Autor: Dunne, Tad

Buch: Internet

Titel: What do I do when paint?

Stichwort: Kunstwerk - Werturteil

Kurzinhalt: Like the judgment that it is good if I do X, the judgment that this artpiece is good includes a sense of authorship, attaching my name to the judgment, ...

Textausschnitt: 33 Then there's the final objectification. During the provisional objectifications, the artist may decide to scrap everything and start over, because the emerging pattern is ugly. But when beauty is emerging, there's a point where the artist clearly envisions the final objectified pattern. All that's left are the adjustments that eliminate distracting elements and strengthen important forms and relationships. Gradually, the questions diminish. The artist stands back, dabs a little here and there until it comes clear that any more dabs will diminish the beauty of it all. (Fs)

34 This final objectification involves the value judgment, 'This is good.' It's not a judgment made by rational consciousness - the third level that Lonergan speaks of -- because the artwork isn't about truth or the correctness of an explanation or a syllogistic deduction or the mere possibility of making something. Like the judgment that it is good if I do X, the judgment that this artpiece is good includes a sense of authorship, attaching my name to the judgment, claiming it as my own. Facts stay true whether or not I judge so, but the value of this artpiece isn't realized unless I judge it to be worth something. After all, I might throw it away. (Fs) (notabene)

35 Structurally, all artists work under a single condition: If the pattern of the painting is isomorphic to the pattern of an arresting aesthetic experience, then it's a good artpiece. The operator at the sensitive level that responds to beauty determines whether the artpiece meets the conditions. It's Robert Frost realizing that he could write no better ending to his poem than to say 'And miles to go before I sleep' -- and then say it again. But I think it's important to notice how naturally this happens, so naturally, in fact, that artists cannot recall any point where they made such a value judgment. Unlike getting insights, which seem to strike like lightning at a specific time and place, the value judgments that involve commitment often seem to just grow on us. The reason we often can't recall them is that it emerged -- from poor to good, from good to better, and from better to best available, as relevant questions were met and put to rest. (Fs) (notabene)

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Spiritualität; 3 Bedeutungen, Ignatius

Kurzinhalt: 3 Weisen von Spiritualität; naiver Realist, Idealist, kritischer Realist

Textausschnitt: A first group equates spirituality with poignant feelings of love and awe ...

() A second group rejects raw emotion as the basis for spirituality and looks instead to the lofty thoughts, values, and principles that should guide human behavior.

() A third group rejects neither raw emotion nor lofty ideals, but, knowing the importance of making a real assent, subjects these experiences and insights to validation, verification, discernment.

() The view of the first group might be called "naïve realist," the second "idealist," and the third "critical realist."

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: spirituelle (geistige) Integration; Mentor

Kurzinhalt: Spirituelle Integration als Integration aller Bereiche menschlichen Geites

Textausschnitt: It is because of these many possible variations that the human spirit has a need to integrate them all. This is what I mean by "spiritual integration."

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Praxis, das Praktische

Kurzinhalt: Praxis als geistige Haltung hinter dem Tätigsein; Vorurteil (bias), Authetizität; Lonergan, Ignatius

Textausschnitt: People unfamiliar with the term praxis can confuse it with practice. If practice usually means observable behaviors, praxis means the spiritual events behind those behaviors.

() In the concrete, praxis is always a working against our own biases. Lonergan describes authenticity as "ever a withdrawal from unauthenticity." He also described it as "the kind of knowledge thematized by ascetical and mystical writers when they speak of discernment of spirits and set forth rules for distinguishing between pull and counterpull."

() So praxis is not just knowledge; it is work.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Praxis; geistlicher Leiter (Exerzitienmeister)

Kurzinhalt: Hermeneutik des Zweifels und der Wiederentdeckung; Authetizität und Analyse von Werten usw. anstatt persönlicher Inspiration

Textausschnitt: With regard to every movie, every magazine article, every bishop's statement ... the basic question is, Is this an expression of unauthenticity? And to the degree that it may be, the further relevant question becomes, What might heal this unauthenticity?

() As you can see, with this approach, there is a shift away from the typical "spiritual direction" session that discusses a directee's personal inspirations. It involves moving toward a shared analysis of community values, public policy, ecclesiastical pronouncements, and cultural expressions. Then, following this hermeneutic of suspicion, there's a hermeneutic of recovery in which the director and directee discuss what healing and redemption is possible.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Trostlosigkeit, Depression; Freud, Ignatius, Definition

Kurzinhalt: Unterschied zw Trostlosigkeit und Depression (Freud, Ignatius)

Textausschnitt: Ignatius defined "spiritual desolation" to help people to know which inspirations to follow and which to shun.

