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פיליפ סומוזו כותב עבור Sunstar ופרסומים אחרים והוא יועץ ל- ARISE, הרואה חברה מוסמכת של יזמים חברתיים ופיתוח אשר יוזמותיהם מיועדות למיגור העוני ויצירת דרכים חדשניות לפיתוח בר קיימא.

"סומוזו הוא סופר מפואר ומרתק" ג'יימס בולדווין כהן

ביקורת ספרים

כותרת הספר: הרטרוספקטיבה של טרנס לינדל

נבדק על ידי: פיליפ סומוזו

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הרטרוספקטיבה של טרנס לינדל הוא ספר שקשה להעריך אם אינך אמן בעל חזון, פילוסוף או שטן.

כפי שכותרתו מרמזת, זהו תיאור כמעט-אוטוביוגרפי של אדם הידוע כמאייר החשוב ביותר בעולם העכשווי של שיר האפי האנגלי הגדול ביותר, גן העדן האבוד מאת ג'ון מילטון. לא מזיק ככל שזה נשמע, הוא מערער את ההומניזם המודרני. זהו ספר לאנשים שאינם טיפשים של אף אחד.

לא רציתי לכתוב ביקורת על הספר. אבל קריאה של דף אחד הובילה אותי לעמוד אחר, ואחר, עד שסיימתי את כל 253 העמודים. הסיבה להתקדמות היא הרבגוניות של המחבר מכיוון שאנשים רב-תכליתיים באמת הם נדירים ומסקרנים לאינטלקט שלי.

בתחילת המילניום החדש, מחקרים מדעיים דחקו את פרמטרי הרבגוניות מכיוון שהם מסכימים כי לאדם אין רק שתי אינטליגנציות - IQ ו- EQ - אלא תריסר. יש האומרים שזה שני תריסר. למעשה, אם אדם יוכל לפתח את הפוטנציאלים הללו לחלוטין, הוא יכול להיות על-אנושי, אפילו אלוהי (קחו את לוציפר)!

טרנס לינדל, כבר בן 74 נכון לכתיבת שורות אלה (2018), הוכיח בחייו את ריבוי האינטליגנציות שיש לאדם. עיון בתכני לינדול רטרו יראה עד כמה הוא היה מגוון בהתנהלות חייו - חייל, אנשי בתי גופות, מנהל פיננסי, אוסף וסוחרי אמנות ועתיקות, מאייר קומיקס, סופר, דוגמן אופנה, אוצר, מייסד מוזיאון. , מארגן האירועים הסוריאליסטי הגדול ביותר ... ומי יודע מה עוד. אני לא חושב שהוא היה לא הגון ושירות עצמי בכתיבת הרטרוספקטיבה.

כל פרקי החיים הנזכרים לעיל, באופן בלתי בולט או גלוי, היו רק פלגים לתשוקה האחת ששרפה את ישותו: המחשת גן העדן האבוד. לפיכך, שיטת הסקירה שלי הייתה לחבר בין נקודות שלדעתי כמשמעותיות לגן העדן האבוד, להמציא סיפור שהוסתר על ידי כלכלת הטקסט הנרטיבי של לינדל, אך נרמז על ידי רמזים והשלכות. מכיוון שאני גר בצד השני של העולם, מה שעומד לרשותי דרך האינטרנט, הוא רק העותק האלקטרוני של רטרוספקטיבה לינדל. לדיוק הפניות, אני רק יכול לקוות שההחלפה שלה זהה לזו של העותק הקשיח.

אדם אינטליגנטי אינו חף מפשע כמו אדם וחווה בגן. ראשית, הוא יודע מה הוא רוצה בחיים, ואז פועל בחריפות כדי להשיג זאת. חכמות הופכת להיות הכרחית עקב אתגרים המהווים מתקן מטאפיזי נורמלי של החברה, כפי שקורה בכוח המשיכה על הטבע.

