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Aquilo a Que Se Convencionou Chamar De «Real»

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Aquilo a Que Se Convencionou Chamar De «Real» _______________________________________________________ NÚMERO 2 | DEZEMBRO 2012 __________________________________________________________________ ÍNDICE Editorial Helder Godinho | Na morte de Gilbert Durand Joël Thomas | In Memoriam, Gilbert Durand (1921-2012): le jeu des harmoniques Traços Joël Thomas | Les intuitions de la civilisation antique, au miroir de la systémique et des neurosciences Yvette Centeno | A gema de ovo – O ovo alquímico Figuras Célia Pinto | Visões do fim no Sermão de Quarta Feira de Cinza de Padre António Vieira Isabel Barros Dias | Cartografia, Imagologia e Mapas antropomórficos. A imagem geográfica como ponto de encontro entre Ciência e Imaginário Izilda Johanson | Bergson - O imaginário e o trabalho de construção do real Marco Settimini | Voyance, croyance, connaissance: Rimbaud «critique» de la Science Margarida Santos Alpalhão | Enciclopédias, utopias e outras Imagens do Mundo Sérgio Prazeres | Significância e felicidade. Sistema significativo À Margem (em torno da música) Luís Carlos Gonçalves | Figuras do exílio em Milan Kundera Marie Ève Letízia | A Percepção do «Milagre» de Ourique no romance histórico contemporâneo Yvette Centeno | De Novalis (1772-1801) a Schubert (1797-1828) Yvette Centeno | Richard Wagner, o ciclo do Anel do Nibelungo 1 Actualidades do Imaginário Carlos C. Carreto | A rede CRI2i: para uma internacionalização dos estudos sobre o imaginário Notas de Leitura Ana Paiva Morais | Voix des Mythes, Science des Civilisations. Hommage à Philippe Walter - Fleur Vigneron & Kôji Watanable (dir.), (2012) Horácio Ruivo | Claude-Gilbert Dubois, Mythologies de L'occident. Les bases religieuses de la culture occidentale (2007) Isabel Barros Dias | Transports. Mélanges offerts à Joël Thomas - textes réunis par Mireille Courrént, Ghislaine Jay-Robert & Thierry Eloi (2012) 2 EDITORIAL CIÊNCIA E IMAGINÁRIO: DIÁLOGOS CRUZADOS Carlos F. Clamote Carreto Direcção dos Cadernos do CEIL Desde a amiba até Einstein, o crescimento do conhecimento é sempre o mesmo: tentamos resolver os nossos problemas e obter, por um processo de eliminação, algo que se aproxime da adequação às nossas soluções experimentais. Karl Popper, Of Clouds and Clocks, 1966. Em 1979, o famoso Colóquio de Córdova, subordinado ao tema «Ciência e Consciência», marcou uma viragem definitiva na separação cartesiana entre racionalismo científico e imaginário, abrindo novos caminhos e perspectivas para uma abordagem verdadeiramente inter ou pluridisciplinar das complexas relações entre matéria, consciência e criação humana, através das quais apreendemos aquilo a que se convencionou chamar de «real». Apesar das polémicas suscitadas, revelou-se assim particularmente fecundo o diálogo entre filósofos e físicos (David Bohm, Fritjof Capra, Olivier Costa de Beauregard, Brian Josephson, etc.), entre psicólogos, neuropsicólogos e estudiosos das religiões, entre o inconsciente colectivo de Jung e as teorias de Einstein, o imaginal de Henri Corbin e as estruturas antropológicas de Gilbert Durand - pioneiro pela forma como intuiu, alheio à doxa ditada pelo pensamento académico vigente, os laços epistemológicos que unem ciência e espiritualidade, física quântica, irracionalidade e imaginário - a quem os Cadernos do CEIL consagram este número numa mais do que justa e merecida homenagem. A inter-relações que acabamos de evocar permitiram não só mostrar que as teorias científicas também participam de uma visão do mundo cujo imaginário, culturalmente marcado, veicula mitos e procede, na sua tentativa de oferecer uma explicação homogénea e coerente das origens, como uma autêntica narrativa 3 - 1 mítica, evidenciando igualmente quão múltiplas e diversas são as afinidades entre o | símbolo, o regime das imagens e os fenómenos de não-separabilidade e de constante des-locação espácio-temporal das partículas postos em evidência pela física e pela mecânica quânticas. Ao perder a sua objectividade epistemológica Editorial | (Galileu, Descartes, Newton, Lavoisier, etc.), o seu estatuto de objecto perfeitamente circunscrito e localizável, o real manifesta-se agora como uma entidade necessariamente «velada», segundo a expressão de Bernard d’Espagnat, plural e paradoxal, como um significante que se caracteriza, como nos sistemas simbólicos, simultaneamente por um inesgotável excesso de sentido e por uma ausência constantemente à espera de ser questionada e colmatada, o que nos obriga a repensar o conceito de imaginário na sua relação com a própria noção de Ciência e Imaginário e Ciência identidade. – ) Por outro lado, a par dos aspectos culturais, educacionais e até ambientais, parece 2 hoje cada vez mais evidente, na esteira das reflexões de K. Lorenz e K. Popper, (201 entre