() "Depression" was defined by Freud to help people get over a particularly difficult kind of sadness. It's the sadness that endures for weeks, months, even years.

(51) So how do you tell the difference between desolation and depression? I'm suggesting that once we understand the technical meanings of the terms, the differences are clear. Spiritual desolation is to be expected; it is normal. Clinical depression is to be eliminated; it is abnormal. Spiritual desolation is transient; clinical depression is chronic. And spiritual desolation is relevant only to people familiar with the realm of religious love; clinical depression is relevant to anybody.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Trostlosigkeit, Depression; Psychologie, Wert, Ignatius

Kurzinhalt: Uneinigkeit unter Psychologen; Gefühle als Antworten auf Werte; anstatt Identifikation mit Gefühlen Objektivierung von Gefühlen

Textausschnitt: Many psychologists deem all transient feelings of sadness, hopelessness, or discouragement as bad. What's more, many haven’t realized that feelings are our initial responses to values, and it’s the values that count toward the good life, not the painfulness of the feelings.

() Instead of identifying with their feelings ("I'm just a hopeless person"), talking helped objectify the feelings ("I'm a person assailed by feelings of hopelessness"). Ignatius knew about the technique of stepping back from inner movements. He referred to both inspirations and temptations as "coming from without."

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Gebet; Ursache, formal, efficiens

Kurzinhalt: Bittgebet; formale Ursächlichkeit; Wirkursache

Textausschnitt: In a static view of the universe, we petitioned God to intervene in the world to help people. It was a kind of efficient causality. But now that we realize how God heals, namely through the gifts of love in our hearts and of Christ Jesus in our history, our prayer envisions healing as a formal and participative causality. We pray that God flood hearts with love, and with the corresponding gifts of faith and hope.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Urteil; Tatsachenurteil, Werturteil (Beispiele); Wichtigkeit der Unterscheidung zw. beiden Urteilen; Unterscheidung der Geister; Ignatius

Kurzinhalt: ... I have not understood very well the difference between a judgment of fact and a judgment of value. This has been something I missed in my understanding of Lonergan. Could you explain ...

Textausschnitt: 92
Q. I realized from what you said that I have not understood very well the difference between a judgment of fact and a judgment of value. This has been something I missed in my understanding of Lonergan. Could you explain the difference between the two? (Fs)

93
A. I think you can find the difference by noticing how our wondering works. Human wonder is not a simple, undifferentiated wonder. We have quite distinct kinds of questions. The kinds of questions leading to judgments of fact are 'whether' questions, questions about what's true, what's actually going on, questions about reality. We wonder what's true all the time. I wonder if the Tigers won last night. I wonder if I'm catching cold. I wonder who left the pen in my office. I wonder if the theory of evolution is correct. (Fs)

94 No matter how I answer to these questions, a further, quite different question arises about value: 'Is that good? ' If the Tigers won, a Tiger fan will say yes, otherwise, no. If I'm looking for an excuse to stay home from work, I may say catching a cold is good but my boss will say it's bad. We can always phrase value questions with a 'should' or 'ought,' but we express factual questions with any of the many conjugations of the verb 'to be.' (Fs)

95 In practical choices, we blend these wonderings so fast that we don't notice the difference between them. When a mothers tells her child, 'That's dirty!' she conveys a fact with her words and a value with her tone. In the sciences, though, particularly the human sciences, it is very important to distinguish the two. It is one thing to know what is going on and quite another to say what's worthwhile. Freud may make the factual judgments that his patient always comes late and is depressed, but he makes a value judgment when he decides which problem should be addressed first. Biologists may correctly state that fetal tissue research has sped up the process of curing Parkinson's Disease, but whether this research should go forward is a question about value. Spiritual directors not only help directees understand what is going in their lives, they also help them evaluate the past and evaluate their current options. (Fs)

