subtler languages

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to separate «manner» from «matter» of the ideal of authenticity

♪ Once upon a time — not too far in the past ♪
♪ When people said what they meant and Lived life fast ♪

Regressamos às nuances de linguagens subtis — ie, gaijos que não sabem escrever — e visões autonomistas que se isolam da sociedade: quando a fragmentação social conduz a uma espécie de democracia não-democrática.

Fragmentation means the atomization of society with people seeing themselves increasingly as less bound to others by common projects and allegiances. Even where some common projects exist, their scope is smaller than society as a whole.
in "The Ethics of Authenticity (Chapters 6-10)" 4 jul 2015

Uma de 3 (duh!) maleitas que acossam a autenticidade, a contrariar com horizontes que se estendem além do umbigo.

Authenticity is clearly self-referential: this has to be my orientation. But this doesn’t mean that my goals must express or fulfill my desires or aspirations, as against something that stands beyond these. We will find genuine fulfilment only in something which has significance independent of us or our desires. We don’t need to see ourselves as set in a universe that we can consider simply as a source of raw material for our projects. We may still need to see ourselves as part of a larger order that can make claims on us.
in "The Ethics of Authenticity (Chapters 6-10)" 4 jul 2015

Exemplo, i) Arte. E aqui recordamos estamos a registar cites, não seria o exemplo maior a sair por nossa iniciativa mas igualmente merecedor de nota:

Art’s balancing of the manner/matter distinction regarding authenticity helps point the way in the larger ongoing cultural struggle over authenticity.
in "The Ethics of Authenticity (Chapters 6-10)" 4 jul 2015

The poet now must invent the language to express the idea they want to convey [and] make us aware of something in nature for which there are as yet no adequate words

Modern art's task of mimesis gives way to one of creation. [Previous] aesthetic principles [&] codes no longer function [and have] been largely dispensed with. That’s not to say that [art] cannot draw on these older doctrines, just that they cannot have the fixed meaning they would have in an earlier time: "the poet articulate his own world of references, and make them believable".

In modern art, we understand meaning not as given across various artists and works, but as worked out by a particular work or artist. Understanding requires attending to the individual work or artist’s manner of expressing. That is not to say, though, that all art become merely a "personal vision," aka a "subjectification of manner."
in "The Ethics of Authenticity (Chapters 6-10)" 4 jul 2015

De que maneira esta matéria importa, perguntam-se os mais impacientes. A resposta é a mesma atrás: o que dizes não é indiferente a como o dizes, e chegados ao segundo exemplo maior a recordar. Depois da arte e antes da arte e ao lado da arte, ii) Natureza.

[Contra] the subjectivist bias that both instrumental reason and the ideologies of self-centred fulfilment make dominant in our time [it] would greatly help to stave off ecological disaster if we could recover a sense of the demand that our natural surroundings and wilderness make on us, recovering something like a sacred reverence of nature and our connectedness to it.
in "The Ethics of Authenticity (Chapters 6-10)" 4 jul 2015

...versus "domínio":

An anthropocentric environmentalism is not the ideal ally because it still relies on nature as a resource that is good for us; it’s not such a far leap for this instrumental calculation to flip back over to the destruction of the environment.
in "The Ethics of Authenticity (Chapters 6-10)" 4 jul 2015

Bias subjectivo na razão instrumental e ideologias de realização ego-antropocêntricas e domínios de horizontes que se estendem além dos nuances da linguagem a devolverem-nos ourselves as part of a larger order: porque temos que ser intransigentes.

"Dominion" 10 out 2018