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CREATIVE MIND- MIND. LINK THAT REFERS TO THE FIRST ISSUE OF UNDERSTANDING "galloping

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COMPETITION CREATIVE MIND UNDERSTANDING. FIRST PROBLEM

Notices to friends and interested in understanding the inter-discursive contest, creativity, the first problem is published, for now, the open classroom SIGNUM facebook. We hope that the solution of the problem is sent to the email signumaulaabierta@hotmail.com On Monday March 1, 2010, at 11:59 pm closing reception solutions. The results so will be published on Wednesday, March 3, 2010. Those who want to receive the problems in their personal mail, send request to e-mail above. Successes. Aníbal Jairo Moreno.

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8. Sun Gold

- Hello, Robert.
- Hello, Robert. I've said a thousand times that we do not call Robert at each other.
I know that your name is Robert Wilhelm Bunsen and Gustav Robert Kirchhoff I am, but we'll make a mess if we call Robert at each other. So I call you Bunsen and Kirchhoff call me, okay?
- Yes, I know, Kirchhoff. I have said a thousand times. Only did to make you wildly. Oh, by the way, have you seen my lighter? I always lose.
- Yes, I have used this morning to burn some stuff.
- Speaking of burning ... Have you looked out the window today?
- No, it was concentrated running our experiment with the spectrograph. I'm burning elements and analyzing the light they emit. I'm almost done.
- Well there's a big fire in the city. Look.
- Wow! Much smoke.
"Yes and the flames ... What color are more rare!
- Oysters! They look like a. .. What do you bet that I am able to tell what is burning.
- Come on!
"Yes, yes ... Precisely this morning I've been burning sodium and color of the flames I saw are very similar to these. How about if we pass the light from the flames of incencio by the spectrograph and compared its spectrum with that got me this morning. I am convinced that I have reason.

So I guess I should go about the conversation that day in the nineteenth century Kirchhoff and Bunsen discovered that there was to know the composition of things by analyzing the light emitted by the spectrograph. Effectively, what that day was a factory burned salted and salt consists of sodium and chlorine. So Kirchhoff won the bet.

A simple version of a spectrograph is simply a glass prism that splits white light into colors that are made.

The cover of the album 'Dark Side of the Moon' by Pink Floyd shows how a

glass shaped prism can separate white light into colors that up.

However, sodium, like other elements of the periodic table, is that when burned does not emit all colors of the rainbow but nothing a few colors. The rest of the rainbow is dark in the spectrum. The set of colors Broadcast every element is as his fingerprints. Each element emits its own color scheme.

Kirchhoff himself had the idea to bring his experiment further. If you had been able to know what was burning in the factory at the other end of the city, should also be able to know what it's made the Sun by analyzing their light, right?

And indeed, Kirchhoff was the first to identify the composition of the Sun, which is mainly composed of hydrogen and helium. Later the same method was also applied to determine the composition of stars, more distant than the Sun, seeing that consist essentially the same elements.

Al spectrum of the sun is missing some colors. Are those that have absorbed the

gas atmosphere (mostly hydrogen and helium).

And it's curious that these elements are elements that are also found on Earth. Ie. The sky is not made of foreign material that we mortals can not understand, but the stars are made of hydrogen and helium with which children play with their balloons in the shape of Tweety or Lightning McQueen.

words, that again without needing to leave our city can
come to know things about the universe we may never get to see site but we can know, for example, which is composed of the same elements that are burning in factories our city.

From our corner of the universe is also possible to know the temperature of the stars. In space no air. The stars are "vacuum packed" and everyone knows (well, all except George Lucas) that the vacuum can not have explosions or combustion, because this requires oxygen. So the stars do not shine because they are burning anything but simply for being to a high temperature. Yes, just as much when you heat a metal, it begins to turn red and shine more and more the more temperature rises, the stars also shine by being so hot (the surface of the Sun, for example, is about 6000 degrees of temperature).

The lava coming out of volcanoes is so hot that it emits its own light.

Similarly, the Sun emits light.

And the color also changes with temperature. As the body warms up first becomes red, but more temperature goes through all the colors of the rainbow. Becomes yellow, blue and violet. If you look good, the stars of heaven have slightly different colors. There are some more red and more blue. Only that now you can get along with your friends and one day you go to see the stars I can say that the sky blue star must be hotter than the red that looks there.

Humans also conspicuous by virtue of being at 37 degrees.
We emit light. But as our temperature is so small (compared to the stars) emit infrared light, ie heat. So the alien from 'Predator' is capable of being in the woods behind the branches, because we are infrared bulbs and we are setting the pace.


But back to see how he does the human bulb called Kirchhoff:

- Good.
- Hello, Mr. Kirchhoff. Nice to see you again. Into my office, between.
- It's good to see you.
- What should I visit?
- would need to extract a few frames of your bank to pay a small matter.
- Sure, sure. Now fix it. By the way, I've read in the press that has managed to find out what it's made the Sun
- Yes. This is ...
- I do not know what it loses time with that ... Let's see ... Imagine finding gold in the sun What would know if we can not go there and bringing it to us on Earth.
- Well. . .
- Nothing, nothing. I tell him it's a waste of time. So ... How many frames need land?

