Feel It, No Fear, The Flesh Yields
and is Numb
Though he slay me, yet will I hope in him
Job 13:15
We may only speculate on the dark side of God, like that vague and apparently intact figure that we look upon on the other side of the mirror. Doubt represents its most intrinsic movement, a metaphysical dance that shakes our pure senses fallibility. In such hard core reside the created and not created, the visible and the invisible, the transcendental and the prosaic, antagonisms subordinated to a dialectics that are impossible to overcome.
The bright side of God is the absolute horizon which defines its own meaning and sense. I believe the other side of God does turn into an avenger and crucifying anti-God, but rather into a singular form, capable of offering the most controversial limits to the thought. History thought that God and Man were as one, that they had the same biological and ontological origin. And thus, to complement each other, to continue each other’s work (a tragicomic double face), they believe it is necessary to tear themselves apart into a mortal dialog, as soothing as distressing. Both know that triumph is the secret law of Nature and it is precisely in that complex Gordian knot that the dialectics discourse overcomes itself: it becomes beginning once more since it has always been end.
And in the extremities of that immense border lies violence as the engine of diplomatic understanding. Perhaps the same insidiousness that (almost) moves the fatal intentions of Cain, Adam and Eve’s firstborn child, the first successor of humanity, towards his brother Abel, God’s favorite. Probably the same gesture that triggers Romulus’s fury over his brother and rival Remus on the foundation of eternal Rome. Cain and Abel love and hate each other, they want and despise each other, they betray and swear loyalty to each other. The fist and the knife suggest the wound to open, its consumption as well as the evil dilemma: there is the risk for those who kill to compare themselves to the powers of God (because they are capable of destroying) but it gives the victim likewise the highest status of martyr, a mythic glory for all the upcoming times.
The crime eliminates and redeems, it absolves of all blame once exorcised and expelled. As in a Sokurov movie, essential is the untold and invisible. I believe the key for the dialogue between the two brothers resides on this impressive quote from Caim: “Be careful of how you speak of God. It's the only God we have. If you let him go away, he won’t come back.”. We know that the God of men is a character of magna fiction. But we also know that God’s God is a fundamental absolute to our existence, although uncertainty and doubt often arise from his universal condition. While God seeks the interrogation, men strive to achieve a timid knowledge of themselves and the world. This love (that murders and is murdered) is a proof of supreme loyalty. Like the knife touching the wound and the wound desiring the knife.
Pedro Marques Pinto (2017)
The side
of God is his
demand
Feel It, No Fear, The Flesh Yields
and is Numb
Though he slay me, yet will I hope in him
Job 13:15
We may only speculate on the dark side of God, like that vague and apparently intact figure that we look upon on the other side of the mirror. Doubt represents its most intrinsic movement, a metaphysical dance that shakes our pure senses fallibility. In such hard core reside the created and not created, the visible and the invisible, the transcendental and the prosaic, antagonisms subordinated to a dialectics that are impossible to overcome.
The bright side of God is the absolute horizon which defines its own meaning and sense. I believe the other side of God does turn into an avenger and crucifying anti-God, but rather into a singular form, capable of offering the most controversial limits to the thought. History thought that God and Man were as one, that they had the same biological and ontological origin. And thus, to complement each other, to continue each other’s work (a tragicomic double face), they believe it is necessary to tear themselves apart into a mortal dialog, as soothing as distressing. Both know that triumph is the secret law of Nature and it is precisely in that complex Gordian knot that the dialectics discourse overcomes itself: it becomes beginning once more since it has always been end.
And in the extremities of that immense border lies violence as the engine of diplomatic understanding. Perhaps the same insidiousness that (almost) moves the fatal intentions of Cain, Adam and Eve’s firstborn child, the first successor of humanity, towards his brother Abel, God’s favorite. Probably the same gesture that triggers Romulus’s fury over his brother and rival Remus on the foundation of eternal Rome. Cain and Abel love and hate each other, they want and despise each other, they betray and swear loyalty to each other. The fist and the knife suggest the wound to open, its consumption as well as the evil dilemma: there is the risk for those who kill to compare themselves to the powers of God (because they are capable of destroying) but it gives the victim likewise the highest status of martyr, a mythic glory for all the upcoming times.
The crime eliminates and redeems, it absolves of all blame once exorcised and expelled. As in a Sokurov movie, essential is the untold and invisible. I believe the key for the dialogue between the two brothers resides on this impressive quote from Caim: “Be careful of how you speak of God. It's the only God we have. If you let him go away, he won’t come back.”. We know that the God of men is a character of magna fiction. But we also know that God’s God is a fundamental absolute to our existence, although uncertainty and doubt often arise from his universal condition. While God seeks the interrogation, men strive to achieve a timid knowledge of themselves and the world. This love (that murders and is murdered) is a proof of supreme loyalty. Like the knife touching the wound and the wound desiring the knife.
Pedro Marques Pinto (2017)
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