96 This can be quite helpful in vocation decisions. In my early years in the Society, I remember conversations with various Jesuits about how we can really know what God wants. It wasn't until I was able to distinguish factual judgments and value judgments (thanks to Lonergan) that I could answer that question. I had been expecting that 'knowing what God wants' would be a judgment of fact. Like knowing what my mother wants for Christmas. She may value this dress or those scissors, but my knowledge of her wish is just factual. So I was set up for disappointment when I pressed God for answers to my question, What is it you want, God? Then it hit me that I should not be expecting to make a judgment of fact on the state of God's mind. I should be making a judgment of value prompted by love for God. I should have been saying, Give me your own love to love what's best, God. Although Ignatius often used the expression, 'seek the will of God,' which suggests a factual judgment, he avoids it entirely in the Exercises passages on making a good choice and discerning movements. The whole point of discerning movements is to assess which inspirations are coming out of religious love, from above downward, as it were. (Fs)

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Werturteil, Tatsachenurteil; Grundfehler des Liberalismus: Ignoranz von Werturteilen

Kurzinhalt: The key failure of liberalism, I believe, is that it doesn't take value judgments seriously. It regards them as sheerly factual. You hold this to be good, and I hold that to be good. These are just facts.

Textausschnitt: 97 The key failure of liberalism, I believe, is that it doesn't take value judgments seriously. It regards them as sheerly factual. You hold this to be good, and I hold that to be good. These are just facts. There really is no way to reach agreement, except that we shouldn't get in each other's way as we each pursue what we want. Tolerance is the watchward. Vive la difference! 'Celebrate diversity!' Educational systems focus on 'values clarification' but not 'values inculcation.' Dogmatic theology is out; religious studies is in. Counselors help me see what I really want, but they freeze at the thought of telling me to behave myself. (Fs)

98 Liberalism ignores a pervasive intention we all have about doing better. In any single day, there must be thousands of times when we say to ourselves, 'That's better' - I better get up, I better put my slippers on, I better close the shower door. What we intend here is something 'really' better, not just what we happen to select. What we aim for is not mere preference, as if I could have easily stayed in bed, or walked barefoot, or let the shower splash all over the bathroom floor. Our notion of value - the anticipation we experience when we ask what's better - is not restricted to what I prefer; it includes what anyone in my situation should prefer. (Fs)

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Lonergan: Tatsachenurteil (3. Ebene) Werturteil (4. Ebene); Wissenschaften

Kurzinhalt: It is this four-leveled structure that governs how Lonergan proposed the sciences should distinguish its tasks. There are two phases: retrieving the present situation and moving into the future.

Textausschnitt: 99 Lonergan locates factual judgments on the third level of consciousness, the level where we know reality. But that level incorporates the previous two levels. Being attentive brings data to us. Being intelligent involves insight into how the data may hang together. Being reasonable means passing a judgment on the correctness of our insight - insights, as Lonergan was fond of saying, being a dime a dozen. Being reasonable means being concerned about not just sensation (first level), and not just ideas (second level) but about reality (third level). (Fs)

100 He locates value judgments on the fourth level of consciousness, at its entrance, as it were, since at this level, the operator, Be responsible, has action as its term, not just opinion. If by being reasonable we know our situation, by being responsible we go on to evaluate it and take action to make it better. Being reasonable is cognitive self-transcendence, being responsible is moral self-transcendence. (Fs)

101 It is this four-leveled structure that governs how Lonergan proposed the sciences should distinguish its tasks. There are two phases: retrieving the present situation and moving into the future. Retrieving the situation starts from Research (attention to the relevant data), to Interpretation (get insight into the data), to History (make factual judgments on what is going forward), and to Dialectic (make value judgments on what's been going on, as well as on the value of believing your sources). The second phase moves back down, starting from Foundations (my personal value commitments, my affective, moral and intellectual conversions), to Doctrines (what I hold to be true; principles), to Systematics (how all the truths and values might hang together; policies), and to Communications (adapting the message to the media that comes as data to others; practice.)i[6] (Fs)

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Supervision; Gnade, Befangenheit (bias), Liebe

Kurzinhalt: Jede Situation: Gnade, Vorurteil, Heil, Schöpferkraft; Liebe (Kennzeichen)

Textausschnitt: () What many people overlook is that every situation is a living interaction of creativity, bias and healing grace.
()
So, in a first step toward understanding a situation, we look at the process and results of human creativity. We ask 'What is good here?
()
In a second step, we look at the question of bias.
()
the third step: What is going on, now, that is healing this situation? Grace, we know, is always double because God has given the divine self to us, and God is doubly-processing.
()
So, practically speaking, we can ask, Where is love at work here? (Wherever it is, we can recognize it by how it frees people to be more responsible, reasonable, intelligent and attentive

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Gerechtigkeit, Richtlinien, heuristische Struktur

