ideas

 

In « Ethica Ordine Geometrico Denonstrata» Benedictus de Spinoza illustrates his ethics in a geometrical manner. We can either accept it or not: it is either correct or not. The only possible attitude towards his Ethics is to read it patiently and carefully: sentence by sentence, awarding it our necessary approval of what is being said. If it is perfect, we shall be Spinotists and we will not comment on the Ethics, we will simply quote it. The previously mentioned will serve us as a means of entering the fundamentals of form and its interpretation, which will consist in keeping to the order of reason, to reading. This is not about interpreting, but about understanding literary concepts and the order of expressing them.

The work will refer us to the Calligraphy, where outstanding signs appear in curves, twists and fusions of horizons.  Its linguistic character enables us to interpret it as literature; not only as an aid in service of the work itself, but also as the condition of possibility of the ideal objects and thus, the scientific objectivity. Rather than being its object, its language is the condition of its science.

 

En “Ethica Ordine Geometrico Demonstrata”  Benedictus de Spinoza  ilustra su ética en manera geométrica. Frente ella, sólo cabria tomarla o dejarla: o es correcta o no. La única actitud posible ante su Ética sería la de leerla cuidadosamente, Proposición tras Proposición, prestando nuestro asentimiento necesario a lo que dice. Si es perfecta, seremos espinosistas y no comentaremos la Ética, la citaremos, simplemente.

Lo anterior nos sirve de vía para entrar en la cuestión fundamental de la forma y su interpretar, que consistirá  en ceñirse al orden de la razón, en leer.  No se trata de interpretar, sino de comprender literalmente conceptos y el orden en que decirlos.

La obra nos remitira a una Caligrafía cuyos signos relevantes aparecen como curvas, urdimbres, torsiones, fusiones de horizontes cuyo carácter lingüístico puede ser comprendido como Escritura; no sólo como un medio auxiliar al servicio de la obra, sino  la condición de posibilidad de sus objetos ideales y, por lo tanto, de la objetividad científica. Antes de ser su objeto, su lenguaje es la condición de su ciencia.

OA