a rose is a rose is a rose
A prática da religião católica tem permitido aos seus mais fervorosos devotos e aficionados, ao longo dos tempos, elaborar sobre aquilo que seria o Inferno, esse ‘todo-devorador lago de chamas’.
Contra todas as leis da física e da biologia, a infinita capacidade imaginativa humana descreve, por linhas vis, a dimensão da culpa.
Arma para contrariar, ou resfriar a, toda-poderosa, pulsão do prazer.
"Master and Margarita", de Viktor Lazarev
The ambivalence of the man-made
"These mythological personae [Hephaestus and Pandora] suggest the ambivalence about material culture that marked out our civilization from its origins. Western civilization has not chosen between these personae so much as fused them into ambivalence about man-made physical experience. Both Hephaestus and Pandora are artificers. Each of these artificers contains a contrary: a virtuous god who makes worthwhile everyday things yet whose person is ugly and inglorious; a goddess whose things are as beautiful, as desirable, as her body, and as malign. The fusion of these two personae was why Plato could celebrate the virtue of archaic, domesticating technologies yet assert the superior beauty of the immaterial soul; why early Christians could see virtue in acts of carpentering, sewing, or gardening yet scorn the love of material things themselves; why the Enlightenment at once embraced and feared the perfection of machines; why Wittgenstein could call his desire to realize a beautiful, perfect building a sickness. The man-made material object is not a neutral fact; it is a source of unease because it is man-made. "
Richard Sennett in, The Craftsman [pg 283]
Career vs job
"Schools and state institutions, even profit-seeking businesses, can take one concrete step to support vocations. This is to build up skills in sequence, especially through job retraining. Artisanal craftsmen have proved particularly promising subjects for such efforts. The discipline required for good manual labor serves them, as does their focus on concrete problems rather than on the flux of process-based, human relations work. For this very reason it has proved easier to train a plumber to become a computer programmer than to train a salesperson; the plumber has craft habit and material focus, which serve retraining. Employers oftendon't see this opportunity because they equate manual routine with mindless labor, the Animal laborans of Arendt's imagination. But we've seen throughout this book that just the opposite is the case. For good craftsmen, routines are not static; they evolve, the craftsmen improve. "
Richard Sennett in, The Craftsman [pag 266]
Restraint and imagination
Dos limites do perfeccionismo.
O 'processo' à vista.
Cicatrizes de dores de crescimento.
Quando a falta de dinheiro restringe a obsessão pela perfeição e estimula a criatividade e a aprendizagem.
Adolf Loos vs Ludwig Wittgenstein.
Villa Moller vs a casa de Kundmanngasse.
"[Adolf] Loos's need to respond positively to the difficulties he encountered appeared in the errors that occurred during the construction of the Villa Moller. When the foundations were not laid as specified, he could not afford to dig them up and start again; instead, Loos thickened the form of one side wall to accommodate the mistake, making the thickened wall an empathic side frame for the front. The formally pure properties of the Villa Moller were achieved by working with many similar mistakes and impediments Loos had to take as facts on the ground; necessity stimulated his sense of form. Wittgenstein, knowing no financial necessity, had no such creative dialogue between form and error."
Richard Sennett in, The Craftsman [pg 256]
