About The Thin Line Of Lo Absurd Y Lo Fantastico

The bridge is turned! He had not finished return me, when I already rushing, me rushing and was already torn and threading in sharp pebbles that I had always watched so peacefully from fast water. Frank Kafka. (Czech Republic. Prague, 1912) excerpt of the story El Puente. About the thin line of absurdity and fantasy. by Roberto Pinto.

Aristotle speaks in his metaphysics book about grades or moments of knowledge, namely: sensation, memory, experience, universal concept, art and science. In relation to the first, the author speaks of a sort qualitative movement or alteration of the soul, thanks to which the subject assimilates the sensitive form of the object without assimilating your stuff. In the rear of each of the above mentioned terms definition, it happens that arriving at the experience – time or degree of knowledge-sharing across a wide spectrum among the species of the Kingdom animal – occurs a jump or qualitative change which is given by the abstraction of the universal1 concept. It is there, where is born the art, as the achievement of many experiences that allow you to develop a universal and unique concept of similar things. We could then take as starting point the lapidary sentence of Angel Cappelletti2, who without major pretensions and assembling of the creative Word says experts have that of things; the artists, the why. Those who have experience knows that things are (not what they are), i.e. to know its existence, not its essence, and even less their cause. Therefore, art is certainly above the experience and the artists are wiser than experts. For the correct understanding of this statement in the context of artistic creation, we must remember that in Aristotelian philosophy knowledge and reality are partially coextensive and the way in which reality is built before us men, is attributable to a hierarchical plurality where the moments of the cognitive process are the degrees of knowledge.