La Certeza de La Vida

Es interesante ver como el tiempo pasa. No solo verlo, sino sentirlo. Sentir como el tiempo pasa.

No estoy triste, simplemente tengo la Resaca historica de los 80', como si viviesemos en una epoca de euphoria creativa.

Asi como pasa el tiempo, tambien la mente y los deseos se reblandencen. Como si se volviesen mas o menos disfuncionales. Se tornan violeta, con una profundidad sin precedente. Ahi ves el tiempo asi como el espacio han cambiado. Un truco perceptivo generado por el constante cambio en nuestra psycologia.

Y en ello, en esta percepcion. En esta experiencia del presente, reside nuestra divinidad. Asi como los animales y las plantas "viven", nosotros tenemos la capacidad de enajenarnos. En ese momento de alerta sentimos como el tiempo pasa de manera consciente. Estamos porque nunca estuvimos, pero tenemos la capacidad del retorno.

Por ello, por esta presencia que no es solamente corporea, es facil ver como la idea de lo celestial es algo que acompana nuestra cultura a lo largo de estos tiempos, aunque poco ya nos quede de esta palabra tan especial como la de la espitirualidad.

Es por lo tanto trabajo de este espiritu tan alusivo el de reconciliar esta consciencia con el mundo que le rodea. Este mecanismo divino perceptivo. Esto es debido a que el mundo siempre existio tan pronto como nuestra experience de el se produjo, ya que en este lidiar conceptualizamos la experiencia vivida. Otro jugete de nuestra consciencia para manejar la "realidad".

Asi, en esta posicion completa de desamparo, necesitamos generar otro tipo de jugetes para lidiar con el dia a dia y el mas alla: todo lo que nuestra recien adquirida consciencia no puede explicar. Con tranquilidad te puedo decir que no hay un cuerpo fuera del tuyo: no tenemos la capacidad de vivir fuera de nuestro sistema perecptivo y corporeo. Estamos atados al amarre mas fuerte de nuestra realidad, rodeados de una continua ilusion de cambio.

Asi es el camino, pongamolos lineal, de nuestro tiempo vivido, o mas bien sentido. Ese cuerpo indefenso que lidia con conceptos tan tenebres como el de la muerte. Aquella certeza. El anti-concepto por excelencia. El antijugete. Una certeza tan amarga como dulce. Asi como se expresa indefensa ante el terrmoto o mareo de la "vida". Asi afirmar la murte, es afirmar la vida. Asi como yo digo: -voy a morir- digo y exclamo: -voy a vivir! En un momento euforico de conociemiento y consciencia global. Y no es un momento tragico, sino signo de un fenomeno extraordinario, en el que las particulas componentes de nuestros organismos dan, por "arte" de magia, un sentido original a la vida. Aquel de la experiencia percivida y compartida en esta marea de jugetes imposibles.

Much of how I have felt for long:

"Seeing and keeping ourselves central, never marginal. 
For some years know, writers of color have been discussing the experience of living in the margins while white people are living in the center. 

In one of her early books, Feminist Theory: From Margin to Center (Boston: South End Press, 1984), Bell Hooks defines it: 
To be in the margin is to be part of the whole but outside the main body…
Living as we did − on the edge − we developed a particular way of seeing reality. 
We looked both from the outside in and from the inside out. 
We focused our attention on the center as well as on the margin. (p.ix.)"




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this is what I drew last nite, not the most celebratory...

I think the reason why I hate so much politeness, it's because it's based on convention rather than intent


that's my sentence for today

Fourth Wall

The fourth wall is the imaginary "wall" at the front of the stage in a traditional three-walled box set in a proscenium theatre, through which the audience sees the action in the world of the play.

The concept is usually attributed to the philosopher, critic and dramatist Denis Diderot.The term itself was used by Molière. The fourth wall illusion is often associated with naturalist theatre of the mid 19th-century, and especially with the innovations of the French director André Antoine.

The restrictions of the fourth wall were challenged in 20th-century theatre. Speaking directly to, otherwise acknowledging or doing something to the audience through this imaginary wall – or, in film, television, and video games, through a camera – is known as "breaking the fourth wall". 

As it is a penetration of a boundary normally set up or assumed by works of fiction, this is considered a metafictional technique. In literature and video games, it occurs when a character acknowledges the reader or player. Breaking the fourth wall should not be confused with the aside or the soliloquy, dramatic devices often used by playwrights where characters on stage are delivering inner monologues, giving the audience insight into their thoughts.

Fifth Wall

The term "fifth wall" is often used by analogy with the "fourth wall" for a metaphorical barrier in engagement with a medium. It has been used as an extension of the fourth wall concept to refer to the "invisible wall between critics or readers and theatre practitioners." This conception led to a series of workshops at the Globe Theatre in 2004 designed to help break the fifth wall.

The term has also been used to refer to "that semi-porous membrane that stands between individual audience members during a shared experience." In media, the television set has been described metaphorically as a fifth wall because of how it allows a person to see beyond the traditional four walls of a room. In shadow theatre the term "fifth wall" has been used to describe the screen onto which images are projected.




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