Go! Kirchhoff was unsure how to answer that. Although legend has it that when, some time later, Kirchhoff was awarded a gold medal and a bag of coins in recognition of his discoveries, Kirchhoff first thing he did was pass it to the "friendly" banker with a note saying "Here is you the Golden Sun. "

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CREATIVE MIND: Understanding interagency competition

COMPETITION RULES

research groups SIGNUM open AULA of the University Distrital Francisco José de Caldas "and academic context Foundation Universitaria Los Libertadores, a competition call for open and inter-understanding with the following specifications:

OVERVIEW: This is an open competition in which participants have to solve ten problems of understanding, presented one to one every 15 days. The problems will be constructed on each of the founding processes of thought and language: Analysis, synthesis, primary meaning, relationship and inferential contextualization.

PARTICIPANTS: open both teachers, alumni and students by the organizers, as professionals and students of any educational institution in any discipline.

ENVIRONMENT THEORETICAL: The contest is a situated action under SIGNUM open classroom research and academic contexts, currently underway in order to establish cognitive profiles and performance levels (teachers and students) in reading comprehension tasks. Research and the competition itself, attempt to validate the cognitive model of information processing, MPOH (Model processes, operations and skills), and based model that describes a proposed architecture of the language.

METHODOLOGY: fortnightly published an issue of understanding the websites of the two groups ( http://www.signumaulaabierta.blogspot.com/ , www.contextosacademicos.org) in facebook network of signumaulaabierta, in personal mail their request and institutional boards. The problem must be resolved and sent within 72 hours signumaulaabierta@hotmail.com , jairoanibalmorenocastro@yahoo.com , rafaelayalasaenz@gmail.com or deposited in ballot boxes specially arranged for this purpose. The correct answers will be assessed on a scale of 1 to 5, according to the type of solution and time of receipt. The scores achieved in each issue will accrue. Permanently be published both solutions to problems such as cumulative scores of the participants.

AWARDS: On July 2, 2010, in special academic ceremony, the awards will take place. Special mentions will be awarded book prizes to those who get the top three cumulative scores.

FIRST ISSUE: FRIDAY 26 FEBRUARY 2010
Release, University District, home Macarena A, audiovisuales.2pm.

Responsible: JAIRO MORENO HANNIBAL.

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7. Does that how do you know?

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6. Let's see if I stand ...

Heaven before me (on me). A cluster of points that seem to glow to the rhythm of the crickets sing
. I confess that I took time to convince me that the flickering of the star was unrelated to the sound of crickets. Come, but come and go at the pace of the cri-cri!

The stars do not blink due to the chirping of crickets, but because the air in our atmosphere. That is, the stars do not change their intrinsic brightness (at least not so much in so little time) but when the light hits the Earth's atmosphere deflects it differently depending on the amount of air that exists between the star and us . As the atmosphere not quiet, but there
winds move air from one place to another, we see the stars always the same, but that flicker. Well, as you see them as we dive into the sea! The stars would not stop dancing as the waves do come and go.
This is because the stars are scattered. In the case of planets, as
Jupiter, Saturn, Mars, etc.., To be closer to us than the stars, we see them larger. No longer mere dots in the sky but circular splotches. Thus, although some of the rays of light from the planet's surface deviates even light keeps coming somewhere else in the world and we always watching. Do not blink.

Planets, to be extended objects no flash in

as obvious as the stars, looking time.

Then it is easy to recognize the planets. Fat are those points in the sky
not blink much. Well, plus the planets also are easily recognized if we are watching night after night. Metro means shooting star in Greek just because night after night to watch are points that move in relation to other stars. Oysters! Can you have someone much memory to remember how they were the stars yesterday and know that one of those spots has been moved? Wow! Go astronomers have coconut, man!

rule, if an astronomer think that has much coconut is a tricky thing. The trick this time is called Constellation . A constellation is a small group of stars that astronomers (more or less imaginative) reminds us of something. The problem is that the Greek astronomers that encargardor to put names to the constellations have a strange imagination. Look at the next constellation.

Cassiopeia, girl, eat a little bit to see if you're too skinny!

I see only one W or M , but the ancient Greeks saw a woman named Cassiopeia. It turns out that the thought that Cassiopeia was beautiful, much more than the daughters of Poseidon and being so vain, he sent a sea monster to kill his daughter Andromeda. Wow. an entire soap opera that had mounted the Greeks with their gods!

I guess now would catch our favorite TV characters to represent the stars. It would be nice to have a constellation Constellation Homer, right? Although not surprise me that some astronomers would like to draw the constellation of the gorilla, or something.

Connect the dots ... The constellation Homer!