muitos outros, a importância dos aspectos filogenéticos na construção do 2 Editorial | Número 2 Número 1 imaginário, e, por conseguinte, a sua função na própria conservação da espécie. E se, como sugeria Popper no Simpósio de Viena (1983), «da amiba a Einstein vai apenas um passo», na medida em que qualquer organismo vivo, por mais elementar que seja, «coloca constantemente questões ao mundo, esforçando-se por encontrar as respostas adequadas» aos desafios que este lança à sua sobrevivência, tal não significará que toda a relação com o real e com o Outro implica sempre uma visão do mundo (necessariamente lacunar, fragmentária e contraditória) na qual o imaginário assume uma dimensão ao mesmo tempo biológica (orgânica) e cognitiva? De resto, não mostrou ainda recentemente António Damásio que contar histórias (ou seja, organizar narrativamente a nossa experiência através de mapas cerebrais) é uma das mais elementares e arcaicas «obsessões do cérebro»? Neste sentido, longe de ser apenas uma dimensão marginal à ordem material e física do mundo (visível e invisível), o imaginário está intrinsecamente implicado nela, sobre-determinando a forma como sentimos, lemos, representamos (tanto através do discurso artístico como através dos discursos científico, histórico, religioso ou mítico) a realidade que nos envolve, bem como o modo como com ela interagimos e a transformamos. Esta implicação entre ordem biológica e ordem narrativa está claramente patente no conceito de exaptação que Joël Thomas aplica à dinâmica imaginária dos textos antigos, concluindo que «l’histoire des cellules aux récits les plus sophistiqués de nos grands poètes, et à la grande tradition des épopées classiques, il y a la même logique qui est à l’œuvre». Como está igualmente presente nas noções, desenvolvidas por António Damásio, de interocepção e exterocepção, que Sérgio Prazeres retoma para questionar a íntima relação entre organização do espaço e felicidade, entre imaginário urbano e imaginário emocional. Contudo, não estará também ela subjacente, como evidencia claramente a análise junguiana de Yvette Centeno dessa poderosa imagem do ovo primordial e cósmico, à transmutação da matéria almejada pela Alquimia? Ou ainda na retórica sermonística do Padre António Vieira, estudada por Célia Pinto, que procura cartografar, reconfigurando-as incessantemente, as relações entre este mundo e o Outro-Mundo? Mas também no modo como, entre desejo de conhecimento e subversão paródica, os mapa mundi adoptam, ao longo dos séculos, os contornos morfológicos do corpo humano (Isabel Barros Dias), operando assim uma exemplar simbiose entre ciência e imaginário através de uma singular genética do espaço. 3 - 1 A longa e vasta tradição enciclopédica medieval, explorada por Margarida Alpalhão, | testemunha idêntico sincretismo, o imaginário utópico caracterizando-se, também ele, por uma geometrização do espaço e da própria linguagem através de uma hipervalorização das ciências - ou do discurso científico - que tende a excluir o Editorial | poeta da cidade ideal, numa intrincada e complexa trajectória que culmina, de certa forma, com Descartes, o Iluminismo e o pensamento positivista. Herdeira desta constante tensão, a Modernidade - tanto a da psicanálise freudiana e da fenomenologia bergsoniana questionada por Izilda Johanson através do conceito-chave de «élan vital», como a da poesia visionária de Rimbaud revisitada por Marco Settimini - surge como um convite e um desafio a reinventar as Ciência e Imaginário e Ciência «correspondências» perdidas e a restaurar os laços simbólicos e epistemológicos – ) que unem o Real à Linguagem e ao Imaginário numa simbiose que ficaria 2 incompleta sem uma referência à música. (201 2 Editorial | Número 2 Número 2 Música que Isidoro de Sevilha (Etimologias, III, 17) considera, na esteira de Cícero (De oratore, I, 187; III, 127), entre muitos outros, como uma «arte matemática», uma vez que trata dos números que se encontram nos sons e que nela ecoa constantemente a harmonia do universo emanando do movimento circular dos planetas. Música que ocupa assim, no âmbito de uma questionação sobre as relações entre ciência e imaginário, um natural lugar de destaque na rubrica «À margem» com os diálogos cruzados, propostos por Yvette Centeno, entre Novalis e Schubert, Wagner e o ciclo medieval dos Nibelungos, e o ensaio de Luís Carlos Pimenta Gonçalves que parte em busca de insólitas consonâncias entre a escrita de Milan Kundera e a Reihenkomposition (composição serial baseada em doze sons) de Arnold Schönberg. 3 - 1 | Editorial | Ciência e Imaginário e Ciência – ) 2 (201 2 Editorial | Número 2 Número 3 NA MORTE DE GILBERT DURAND Helder Godinho Universidade Nova de Lisboa - CEIL A primeira vez que ouvi falar de Gilbert Durand foi em 1972, em Moçambique, num colóquio em que Pierre Brunel também participava. Estava-se num
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