אם כבר מדברים על אינטליגנציה, תשעים ותשעה אחוזים משבע מיליארד האוכלוסייה האנושית של כדור הארץ, באופן אינדיבידואלי וביחד, בשלב זה או אחר, מפסיקים להגיע להארה אינטלקטואלית מתקדמת, אך הופכים לבובות הממסד. הם עושים את מה שאומרים להם לעשות בלי שאלה וחשיבה. גרוע מכך, הם משמשים כאגוזים ומסמרות של מבנים ומוסדות חברתיים נצלניים. ידע יכול להיות פרי העץ האסור של עדן, אך דיסוננס קוגניטיבי (שטבע ארון דייוויס) הוא הסימפטום העיכול שלו.

לא לינדל, במידה רבה יותר מאנשים מצליחים רבים. אם ה- MRI יכול לבחון את הפינות והפינות של הנפש שלו, מאחורי ההנאה שהוא חובב בעת ביצוע משימות מגוונות בקריירה שלו, הוא העין של מוחו, בולט, נלהב, בוהה בפרדייס אבוד (PL) - נקודת חדות המסמנת כי טרנס לינדל הוא הנבחר של ג'ון מילטון שיאיר את PL בצלילות המתאימה לתקופה הפוסט-מודרנית. לשם כך, החתרנית המגוונת של ההומניזם לא הייתה כל דרך לברוח מהשטן, לטובתם ולהנאתם ההדדית.

ממדבר אפטון למיניאפוליס

כמו האדם הראשון אדם, לינדל חקר והשתולל, בביצה הפרדיזאית הפראית בילדותו באפטון, מינסוטה, וחיפש תמיד הרפתקה מוזרה. כמו הקיץ, הילדות באה והלכה. כשגדל ולמד בתיכון ובמכללה במיניאפוליס, ההפרדה מהמדבר הזה "הרסה" אותו.

בקולג 'הוא חווה תחושות מוזרות, אם כי מהנות, עם נוכחות בלתי נראית של "ישות עוצמתית" שמפתה אותו ב"כוח גדול "אם הוא נכנע. תחושות אלה הסתיימו בכאב וב"האפלה ". מכיוון שהוא התנגד לתחושות, זה נעלם. הוא מעולם לא הזכיר את ההאפלה בדיעבד.

במקום זאת, הוא היה מאוהב על ידי אמנית צעירה יפהפייה (עמ '64). להסיע אותה בעיר ברכב מתים, פשוטו כמשמעו, לא הספיק כדי לספק את משיכתו של לינדל לאישה. אני מניח שהאישה חכמה מכדי לאפשר לגעת בעצמה כשכל חברותיה צפו בכל מקום שבו הגופה הולכת.

אף על פי כן, אמן הגברת מתגלה כערב לינדאל. תוך זמן קצר הוא הלך אחריה לעיר שלא שוכבת: ניו יורק. שם, הגורל הוביל את לינדל לקודש בקול הנפש שלו, שם חיכתה מדונה של המפלצות - אחד מציוריו הפחות מוכרים - דרך ציור הבד והצבע שלו.

ניו יורק, לינדל, ותהילה

מדונה של המפלצות צפופה בסטיות הנוראיות שהפכו צאצאי ההומניזם. מלטף בעדינות את נחש השקר והשקרים (המסמל את הדת) ידה השנייה לוחצת באהבה על כתף הרעב שפניו מביעות סיפוק כשהוא מושיט יד אל הירך. התמונה מסודרת בתיאטרון ויכולה בהחלט להיות דיוקן משפחתי של מפלצות. בני משפחה אחרים שנמצאים במקום הם ידע, בורות, פחד, קפיטליזם, מדע ורפואה, בין היתר - כולם מחרידים ונוראיים. אלוהים התעלם מהם שסימל השמש שלמעלה, בעוד שאנשי השטן מרחפים מעל (עמ '184-197).

הכיתוב של לינדל קובע כי המדונה היא תקווה - כוזב כפי שהיא מתוארת כחסרת תועלת, מה שמרמז כי זה בגלל התקווה לתנאי חיים טובים יותר ו / או לחיי נצח שאנשים מנוצלים על ידי דת, ממשלה ועסקים גדולים. בהתאם לטענת לינדל על חוסר התוחלת של התקווה, האו"ם, על מטרותיו, מעביר את הנושא מהתקדמות כלכלית לקיימות גרידא.

