Gardens and the Passion for the Infinite by Anna-Teresa Tymieniecka (auth.), Anna-Teresa Tymieniecka

By Anna-Teresa Tymieniecka (auth.), Anna-Teresa Tymieniecka (eds.)

What basically is a backyard? Is it a small plot of land that we set aside to domesticate our favorite greens or to develop plants for our own entertainment? Or is it an emblem, a replicate, a mirrored image of our human passions?
Within the context of phenomenology/ontopoiesis-of-life, we discover the importance of the backyard inscribed in the internet of the Human , creatively unfurling its shape from the important foundation to its loftiest swings of the interval. the classy synthesis of our passions is carried via the logoic promise of existence - its endless renewal and endless reaction.
The subject of the current quantity is the mysterious ways that Imaginatio Creatix performs in the human ingrowness in average lifestyles, transposing desires, nostalgias, and enchantments.

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In this way the compositional elements, or referents, set up a one-to-one relationship between the viewer and painting. The perspective illusion of space and the expressive realism of its composition are meant to offer a scale model of the actual life-size event of the Annunciation. Leonardo intended that the viewer have the feeling of once being in the painting’s garden. Hence, the vectors of diligent technique and imaginative naturalism would serve the third vector: the feeling of a divine presence in the form of a painting.

Le dispense . . de choisir entre les deux postulations contraires du grandiose et du gracieux . . utopies symétriques où se résumeront . . 1 It would seem that her discussion of gardens and the “three vectors of our human being,” in addition to the performance of Mozart’s composition for string quartet, refer in my presentation to Leonardo da Vinci’s concepts of diligenza, imaginativa and memoria in painting. These concepts were core principles in Leonardo’s painting of the Annunciation garden, or hortus conclusus.

He is not known to have studied the “quantita discontinua” (the discontinuous quantity) or mathematics of cosa, causa, effetto and forza. He linked these effects and powers “continuously” to one another when studying “quantita continua” – geometrical, proportional, and mechanical quantities. His concerns about cause and effect, more so than theoretical rhetoric and mathematical theorems, grew out of his practical interests. This kind of work on the physical mechanics of nature’s effects, rather than on the scholastic, theological, and theoretical aspect of natural philosophy, locates him within a tradition reaching back to ontological discourses on cause (αιτιο, aka.

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