The study of the dynamics knowledge itself has been significant during this project. I set focus on the nature of the structure of Nietzschean thought. To realize that my suspicions about the self-contradiction are true (as I understand). This I had been thinking since my first introduction to Nietzsche through the poems Dionysian dithyrambs. Just the two poems that have attracted my attention is one after the other within the body of poems. One is Just Crazy, Just Poet and the other is Among Raptors. Both poems of inconsistencies each other while both contradict other texts as Nietzsche, Thus Spoke Zarathustra or the Ecce Homo. But who helps me to have this sense of balance about my theories of literature is Karl Jasper Nietzsche, quoted by Schaeffer in his History of Modern Art. Jasper says: "The self-contradiction is the central feature of Nietzsche's thought." Although not quoted because Schaeffer agrees, but that Schaeffer agrees or not, I do not care much. I submit your theory to my charts and said it would, I submit my structure to his theory and your theory does not convince me, it's because I do not succeed or I fail, then tried to make me continue my own theory about Nietzsche, as well as reason is the only viable way or acceptable, at least by my own morals.
I wanted to continue that sequence that Nietzsche was developing in their literature. Recently I read some excerpts from one of the last books he published: My Sister and I, which explicitly contradicts much of what is stated in the Ecce Homo. It is observed throughout its literature is constant, but also identifies foundations which link all his writings. As regards an artistic vision could recognize Nietzsche's signature on the form. It is the form that gives the foundation Nietzschean poetic discourse. When I dared to assert that the form says one thing and content again, I have declared that they are opposite each other. Try to explain it this way, what specifically Nietzsche says in each of his writings are characteristics that reveal aspects of himself and of life itself, however, the way he says it is significant and also allows us to access other spaces of discourse. A declared content and form declares B. Does not mean that the content and form states SI NO, because it would be a very poor grasp flat Nietzsche literature or anything else. Clearly between A and B can be and there are contradictions, but the whole notion has inherent contradiction mail allowing you to be a contradiction. Logic plays a key role then because there is a contradiction to the human capacity is necessary to deduct a point through two others. Capacity is even necessary to subject the speech or conditional concept and its results.
Say that this is only one aspect of research and is probably the most interests me because it generates in me a greater sense of balance with the natural and logical response subsequent need to solve problems, says Nietzsche in Antichrist : overcoming resistance. However, the project had an important technical aspect, situations in which the imperative is to solve problems ranging from purely technical materials I'm using to build the sculpture symbolizes Nietzsche, through the work of body awareness to get up and urinate in a few containers and your use of Action Script as a Web programming language.
Some technologies that I am using have been called: new media, but not the "new media" what really interests me. Using video as a channel that allows me to go from the intimate to the public and through which document the performance process of working with body awareness, but I'm not talking about the video as such, nor am I talking about the Internet but both are involved in this work as well as photography digital image editing, animation and web programming languages. Are important means to help me to explain my ideas but not the central theme of this project. And neither are the sculpture, or poetry performance. They are all registered schemes my cognitive structure. Living structure and constant assimilation, accommodation and adaptation. Always attentive to new imbalances conceptual from the innate need to resolve conflicts. Being through conflict that transforms and complicates.
The development of this discourse of intertextuality has been demonstrated, inadvertently but not without conscience. Because intertextuality is a fact evident in every aspect of life. All the elements are part of a whole that there is but we resolve through mechanisms of integration of the previously differentiated. In my work I have made several symbolic systems interact, as well as various technologies and processes. Since this is a project , despite its qualitative methodology, worldview prelate any results. This has not been a work in which the trade pleasantly enjoyable about "the artist as officiant." This was the result that something seen in the mind and then poured into text, images, animations, etc that advertise. It is not the pure result of chance, but chance involved. I have considered prior to its realization a concrete idea with the intrinsic necessity of asserting control.
I've said this in other writings and I will repeat here, I'm not looking for an overcoming of metaphysics, as any quality that is declared as a noun, introduces a metaphysics. As an entity will not exist and if does not exist as an entity does not physically exist and therefore is a metaphysics, so do not try to overcome the metaphysical or I can say, not yet.
Intertextuality is a process, being a compound word refers to its own movement, hence the movement itself. Everything moves part in a space and is subject to certain consequences that go hand in hand with the fact of moving. We speak of intertextuality as a process through which various correlates interact to form the cognitive structure. Learning to swear is intertextual, because the structure is formed with the schemes that we have and we are having. This being so, the "work of art or artistic approach, etc. is intertextual and it is this project. Using mechanisms of differentiation we identified several correlates that are interwoven: the syncretism, the Judeo-Christian symbols from the Nietzschean poetics, transgression, self-contradiction, history, being, the need to affirm what I have in me to be free and willing, the intimate and public, sacred and profane, the negation of the Other, the cynical reason, the denial of gender, ars poetic, etc. regarding the conceptual and technical terms, the media are mixed, so it would be foolish to repeat the means may differ but who meet in this cosmology.
Each of the aspects that can be identified are potential metaphors for the rest of the structure, each announces his surroundings, as each element has inherent characteristics that we use to infer, predict and attempt to control the rest. Although some would argue (And perhaps I would join them if a little more sensible) that would be richer, rather than recreate a space within a room, get the item that serves as a liaison between the other elements found there; then activate a space like this and although I have tried to give it an important semantic space (by projecting the performative act in the street instead of in a white room,) I think the project , inevitably is recreating a space that took first place in the intellect and then the tangible physical space, so I said that I have sought to overcome any metaphysics. The epistemological structure that I'm developing through this research is a metaphor for myself, I understand metaphor for how life and assume. In developing a visual language may be some symbolism recontextualicen and is very likely to store symbology that has been with us since our childhood, in that sense, this project is autobiographical and self-referential basis, relating to time with the cynical reason. Every metaphor is interwoven with what surrounds him, is it in itself as particularly problematic and at the same time is a symbol of what they called another. Only by having evidence itself, from his epistemology and symbols, the other only sees through his episteme and therefore can be and is a metaphor for everything. Metaphors are correlated and from this correlation tell us about the structure, but in themselves are unstructured in each of the signifiers that make up the metaphor. Exists because of the space that separates man from things, because what prevents a direct relationship with the authorities and the facts, thanks to the symbolic capabilities of the individual.
