como fundamento da revelação a experiência do incondicional, experiência mística. A partir dessa renovação, passou-se a considerar a problemática da dificuldade de uma linguagem que expresse a complexidade dessa experiência paradoxal. Toda criação artística, na medida em que provoca uma forte experiência estética, é uma maneira de falar de revelação. A linguagem da arte com seu poder evocativo e não definível é certamente capaz de expressar essa experiência do divino sem constrangimento do sagrado e sem desvalorização do humano. Esse trabalho consiste em fazer a leitura dos painéis Guerra e Paz de Cândido Portinari, evidenciando que através da arte é possível narrar artisticamente o Mistério Santo que habita entre nós. Palavras-chaves: Mística. Arte. Espiritualidade. Cândido PortinariRevelation is a key concept to Christian theology: it refers to the experience that underlines the discourses about God. In the twentieth century, an important transformation on this concept led to a deconstruction of its traditional meaning, originally focused on doctrines and dogmas, and further to the emergency of a new conception, which places the mystical experience in the very foundation of the Revelation’s concept. Since this renovation, the difficulties of a language to express the complexity of this paradoxical experience were highly problematized. All artistic creation, as long as it provokes a strong aesthetic experience, is matter of Revelation. The Art’s language, with its non-definable and evocative power, is certainly capable of expressing this divine experience without devaluate the holy or the human depreciation. This work consists on the reading of Cândido Portinari’s “War and Peace” panels, pointing out that, through art, it is possible to narrate artistically the Holy Mystery that dwells among us. Keywords: Mystics. Art. Spirituality. Cândido Portinari. (shrink)

Vodola, Max On a wet Melbourne evening on Saturday 16 September 1916, Archbishop Daniel Mannix, coadjutor to Dr Thomas Carr, attended the opening of the parish bazaar at St John's Parish, Clifton Hill. Mannix was on his way to another function when he made the unscheduled stop at Albert Hall on Queen's Parade.2 After opening the bazaar, Mannix spoke for a few minutes about an issue of great significance, the proposal by the Hughes Government for compulsory military service. Mannix spoke (...) about achieving an honourable peace without conscription, describing conscription as 'a hateful thing' and opining that 'the present war would not have achieved such disastrous proportions if conscription had not prevailed in Europe'. Mannix insisted that Australia had done her fair share and that conscription in Australia would cause more evil than it would avert.3 In speaking on conscription, Daniel had entered the lion's den. Mannix later reflected that the speech at Clifton Hill was his 'original sin'. (shrink)

Peter van Inwagen contends that free will is a mystery. Here I present an argument in the spirit of van Inwagen's. According to the Assimilation Argument, libertarians cannot plausibly distinguish causally undetermined actions, the ones they take to be exercises of free will, from overtly randomized outcomes of the sort nobody would count as exercises of free will. I contend that the Assimilation Argument improves on related arguments in locating the crucial issues between van Inwagen and libertarians who hope (...) to demystify free will, while avoiding objections these arguments have faced. (shrink)

I argue that in Bertrand Russell’s An Essay on the Foundations of Geometry (1897), his forms of externality serve the same fundamental role in grounding the possibility of geometry that Immanuel Kant’s forms of intuition serve in grounding geometry in his critical philosophy. Specifically, both provide knowledge of bare numerical difference, where we have no concept of this difference. Because geometry deals with such conceptually homogeneous magnitudes and their composition on both accounts, forms of intuition or externality (respectively) are at (...) its foundation. (shrink)

An exploration of the universe and man's place in it. Rodney Collin examines 20th-century scientific discoveries and traditional esoteric teachings and concludes that the driving force behind everything is neither procreation nor survival, but expansion of awareness. Collin sets out to reconcile the considerable contradictions of the rational and imaginative minds and of the ways we see the external world versus our inner selves.

With certain topics the general reader experiences a double-whammy wherein one must peer through a curtain of needlessly obscure jargon to try glimpsing something that is inherently weird in nature. Bell’s nonlocality was once such a topic, but authors have had considerable success over the years in showing where the line is between the enigma itself and the human-made oddities surrounding it . Libet-ology has yet to undergo that de-mystifying process. Accordingly, our first order of business here is to restate (...) its basic tenets in plain English so that only nature’s inherent puzzle is left on the table, free of certain peculiarities of the existing technical literature. We also address the question of the central topic versus its byways, as alluded to by ‘left turn into veto-as-volition’ in our title. In the ensuing parts of the paper, we look outside the field to see how hypnotherapy and Hinduism might shed light on it. (shrink)

Introduction -- Historical background : schools and politics -- Major representatives : Daoists of the Liang and Tang -- The sources : commentaries and scriptures -- Key concepts : mystery, Dao, and the greater cosmos -- Salvation : Dao-nature and the sage -- The teaching : mysticism, cultivation, and integration -- Changes in the Pantheon : Laozi and the heavenly deities -- The body of the sage : the three-in-one and the three- -- Fold body of the Buddha.