הביצוע המעורפל של לינדל ל"מדונה של מפלצות "על בד הוא אבן דרך המדברת רבות על האבולוציה הפסיכולוגית שלו ממינסוטה לניו יורק. הנפילה שלו מגן העדן של הילדות פתחה חלל ריק בחייו שהיה צריך למלא. אין ספק שהוא בוודאי נתקל בג'ון מילטון וגן העדן האבוד, בלימודים ועוד, בתיכון ובקולג 'במינסוטה.

האמונה הרווחת מאז ומתמיד היא שרוחו של אדם מת מתעוררת כאשר החיים מדברים על הנפטרים. האם זו שאלה כמה אישים גדולים שכבר מזמן משיגים כביכול אלמוות? יש עוד להבין על רוח כאנרגיה בלתי ניתנת להריסה. אני מעז לומר שזו הייתה רוח הרפאים או הרוח של מילטון שבמיניסוטה ניסה להחזיק את לינדל, והעניק לו תחושות מהנות מאוד סובייקטיביות והבטיח לו כוח רב אם הוא יניב.

התנגדותו של לינדל לתחושות המוזרות גרמה להתקלות שהוזכרו קודם לכן, ככל הנראה אילצה את רוחו של מילטון לעשות סידורים אחרים כדי להשיג כוונה. מאז התפנתה דרכה של לינדל להצלחה. אם זה לא היה מילטון, זה בטח היה השטן עצמו, שמפתה את לינדל. או או אפילו שניהם.

בניו יורק הוא זכה למיומנות על ידיו, על המכחול ועל לוח הצבעים שבעזרתם גילה חזות לא טיפוסיים על בד. למרות שלא פירט את הכשרתו האמנותית הפורמלית, ברור כי קומפוזיציות הציור שלו מושפעות מהירונימוס בוש. אבל לינדל העז הלאה על ידי פיתול הומור באימה, ולהפך, או שהוא שילב אותם כל כך טוב בזכות מרקם הסוריאליזם הייחודי, המוכר כיום.

בהומור מחריד, מוזר באופן מצחיק, הוא הפך לסנסציה בסצנת האמנות העכשווית של ניו יורק ומבוקש על ידי סופרי אימה וכותבים עתידניים עטורי פרסים (עותקים של מגזין Heavy Metal הגיעו לידי אפילו כשגרתי מתבודד צעיר באזור כפרי טרופי של דרום מזרח אסיה מהארץ. אמצע שנות ה -70 עד תחילת שנות ה -80). ההרס שנגרם מעזיבת מדבר ילדותו מתחלף כעת בצורת התרגשות אחרת.

בדיעבד, אני מופתע, סגנון האמנות של לינדל לא תואר על ידי המבקרים כהומוריסטי. תיאורים כמו חזון, פנטזיה, נרטיב וסוריאליסטי בכמה גרסאות היו נכונים. אך איש מאלה שביצעו את ההגדרות לא ראה את היבט ההומור (עמ '6 ו 123). לשם כך הם החמיצו אלמנט פרשני חשוב מאוד.

התמונות המעוותות והמכוערות (שתוארו על ידי מגזין האמנות העולמי בניו יורק כ- DNA שהשתולל) מאכלסות את ציורי הקנבס שלו בהחלט נוראות. אך כשמתבוננים בתרחישים מעוררי הקאה ומעוררי פחד, ניתן להבחין בהומור הזורם בעורק האמן. זה מבחינתי משמעותי ביותר לפרשנות כפי שאפרט בהמשך.

התהילה שזכה איפשרה לו לרכוש מכוניות יוקרה (מרצדס בנץ) ונכסי מקרקעין (עמ '86), יכולה להיות גורם מדוע הוא סלד משכנתא. אם ההשערות שלי נכונות, אפשר לקשור את זה עם האכזבה החברתית-פוליטית-כלכלית שלו (עמ '110-136 והכל). מובן כי השכלתו האקדמית "גן העדן האבוד" התיישבה כרוכה בהשתקפות עצמית ודיאלוג.

גן העדן האבוד בראש ובראשונה המאייר העכשווי

אנו מכירים אדם על ידי למידה על מה שהוא עושה, מדבר וחושב (מצייר או כותב).