Kurzinhalt: Gerechtigkeit: Harmonie der Seele; heuristische Struktur der Frage nach Gerechtigkeit; 5 Richtlinien für Gerechtigkeit

Textausschnitt: () I'd like to note a caution about justice. () The result of this kind of justice may well be felt in wages and opportunities, but the notion of order and harmony that justice connotes lies essentially in the order and harmony of the soul, both in those who give and those who receive.
()
Lonergan has suggested a heuristic structure for the answer to this question in his 'structure of the human good.' Things work best when particular goods and services that are truly good flow regularly. And things work best when people adapt to better ways to ensure the flow of these goods.
153 Maybe I can formulate some guiding questions for a Justice Committee in this perspective. (Fs)
(1) Are the goods or services we intend to facilitate really good?
(2) Can we ensure that the recipients will be more inclined to use them in truly good ways?
(3) If there's opposition to our proposals, can we move them to a change of heart and not just outmaneuver them?
(4) Is it we who need the change of heart, either about what is truly good or about the cost of change?
(5) Do we imagine ourselves as haves, giving to the have-nots, or rather as anawim sharing with the anawim?

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Spiritualität, Kunst, Ästhetik, Schönheit, Ordnung, Hoffnung

Kurzinhalt: Spiritualität: 6 imensionen; spiritual direction; Kunst: Schritt vom Unbewussten zum Bewussten; Instrumentalmusik - Malerei; Schönheit - Ordnung; Hoffnung (Definition)

Textausschnitt: () I like Lonergan’s approach because rather than assume that 'spiritual' is equivalent to 'religious,’ he has you pay attention to your own consciousness and verify what he proposes about its spiritual dimensions.
()
Each person has a unique pattern of these routines, but the routines are all 'spiritual', and they reveal an orientation, a path, a direction. This is the essential meaning of 'spiritual direction.'
()
Turning to aesthetics, then, I see art, sculpture, music, architecture and dance as working between the first and second spiritual routines. They bring some patterns of images and affects of the unconscious to consciousness.
()
Just as musicians try to make every note beautiful, so the artists try to make every brushstroke beautiful.
()
Beauty is the appearance of order. We turn to beauty because it represents in image form the harmonies we need in a good life. It stands for what might be. Or it reveals deeper dimensions of what is. Beauty always points beyond itself. Every beautiful thing is a statement that reality has potentials beyond our dreams. We pluck the same guitar strings ten times in a row because each pluck stimulates our hope for more harmony in life.
()
Hope is desire made confident by faith and gradually fulfilled through charity.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Kunst, Sexualität, Schönheit, Zölibat

Kurzinhalt: Unterschied: Schönheit, Sexualität; Zölibat als solches ist keine Berufung, Ignatius

Textausschnitt: () I believe that the arts are based in an impulse, a drive, what Lonergan calls an 'operator,' at the sensitive level that moves us toward beauty. Sex is a different drive, although obviously not independent of beauty. One key difference is that the drive to beauty is almost completely indeterminate, open, plastic, flexible, and able to be realized in an infinite variety of forms, while the sex drive heads toward both friendship and children, which in turn are concrete elements of the Body of Christ.
()
I don’t think celibacy is a vocation. The image of celibacy, by itself, doesn’t dominate our experience of inner transcendent movements. () In my reading of Ignatius, he never spoke of being called to celibacy. Not even to priesthood.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Umkehr, ästhetische;

Kurzinhalt: Keine eigene ästhetische Umkehr (Konversion), aber Abhängigkeit von Grundkonversion;

Textausschnitt: () I do think that our affective, moral and intellectual horizons affect how we move in the realm of aesthetics. That is, affective, moral and intellectual conversion are important to the artist.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Ästhetik, künstlerisches Urteil, Werturteil, Tatsachenurteil, Irrtum, Symbol, Abkürzung

Kurzinhalt: Künstlerisches Urteil - Werturteil; Irrtum: Gefühl, Überschwang, Abirrung, Technig, Ästhetizismus; Symbol; Abkürzung: Stufe 1-4; Kriterium: Selbst-Transzendenz; Ignatius' Schwamm