The use of artificial intelligence (AI) in healthcare comes with opportunities but also numerous challenges. A specific challenge that remains underexplored is the lack of clear and distinct definitions of the concepts used in and/or produced by these algorithms, and how their real world meaning is translated into machine language and vice versa, how their output is understood by the end user. This “semantic” black box adds to the “mathematical” black box present in many AI systems in which the underlying (...) “reasoning” process is often opaque. In this way, whereas it is often claimed that the use of AI in medical applications will deliver “objective” information, the true relevance or meaning to the end‐user is frequently obscured. This is highly problematic as AI devices are used not only for diagnostic and decision support by healthcare professionals, but also can be used to deliver information to patients, for example to create visual aids for use in shared decision‐making. This paper provides an examination of the range and extent of this problem and its implications, on the basis of cases from the field of intensive care nephrology. We explore how the problematic terminology used in human communication about the detection, diagnosis, treatment, and prognosis of concepts of intensive care nephrology becomes a much more complicated affair when deployed in the form of algorithmic automation, with implications extending throughout clinical care, affecting norms and practices long considered fundamental to good clinical care. (shrink)

Recent investigations have revealed 1) that the isochores of the human genome group into two super‐families characterized by two different long‐range 3D structures, and 2) that these structures, essentially based on the distribution and topology of short sequences, mold primary chromatin domains (and define nucleosome binding). More specifically, GC‐poor, gene‐poor isochores are low‐heterogeneity sequences with oligo‐A spikes that mold the lamina‐associated domains (LADs), whereas GC‐rich, gene‐rich isochores are characterized by single or multiple GC peaks that mold the topologically associating domains (...) (TADs). The formation of these “primary TADs” may be followed by extrusion under the action of cohesin and CTCF. Finally, the genomic code, which is responsible for the pervasive encoding and molding of primary chromatin domains (LADs and primary TADs, namely the “gene spaces”/“spatial compartments”) resolves the longstanding problems of “non‐coding DNA,” “junk DNA,” and “selfish DNA” leading to a new vision of the genome as shaped by DNA sequences. (shrink)

Hebrew University Professor Emeritus and Israel Prize recipient Eliezer Schweid (1929-2022) is the greatest historian of Jewish thought of our era. In Siddur Hatefillah he probes the Jewish prayer book as a reflection of Judaism's unity of Judaism and continuity as a unique spiritual entity; and as the most popular, most uttered, and internalized text of the Jewish people. Schweid explores texts which process religious philosophical teaching into the language of prayer, and/or express philosophical ideas in prayer's special language - (...) which the worshipper reflects upon in order to direct prayer, and through which flows hoped-for feedback. With the addition of historical, philological, and literary contexts, the study provides the reader with first-time access to the comprehensive meaning of Jewish prayer- filling a vacuum in both the experience and scholarship of Jewish worship. (shrink)

It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art endures (...) because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

The efforts of theologians in the last few decades to adapt their discipline to the methodological constraints of the “empirical sciences” have become obsolete. Just as many theologians have reached a tentative rapproachment with the “secular” mentality, the elements of mystery hitherto shepherded by religious thinkers have been appropriated in the cosmological models of the “new physics.” -/- The paper explores revolutionary developments over the last ten years within quantum physics. It points to an imminent convergence between scientific and (...) religious concepts within a larger framework of speculation termed synholism (from Friedrich von Weizsácher), and examines theoretical implications of such hypotheses in high-energy physics as a “cosmic consciousness” and “multiple universes.”. (shrink)

On December 31, 1877, the English novelist George Eliot made her last entry in the notebook in which she had kept her diary for the past 16 years. She was a few weeks past her 58th birthday; one year past the triumphant publication of Daniel Deronda, her last major work of fiction; and three years away from her death, from kidney disease, in December 1880. As she was accustomed to do, Eliot used the last day of the year to look (...) reflectively in her diary at the big picture of her life as a whole: I have often been helped by looking back in [this book] to compare former with actual states of despondency from bad health or other apparent cause. In this way a past despondency has turned to a present hopefulness. But... (shrink)

In his 1987 novel Foe, J. M. Coetzee re-introduces the figure of Friday, a speechless cannibal, who is Robinson Crusoe’s slave and who allegedly had his tongue severed by slave-traders. Evidently, Friday’s bestialization and his peculiar position within the narrative are inextricably linked to his status as a nonspeaking character. In contrast to Susan, Coetzee’s “failed narrator”, Friday narrates nothing in the novel. Hence, his silence can be seen as a site of resistance to the oppressive power that tries to (...) define him, marking the limit of a language and a literature that seek to place him within western logocentrism. Thus, the enigma of Friday and the enigma that is Friday, are the major axis around which the novel and all relationships within it unfold. Susan’s -and by extension, Coetzee’s own- inability to interpret Friday’s silence does not incapacitate the narrative but quite the contrary: it is only through her productive failure to determine, to identify and to define the figure of Friday that Coetzee is able to restore agency and meaningfulness to Friday’s silence, opening up its void to the possibility of a restitution to come. (shrink)