מאגנה בהצטיינות של לינדל ממכללת האנטר, על פילוסופיה ואנגלית עם קטינים על פסיכולוגיה ואנתרופולוגיה גופנית, היא עדות שהוא לא דחה אישית קונפורמיות חברתית אלא השפיל אותה מבפנים. באופן ממולץ הוא השתמש בכישורים החברתיים שבנה, כשהוא מדבר את דעתו בחופשיות גם אם זה פוגע באחרים, בעיקר באנשים בעמדה שהתייחסתי אליהם קודם כאל בובות ממסד ואגוזים ומסמרות למבנים חברתיים מדכאים (עמ '51-52 מעטים) של מחלוקות רבות).

כי הוא ארגן את האירועים הסוריאליסטיים הגדולים ביותר אי פעם (הגורל האמיץ וחגיגת 400 שנה ללידתו של מילטון, עמ '76 ו -29) וההכרה שצבר כמאייר החשוב ביותר בעולם העכשווי של גן העדן האבוד (עמ' 5 ו -30) הם עד כה ההוכחות האמיתיות שהכוח הגדול המוצע לו נמצא כעת בידיו.

על ידי כתיבת המאמר "העולם הפוסט-ארט" (עמ '114-116) הוא מסתכן בהיותו אויב של כולם וכמו הפרופסור החסידי, קפיטליסימו, נורה למוות (עמ' 118-119). לינדל מודה שהוא לא כל כך אוונגרד. במדיום אמנות נכון וטכניקה, אבל במחשבה הוא אוואנטרד. כאשר תיאר את עצמו בגלוי כאמן הרמנויטי (עמ '123), הוא נטרל את המתנקש בעתיד (אם היה כזה). הערך המערבי המנוגד לעצמו, המוחלט, של רלטיביזם תרבותי פוסט-מודרני שהוא השמיץ מילולית, הציל אותו מבלי לאבד את הנישה האליטיסטית שלו בתולדות האמנות העכשווית בניו יורק ומחוצה לה.

יותר מאמן הוא פילוסוף. מבשר חזון של החדשות הרעות שאמנות ופילוסופיה מתים, אשר מבחינה היסטורית מקדימה לקריסת הציוויליזציה. טיעוניו, שאינם מקובלים על רבים, הם בריאים ומבוססים היטב.

דיסוננס קוגניטיבי, אומר מבקר החברה ארון דייוויס, גורם לאדם או לקבוצת אנשים להנציח מערכת אם הם מרוויחים מכך, גם אם הם מפרים את החוק או מנוגדים לתקנים אתיים. זה מה שקורה עכשיו לעולם כולו.

שימושו הכללי של לינדל בתמונות עיניים בקומפוזיציות שלו מבטא את הנטייה הגוברת והחישוב שלו להתבונן במציאות האובייקטיבית. הרומנטיקה הפילוסופית שלו עם גן העדן האבוד המתנשא הגבוהה הגבירה את התבוננותו והעמיקה את הפרשנות כלפי החברה מול PL. בשקט זה הדבר היחיד שחשוב לו.

כל שאר המחויבויות החברתיות שלו כפופות וכתוצאה מכך משתלבות עם גן העדן האבוד. חלק ממעסיקיו חשו והביעו כעס על כך. אבל איך הם יכולים להסיט אותו מתשוקה לכל החיים? בלי לדעת הם עסקו בענק אמן-פילוסוף שנולד בתקופה זו של ההיסטוריה כדי למלא משימה.

השורה התחתונה של הבעיה האנושית היא תאוות בצע - לכסף, כוח, תהילה - מצוקה קטנה לשכל. האדם נברא בצלם אלוהים אך נגוע בזריזותו של לוציפר. מכיוון שזה היה המצב המבצעי של האדם זה שלושת אלפים שנה זה הפך לבדיחה. הבלוב (עמ '132) חי, משכפל את עצמו בכל רחבי העולם, זולל הכל, מקריב את כולם.

