Electric Tandoor Recipe

Alteroscopio ( seventh)

DGD: 136 Networks (clonografía), 2010

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eye Virtue

* via influence the look is an old theme like few others. Ovid writes: "Looking at the eyes of a person who has bad, evil is communicated to the person looks at them and sometimes pass diseases of bodies of others "( De amoris remedy, V, 15). Hence perhaps the counterpart, and it is he who looks in the eyes of a saint or an enlightened get some of that grace but does not know or do not have direct evidence of transmission.

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With its proverbial seriously ironic, Montaigne asserts: "The turtles and ostriches hatch their eggs in one view, evidence that they have some under eye" (Essays , Book I-XX, " force of imagination ").

* Angelus Silesius

practice a strange reversal of the "virtue eye "in aphorism 122 of the first book of his Cherubic Pilgrim, whose subtitle is" The sensuality brings suffering ":

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A private eye ever viewing pleasure, is
entirely blind end, and is not himself.

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The suggestion is disturbing: the pleasure of exercising the sense of sight is a trap that leads to lust and ends in blindness: the worst of them, which is the inability to see eye himself.

* Great value save that aphorism with the following:

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In your view is blind to watch the sun, your eyes
are guilty, not the intense light.
[I, 178: It's your fault]

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The language he wrote Silesius, German, contains a brilliant synonymy. Stern word means both "star" and "pupil of the eye." More than a misunderstanding is a trace of the oldest mystical culture, and was used with relish by the Baroque style. In English also has manifestations in the most simple of that line is the most basic of romantic metaphors, "Your eyes are like stars", but on the other end, that of greater clarity, is one of the voices Antonio Porchia:

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Yes, millions of stars . And millions of stars are two eyes that look.

* "No need alteroscopio"
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When the telescope appeared in the Netherlands around 1600, there was a revolution in the field of science that can hardly imagine today, for the first time the eye "naked" was able to see more and farther, and the mysteries were about be unpacked (just as did the microscope). But profound impact of this great tool was also in the field of mysticism and theology, and even the iconic, since the telescope became metaphorically, as a symbol of visual acuity and, figuratively, of knowledge deeper.

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certain thinkers then turned against this symbol, and for example Daniel Czepko in Sexcenta monodisticha sapientum (1655), wrote: "When the telescope on the heights seeks to penetrate the stars of heaven, and this city is resplendent space, boundless realm, in his eyes and his heart, which the viewer of the wonders of God read these verses, imbued with delight and essence: you can discover God in himself, things in God, better than Galileo would be the know " .

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Silesius Angelus also got in that car, and in aphorism 187 of the second book of his Cherubic Pilgrim said: "I do not need telescope"

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Friend, if I can see myself at a distance: Why would
do it for your telescope?

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is certainly a question that could be formulated by substituting "telescope" with "alteroscopio." Is it really necessary to watch the machine otherwise? First place would have to answer the wearer does not really want him to delegate his perceptual capacity, but multiplied, not trying to put the accent on the tool (the best name would be the instrument, with all its musical meanings) but exclamation of a character the Lighthouse (1927) Virginia Woolf: "I would need one to have fifty pairs of eyes to see!".

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A view as fast as sunlight

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In Swedenborg Angelic Wisdom says, "The immensity of the heavens, where angels live, is so great that if man were endowed a hearing as quickly as sunlight and do not stop looking at eternity, surely not find a single horizon, where lay his eyes. " The alteroscopio is a metaphor for: no one but a man endowed with sight as fast as the sunlight "and, above all, that of a human being not stop looking and is thus "one horizon where pose his eyes, "ie, a field of view without boundaries or borders.

* Looking at the Hermetic literature, it is obvious that it describes two ways of seeing mystical. The first is related to the Buddhist rejection of the trap of desire, and certainly one of their best performances is a character The shagreen (1831) de Balzac, this is a man who has achieved a longevity lucid and both tragic: "I have come," he says, "at the age of one hundred and two years and I've become a millionaire. The misfortune has given me wealth, ignorance has instructed me. " And so says his first existential

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The man is consumed because of two events made instinctively, that deplete the sources of their existence. Two verbs express all the ways that make these two causes of death: "Wanting and Power." Between these two terms, and human action, there is another formula which take over the wise and I owe my longevity luck. "Wanting" burns us and "Power" is destroying us, but "know" our weak body is in a perpetual state of calm. Thus, the desire or the will, has deceased in me died thinking, mobility, or power, is resolved by the operation my natural bodies. In short: I placed my life, not the heart that is broken, or senses, that is dull, but in the brain, which does not wear and survives everything. [...] I've done everything, in short, have known disdain for everything. My only ambition has been to see. See, is not perhaps know? And know, do not instinctively enjoy? Is not discover the very substance of fact and appropriate it essentially?

* And indeed, as the narrator says The shagreen to describe this character, "At the face that reveals the stoic calm of a god all-seeing or safety proud of the man who has seen everything. " In this case, seeing is seen as an isolated "genius old man lived in an area foreign to the world they lived in isolation, without enjoyment, because I had no illusion, no pain, because he knew no pleasure."

* Through its "look cerebral", this old man (not for free is an antique dealer) has reached a state similar to that of the viewer from the chair provides a complex staging:

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My excesses have been condensed into the contemplation of seas, peoples, jungles, mountains. I've seen it all, but quietly, without exhaustion. I have never aspired to nothing, waiting for everything. I have walked through the universe, like the garden of a house of my own. What others describe as pains, loves, ambitions, setbacks, sorrows, becomes for me ideas, which turns into dreams, instead of feeling, the express, translate them, instead of letting devour my life, dramatize the development, distracted as I read novels by an inner vision.

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Its principle could therefore be stated as disregard for safety:

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here, "he continued, giving a slap on the forehead," here's the real capital! Step delightful days running a smart look to the past, I recall whole countries, places, views of the ocean, beautiful figures of history. I have an imaginary seraglio, which possess all the women who have never met. Often, I watch its wars, its revolutions, and the judge. Ah! How do you prefer feverish fugitive admiration for a few more or less rosy flesh, more or less morbid? How do you prefer all the disasters of their misguided will to the sublime power to call before it the Universe, the immense pleasure to move freely, without being seized by the bonds of time and by the constraints of space, all-encompassing pleasure, to see everything, leaning over the world to question the other spheres, to hear God?

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[ Read the conclusion of the seventh .]

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