Textausschnitt: () And while I believe that artists have insights, the insights don’t produce concepts, as they do in response to a question for intelligence. They produce images that are more or less adequate to the originating experience. When they go on to represent that image in paint or sound, then they make the judgments on whether the result is adequate to the experience. But that’s a judgment of value, not a judgment of fact because their intent from the beginning was to make something, not know something. The criterion is the same as for other judgments, namely the absence of further relevant questions. But these 'questions' themselves are not conceptual; they are feelings, considered as initial responses to potential value.
()
Artists who only vaguely recognize this movement toward self-transcendence will be confused as to what they are consulting when they say they don’t like the line they just drew. The usual error is to go for mere intensity of feeling. Lonergan also lists exuberance, distraction, aestheticism and technique as uses of art that fall short of, or distract from, the highest function of art:

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Kunst, Ignatius, Transzendenzerfahrung, Zug, Gegenzug

Kurzinhalt: Zug - Gegenzug: Grundbewegung; Kunst (Lyrik, Musik, Malerei usw.) als Objektivierung dieser Dynamik; Selbst-Transzendenz; Ignastius' Schwamm

Textausschnitt: () Remember the thought-experiment Ignatius suggested for weighing the quality of inspirations? If an inspiration feels like water penetrating a wet sponge, then it’s probably reliable. But if it feels like water smashing on a rock, then it probably isn’t. (This is completely the opposite for people dedicated to avoiding self-transcendence.) He’s weighing the value of a possible course of action by consulting his experience of the movement toward self-transcendence.
()
them to see that the most fundamental dynamic in the entire universe is precisely this pull and counterpull. It gives them a worldview where the pure movement plays the key role.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Kunst, Zeichnung, Definition, Einsicht, Abstraktion

Kurzinhalt: Kunst: Ausdruck (Objektivation) des Erfahrungsmusters; Definition - Einsicht = Zeichnung, Kunst - Erfahrungsmuster

Textausschnitt: () To explain how the experiential pattern is the ground, Lonergan compares it to the way a definition is grounded in and refers back to the act of insight. When I'm making a definition, I consult my insight to be sure my definition expresses what I grasped. So too, when I'm drawing, I consult my experiential pattern to be sure that the images I produce express what I experienced.
()
When I make a definition, I ignore accidental variables and stick to central features. And when I draw, I ignore irrelevant parts of the aesthetic experience and focus on main lines. In this sense, all definitions and drawings abstract from data.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Künstlerischer Prozess

Kurzinhalt: Stufen des künstlerischen Prozesses: Erfahrung, Objektivation, End-Objektivation

Textausschnitt: () There's the aesthetic experience, some experience that our consciousness alerts us to because it has to do with this beauty.
()
Then there are the provisional objectifications of that pattern -- the 'fiddling,' the playing with media until it falls into a pattern that seems likely to alert others to the same aesthetic experience.
()
Then there's the final objectification. During the provisional objectifications, the artist may decide to scrap everything and start over, because the emerging pattern is ugly. But when beauty is emerging, there's a point where the artist clearly envisions the final objectified pattern. All that's left are the adjustments ...
()
Structurally, all artists work under a single condition: If the pattern of the painting is isomorphic to the pattern of an arresting aesthetic experience, then it's a good artpiece. The operator at the sensitive level that responds to beauty determines whether the artpiece meets the conditions.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Kunst, Kreativität, Befangenheit, Heilung, Hoffnung

Kurzinhalt: Überbewertung von Kreativität; Kunst: Befreiung der Seele zur Hoffnung

Textausschnitt: () What really stands out, though, is that Lonergan thinks that creativity is never enough because it's almost always biased.
()
We commonly call good artists 'creative,' but the better adjective is 'healing.' I say this because if aesthetics is mainly about hope, then its main role in society is to heal, and only through the liberation of the psyche to envision the 'better yet' in life does it support the creativity to bring about that better yet.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Lonergan, Ignatius; Zug, Gegenzug

Kurzinhalt: Zug - Gegenzug: Authentizität - Nicht-Authentizität; Ästhetik - Transzendenz

Textausschnitt: () As I see his contribution, he has generalized the methods of science to include the data of consciousness, and with it, the findings of psychology about repression as well as the findings of anthropologists about how symbols work in us. He too portrays the person as beset by two pulls, one toward authenticity and the other toward inauthenticity.
() ... when the aesthetic experience works, we feel most poignantly the desire for and the pull toward a transcendence beyond our understanding.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Reue, Gefühl, Denken; Kunst

