lunes, 14 de marzo de 2016

John Berger "El cuaderno de Bento" o Spinoza como inspiración - Bento´s sketchbook

Baruch Spinoza es uno de los filósofos cruciales del origen del pensamiento moderno, que construyó una idea de ética liberada del sectarismo religioso. Pero además de su trabajo intelectual, el hombre también conocido como Bento Spinoza, contemporáneo de Vermeer, Jan Steen, De Hooch, Gerard Dou y vecino en Amsterdam de Rembrandt, también dibujaba.

 Sin embargo, ninguno de sus dibujos parece haber sobrevivido. Sobre ese enigma –sobre los pensamientos, las fantasías y las conexiones con su filosofía que lleva una vida imaginando–, John Berger publica El cuaderno de Bento (Alfaguara), un libro único, en el que palabras y dibujos se acompañan, se iluminan y trazan los bosquejos de una ética del compromiso con la vida a pesar de su fugacidad



“Cuando un relato nos impresiona o nos conmueve –recapacita Berger–, engendra algo que deviene, o puede devenir, una parte esencial de nosotros,
 y esa parte, ya sea pequeña o muy extensa, es por así decirlo, la descendencia del relato, su retoño.”


http://funcionlenguaje.com/pensamiento-contemporaneo/baruch-spinoza-por-john-berger.ht











In one section, the spry “You pilot a bike with your eyes, with your wrists and with the leaning of your body. Your eyes are the most importunate of the three. The bike follows and veers towards whatever they are fixed on. It pursues your gaze, not your ideas. No four-wheeled vehicle driver can imagine this. If you look hard at an obstacle you want to avoid, there’s a grave risk that you’ll hit it. Look calmly at a way around it and the bike will take that path.” describes his fascination with “a certain rger appears while observing a plum orchard, or swimming at the local municipal pool (which evokes the tragedies of ike will tae that path ¿¿

 Cambodia), or shopping at a big-box superstore (in which everyone is made to feel like a potential thief). In one section, the spry octogenar
ian describes his fascination with “a certain parallel between the act of piloting a bike and the actC
“You pilot a bike with your eyes, with your wrists and with the leaning of your body. Your eyes are the most importunate of the three. The bike follows and veers towards whatever they are fixed on. It pursues your gaze, not your ideas. No four-wheeled vehicle driver can imagine this. If you look hard at an obstacle you want to avoid, there’s a grave risk that you’ll hit it. Look calmly at a way around it and the bike will take that path.” between the act of piloting a bike and the act of drawing”:
“You pilot a bike with your eyes, with your wrists and with the leaning of your body. Your eyes are the most importunate of the three. The bike follows and veers towards whatever they are fixed on. It pursues your gaze, not your ideas. No four-wheeled vehicle driver can imagine this. If you look hard at an obstacle you want to avoid, there’s a grave risk that you’ll hit it. Look calmly at a way around it and the b



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