I wanted to continue that sequence that Nietzsche was developing in their literature. Recently I read some excerpts from one of the last books he published: My Sister and I, which explicitly contradicts much of what is stated in the Ecce Homo. It is observed throughout its literature is constant, but also identifies foundations which link all his writings. As regards an artistic vision could recognize Nietzsche's signature on the form. It is the form that gives the foundation Nietzschean poetic discourse. When I dared to assert that the form says one thing and content again, I have declared that they are opposite each other. Try to explain it this way, what specifically Nietzsche says in each of his writings are characteristics that reveal aspects of himself and of life itself, however, the way he says it is significant and also allows us to access other spaces of discourse. A declared content and form declares B. Does not mean that the content and form states SI NO, because it would be a very poor grasp flat Nietzsche literature or anything else. Clearly between A and B can be and there are contradictions, but the whole notion has inherent contradiction mail allowing you to be a contradiction. Logic plays a key role then because there is a contradiction to the human capacity is necessary to deduct a point through two others. Capacity is even necessary to subject the speech or conditional concept and its results.
Say that this is only one aspect of research and is probably the most interests me because it generates in me a greater sense of balance with the natural and logical response subsequent need to solve problems, says Nietzsche in Antichrist : overcoming resistance. However, the project had an important technical aspect, situations in which the imperative is to solve problems ranging from purely technical materials I'm using to build the sculpture symbolizes Nietzsche, through the work of body awareness to get up and urinate in a few containers and your use of Action Script as a Web programming language.
Some technologies that I am using have been called: new media, but not the "new media" what really interests me. Using video as a channel that allows me to go from the intimate to the public and through which document the performance process of working with body awareness, but I'm not talking about the video as such, nor am I talking about the Internet but both are involved in this work as well as photography digital image editing, animation and web programming languages. Are important means to help me to explain my ideas but not the central theme of this project. And neither are the sculpture, or poetry performance. They are all registered schemes my cognitive structure. Living structure and constant assimilation, accommodation and adaptation. Always attentive to new imbalances conceptual from the innate need to resolve conflicts. Being through conflict that transforms and complicates.
The development of this discourse of intertextuality has been demonstrated, inadvertently but not without conscience. Because intertextuality is a fact evident in every aspect of life. All the elements are part of a whole that there is but we resolve through mechanisms of integration of the previously differentiated. In my work I have made several symbolic systems interact, as well as various technologies and processes. Since this is a project , despite its qualitative methodology, worldview prelate any results. This has not been a work in which the trade pleasantly enjoyable about "the artist as officiant." This was the result that something seen in the mind and then poured into text, images, animations, etc that advertise. It is not the pure result of chance, but chance involved. I have considered prior to its realization a concrete idea with the intrinsic necessity of asserting control.
I've said this in other writings and I will repeat here, I'm not looking for an overcoming of metaphysics, as any quality that is declared as a noun, introduces a metaphysics. As an entity will not exist and if does not exist as an entity does not physically exist and therefore is a metaphysics, so do not try to overcome the metaphysical or I can say, not yet.
Intertextuality is a process, being a compound word refers to its own movement, hence the movement itself. Everything moves part in a space and is subject to certain consequences that go hand in hand with the fact of moving. We speak of intertextuality as a process through which various correlates interact to form the cognitive structure. Learning to swear is intertextual, because the structure is formed with the schemes that we have and we are having. This being so, the "work of art or artistic approach, etc. is intertextual and it is this project. Using mechanisms of differentiation we identified several correlates that are interwoven: the syncretism, the Judeo-Christian symbols from the Nietzschean poetics, transgression, self-contradiction, history, being, the need to affirm what I have in me to be free and willing, the intimate and public, sacred and profane, the negation of the Other, the cynical reason, the denial of gender, ars poetic, etc. regarding the conceptual and technical terms, the media are mixed, so it would be foolish to repeat the means may differ but who meet in this cosmology.
Each of the aspects that can be identified are potential metaphors for the rest of the structure, each announces his surroundings, as each element has inherent characteristics that we use to infer, predict and attempt to control the rest. Although some would argue (And perhaps I would join them if a little more sensible) that would be richer, rather than recreate a space within a room, get the item that serves as a liaison between the other elements found there; then activate a space like this and although I have tried to give it an important semantic space (by projecting the performative act in the street instead of in a white room,) I think the project , inevitably is recreating a space that took first place in the intellect and then the tangible physical space, so I said that I have sought to overcome any metaphysics. The epistemological structure that I'm developing through this research is a metaphor for myself, I understand metaphor for how life and assume. In developing a visual language may be some symbolism recontextualicen and is very likely to store symbology that has been with us since our childhood, in that sense, this project is autobiographical and self-referential basis, relating to time with the cynical reason. Every metaphor is interwoven with what surrounds him, is it in itself as particularly problematic and at the same time is a symbol of what they called another. Only by having evidence itself, from his epistemology and symbols, the other only sees through his episteme and therefore can be and is a metaphor for everything. Metaphors are correlated and from this correlation tell us about the structure, but in themselves are unstructured in each of the signifiers that make up the metaphor. Exists because of the space that separates man from things, because what prevents a direct relationship with the authorities and the facts, thanks to the symbolic capabilities of the individual.
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