Kurzinhalt: Ignatius, Exerzitien: Reue - Denken

Textausschnitt: () For people in need of repentance, thinking is more reliable than feeling. But for people moving ahead in the spiritual life, feelings should take the lead over thinking. There’s real wisdom in this. The principle is that our affects tend to consolidate our horizon while our thoughts tend to change it. If this is true, then even artists in need of repentance need exercises that make them think, reflect – lifting the left brain to God.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Sehen, Maler, Muster; Objektivation

Kurzinhalt: Reines Erfahrungsmuster; Sehen des Malers: unverfälschtes Muster; Kunst: Objektivation des reinen Erfahrungsmusters; Gesellschaft: Unverständnis für die "Lebensweise" des reinen "Erfahrungsmusters"

Textausschnitt: () But an artist objectifies patterns in experience unadulterated by other patterning. This, for me, is a key insight into what I’m doing when I paint. There are two moments here. As an artist I’m first seeing, but I’m aiming to exclude any interferences with my seeing that might arise from intellectual curiosity or practical needs. With both image and affect, I try to let them speak for themselves, as it were, without being constrained by ulterior purposes.
()
Then, in a distinct act from artistic seeing, there is the desire to objectify it. Here is where the person becomes an artist. Everyone experiences pure patterns but only a few try to objectify them in paint, surfaces, or sounds. In this second moment, too, I make an effort to exclude patterning that originates from other sources. This is no easy task. When we draw or compose a poem, we feel a liberation of our affectivity from the normal practical needs to behave and fit in. Unfortunately, our culture imposes terrific pressures against this purely aesthetic experience, which makes it difficult for us to concentrate on patterns in their purity. We have to learn the discipline of postponing extraneous concerns:

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Erfahrungsmuster, reines; Kunst, das Unsagbare; Ignatius; Dichtung, Gedicht

Kurzinhalt: Reines Erfahrungsmuster - Bedeutung: 2 Arten von Künsten; Gedicht - reines Erfahrungsmuster; Transzendenz; Kunst: das Unsagbare; Ignatius; Exerzitien

Textausschnitt: () With some art forms, the focus on the pure pattern is clear: instrumental music, abstract art, dancing, landscaping, architecture, weaving. With others, we want to integrate a pure form with an overlay from the dramatic pattern of experience: song, opera, poetry, representational art and sculpture. The difficulty with this second class of aesthetics is that would-be artists easily go for the linguistic message ...
()
There is no great poetry and great portraiture without pure patterns in the sounds and strokes, respectively.
()
poetry, your goal should be to stir some of these desires in your readers. What makes it good poetry will be the symbolic associations of the words, their meanings, metaphors and connotations, but supported underneath by the rhythm and flow of the sounds, the pace of the piece, the alliterations and assonances. Everything should 'work' toward moving the reader/listener to feel the desires you want to elicit, even the shape of the poem on a page or the setting of the podium from which it is read.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Ignatius, Übungen, Anwendung, Sinne

Kurzinhalt: Ignatius: Anwendung der Sinne; Lenkung der Sinne; unkritische Haltung gegenüber den Sinneswahrnehmungen; unser "Eigentum": was von unserer Entscheidung kommt

Textausschnitt: () Today's attitude toward sensory input seems to be absolutely liberal and uncritical. We aren't expected to treat our senses as instruments under the command of our souls but windows letting in every kind of weather.
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What is our own is strictly what results from our decisions. I believe that this is a critically important element in the spiritual life. It defines quite neatly how responsible we are for dealing with what simply occurs.

Autor: Dunne, Tad

Buch: Internet

Titel: Lonergan, LOYOLA, SPIRITUAL DIRECTION, AND THE ARTS

Stichwort: Spiritualität, Zusammenfassung; spirituelle Integration, Definition

Kurzinhalt: common sense; mangelnde Beschäftigung mit Niedergang; transzendente Liebe: Heil; 5 sich steigernde Bereiche; Habitus der Seele

Textausschnitt: () First, we have seen that common sense is not adequate to meet the problems of the world. () It disregards philosophy. So the first step in a spiritual integration is a commitment to an intellectual life, be it in science, in historiography, literary criticism, philosophy, theology, or what have you.
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Second, we have seen that even within an intellectual life the empirical sciences and historical scholarship seldom deal adequately with psychological and social problems. In most cases they neither give sound enough analyses nor provide sufficiently effective policies for halting the spiral of decline. The reason for this is that ...
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We can now define what 'spiritual integration' is. It is the capacity to move through these realms of meaning intelligently. That is, the kind of authenticity needed today is the kind by which a person has a basic understanding of these different realms of meaning and can move from one to another as the situation demands.