לינדל הוא אחד שלוקח את המצב הענייני ברצינות, אך נבון בחוכמה עוקף יצירתי מהתרגשות להומור, שמא קיומו הרגשי של האדם יסבול הכי הרבה ואתה מתגעגע לשמחת הנסיעה הפלנטרית. הוא עשה דבר נכון במיוחד בכך שהוא פנה לחברה בשמחת שמאות. להפיק את המיטב מעסקה גרועה, כך נאמר. כמה סדקים בחרו לבצע ירי ב -11 בספטמבר או ירי המוני.

האם משימת חייו היא להפיל את ההומניזם? לא כל כך. אהבתו לקלאסיקות - אמנות וספרות - מדברת על סטנדרט משובח וגבוה. יש זן שאומר "אנחנו לא זורקים את התינוק עם מי האמבטיה." חינוך, צמיחה אישית, התפתחות חברתית, להתקיים עם הקשר היסטורי. יש חוכמה מהעבר שאם תישמר יכולה למנוע מהעקרב ההומניסטי לעקוץ את עצמו למוות. חוכמה זו עוברת דרך מכלול ההיסטוריה ומבטאת את עצמה באמצעים שונים - אנשים שקושרים ביניהם על ידי קו מחשבה מתפתח, ויוצרים כאילו מערכת אקולוגית הולכת וגדלה.

Bienvenido Bones Bañez והפליקס קולפה

ההיסטוריה המודרנית היא נפילה מתמשכת של ציוויליזציה שעלולה לקרוס עם חלקים שונים מתפוררים, מנותקים, לא מתפקדים ומושמדים. זה קרה בעבר. זה קורה שוב למרות התקדמות מערכות ההפעלה החברתיות. אזהרות טובעות ברעש פוליטי.

אז, quo vadis, homo s. סאפיינס? בשיא בחינתו ההרמנויטית של גן העדן האבוד והפלת הומניזם מודרני (פוסט) באמצעות אמנות וטיעונים פילוסופיים, שאלה זו נשארה במוחו של לינדל. הקסם מהשטן הגיע לשיא בתחושת הכרת תודה. האם זה יכול להיות המוצר הנורא ביותר של מוחו המואר של לינדל?

ללא כוונה, תודתו של לינדל הועלה על ידי רמז של עמיתו של האמן הסוריאליסטי ההרמנאוטי ביונוונידו בונס באנז כי "השטן נותן צבע לעולם". בהרצאה פומבית הודתה לינדל כי קיבלה השראה מההצהרה של בונס.

בגן עדן אין אינטרנט, אין מדיה חברתית ואין טלפונים סלולריים. הכל בסדר ובהרמוניה מושלמת. האוכלוסייה האנושית הייתה רק שתיים - האחד זכר והשני נקבה. מדי יום הם חייכו בידיעה אחד לשני וממשיכים בתמימותם המבורכת. הם אכלו רק פירות. לא ברביקיו ולא מקדונלד'ס.

הם הלכו בעירום ברגל ושוחחו עם הצמחים ובעלי החיים. אין שיחות אינטלקטואליות. אתה ואני לא היינו שם כי לא היה שום סיכוי. לפני הנפילה, אבינו המקורי, אדם ואמא, חוה, לא ידעו על יחסי מין. האם אתה יכול לבלות את הנצח במקום כזה כמו גן עדן? אם אינך יכול אפילו להיות טבעוני בעולם הזה, אל תהיה צבוע על ידי תשובת כן.

אם אתה עונה בכנות לא, אני לא רוצה לבלות את הנצח בגן עדן על כל הדברים שהורגלתי אליהם ובוודאי הייתי מתגעגע אליהם, אתה צריך להיות אסיר תודה גם לשטן. שם טמונה ההצהרה של ההצהרה של בונס השטן נותן צבע לעולם! זה היה בגלל הפיתוי של השטן שהאיש והאישה הראשונים נפלו מחסדו המושלם של אלוהים ונחתו בעולם הזה של הפכים: אהבה ושנאה, הנאה וכאב, צודק ולא נכון, תהילה ובושה, שלום ומלחמה.

ונפילתה של איב הייתה לידתו של ההומניזם, כך מפרט לינדל. כעת הם היו בכוחות עצמם ליצור משמעות מהעולם הזה שבו חיים אחדים הם אוכל אחר.

חסדיו המוזרים של השטן

הכישוף הקארמטי שהשטן הטיל על העולם הדהים את האדם למציאות הצורך לשרוד בתוך מאורת אריות, כביכול (הנביא דניאל עשה, תרתי משמע). מעניין שהאדם חווה השראה מהצלחותיו בגלל אתגרים והתמלא באומנויות ובאותיות, ויצר דמויות ותמונות יפות וכתב סיפורי ניצול חייו ביחס ליקום סביבו. נפילתו של האדם הציבה אותו במצב לשאוף למשהו טוב יותר. מנקודת מבט פילוסופית האדם נהנה מחסדיו המוזרים של השטן, כך מסביר לינדל פילפה קולפה (נפילה בר מזל).

אין ספק שלשטן יש תפקיד חשוב בדרמת בריאת האל, שבלעדיה לא תושג מטרה שכן המשיח לא היה נצלב וקם לתחייה ללא הבגידה בידי יהודה. האירוניה עם האדם היא שהוא נכנע ונהנה מפיתויי השטן אך הופך את השטן למכוער, הפחד והנורא מכל היצורים. ההצגה של לינדל כמפלצות מחוץ לעמל ההומניזם ושל גברים שנקלעו לתרחיש איום אך הומוריסטי מוצדקת.

יתר על כן, לינדל מצהיר כי אם הנוצרים חייבים לחגוג את חג המולד, הבעת התודה שלהם למושיע צריכה לכלול את השטן. זה קשה לעיכול עבור מוחות בינוניים שהוסגרו במשך אלפי שנים על ידי מנהג תרבותי שמלכתחילה עבר בירושה מעובדי האלילים.

השטן, תמיד, מוקרן על ידי הכנסייה כמי שיש לפחד ולבוז לו. לפיכך, תכנות האנושות עם חשיבה בינארית. הבחירה היא אלוהים או השטן, או / או. עם הזמן, הבחירה הבינארית הפכה למערכת האמונות שלי או לשלך? מובן שהאנושות נפלה על השטן, אחרת החברה והעולם לא יהיו בבלגן כזה. אולם תת המודע האנושי, למרות כל ההתפתחות הטכנולוגית והמערכתית, עומד בסטגנציה בימי החשיכה.

היתרון בהערכת הערכת תודתו של לינדל על חסדיו המוזרים של השטן הוא בכך שאלה שמבינים יוכלו להתעלות מעל חשיבת התוכנית הבינארית ולהעלות את הבנת האדם את סדר האהבה המקיף של אלוהים: אורדו אמוריס. זו עליית מדרגה אדירה אם תפתח חמלה כלפי יהודה, ותפקידך מטלה קשה לביצוע ותבין לעומק את תפקידו של השטן. אהב את האויב שלך, תכתיב נוצרי שמרגיש כמו אבן להיאכל (אוכל האבן עמ '152). ברגע שזה מושג, הפחד מתפוגג.

לינדל אוהב את הקלאסיקות אך מבוהל ממה שהפך להומניזם במיוחד בתקופה הפוסט-מודרנית. בעוד שהוא מכיר בתגובה הפוסט-מודרניסטית לסחורה אמנותית בוטה כתקפה, הוא דוחה את הטיפול ברלטיביזם תרבותי בעל ערך מוחלט. סתירה במונחים, זה מה שזה. במקום זאת, הוא מצפצף על "האליטיסטים" באמנויות - מעטים מאוד שיש להם "השיפוט לדעת מה כדאי בהישגים אנושיים", מילותיו שלו.

למרות כל ההצהרות החתרניות שלו על הומניזם, לינדל עדיין מאמין באנושי, באומרו שגבר (ואישה) חדשים וגדולים יותר יגיח מאפרו של האמנות. אבל לפני כן, אירוע או שניים עוד לא קורים. בסך הכל, סוף הוויכוח הפילוסופי של לינדל הוא הדלת שהוא פתח אך לא נכנסה לגמרי. על הדלת תלוי שלט שעליו כתוב אורדו אמוריס.

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