Anyway, to remember where things are, astronomers do
drawings in the sky as if we were children and we can find what they seek more easily. Therefore, do not be fooled: The constellations we have invented the men. There is nothing that binds physically a star with the other. Not even close to each other. When say, for example, that the Sun is in the constellation of Leo we are simply saying that it has entered into the drawing to us, from our terrestrial and imagination of a Greek idle, we decided to give it the dubious form of a Lion.

is, that the planets move with respect to the drawings of the constellations and so are 'wandering stars'. Although not all wandering stars are planets. Also, asteroids and comets move. Asteroids are specific areas, like a star. Instead comets have a tail or a more or less diffuse.

move When I say that I speak that can be seen from one day to another. Or a week to week. I'm not saying that you're watching and you see that moves. In that case what you're seeing is probably a UFO. Yes, yes, a UFO of alien origin, of course. Nothing ever built by man to fly across the sky. Aliens must be sure ... Or not? Bueeeno, okay. Surely if it moves much a bright spot in the sky is much more likely to be an airplane, helicopter or an artificial satellite that an alien spaceship that comes to leave a supersuit for us to be heroes.

Comets is not the only thing in the sky to look fuzzy. The stars we see are all of our galaxy, the Milky Way. But we also see other galaxies and have the appearance of splotches in the sky. In the southern sky we can even see the Magellanic Clouds, galaxies very close to ours that we like clouds in the sky. There are also nebulae that belong to our own Galaxy. Are star-forming regions, where the gas between the stars is still free.

Okay, I think we're more or less ready to identify what
see in the sky and start enjoying.

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Phenomenology and Poetry: Pathways to the essential

Amortegui Carlos Arturo Guevara. SUMMARY

Phenomenology and poetic creation offer us ways of understanding the world of lavida, different from those proposed by conventional science or knowledge. Going beyond the mere appearance of objects, overcoming the condition of bodies, assuming them from their multiple and complex relationships in time and space of human experience, phenomenology and poetry leads us to a world of infinite horizons and folds in that can find and discover essential truths of being and existence. The possibility of finding transcendent truths that enrich human knowledge about the place and role of man in the world of life (Lebenswelt) is a major event in which the language establishing new forms of expression and understanding of this world. The first part of this work will be devoted to a simple but rigorous exposition some of the basic categories of phenomenology, consciousness, intuition, experience, natural attitude and phenomenological approach. In the second part the reader will find a text that opens up many horizons of understanding of the poetic phenomenon, taking in the language the original dimension. In reading these two parties will be discovered spots which form the fundamental fabric on which to build the last part - on the findings - in which we will refer to an inevitable proximity between the worlds of phenomenology and poetry as essential areas of human experience and the meanings that emerge in all horizons of experiences. DESCRIPTION AND THESIS


BRIDGE The bridge is in the Gothic mythology step towards the dark mystery, a mystery that is solved in death or in wisdom and success depending on whether the traveler is appropriate or not put the secret keys between interstices of the path. As Gothic heritage, we have the image of the bridge between heaven challenging mountains guarding inside endless mysteries, mysteries that the bridge seems to project the consciousness of the traveler who to pass through the other side feels a little strange or preexisting family but always amazing: the wonder of the unknown causes, dangerous, or the same astonishment that encloses the loving embrace the wife or children, the same amazement that hides the outstretched hand of friends who witness the arrival of the traveler. The bridge is not as stretched between two geographies and bridges were made with a secret feeling of responding to the need for pre-existing secret wonder of the human interior: to cross a bridge unconsciously explores with curiosity in the search for a something new the other hand, although we are familiar with that side visually. There is evidence that visual fatigue on the objects not exhausted but reduces them. The same goes for the environments and landscapes, never ending, always occur in various shades and hues, are given from its mystery lace way the wind unfolds. And these colors are always different and these nuances that give the bridge that kind of power that exerts a fascination similar to that of the snake that allele to the bird. Every bridge is a charm, a kind of charm that makes us decline to the ever-changing forms that shape the landscape on the other side.
The bridge symbolizes the passing of the man from one state to another existence. Is the symbol of transcending life, represents the conscience of a journey between the mystery of an unknown location that we come and mystery of an uncertain place that if we come marching, or if they marched from somewhere else. In other words, the bridge symbolizes the union, the thin line that weaves a start lost in the mists of memory and a presumed final guess the mists on the other end. That is, the bridge seems to fill the gap between two misunderstood by us immense dimensions. Is a hint of conscience between a past that we are not explained and an unknown future as they talk about religious consolation of hope. The bridge, symbolizing life then, is the zenith point of human evolution over the abyss of human life without origin, of life without a goal, of life as a mysterious accident that strikes us in precisely this through its structure. Seen poetically - as poetry frees us from the anxiety of emptiness and deceives us with the fullness of uncertain, the bridge can be seen also as a kind of rainbow over the abysmal climbs to enable touch the sky and then return to earth, to feel even for a moment of supreme bliss, the kiss of the absolute . On the bridge, which symbolizes the life of the being that walks through the horrors of uncertainty, we simulated transpose and the deep waters that hover over the void below us. If we adhere to Islamic beliefs, never transpose such waters or such depths: the bridge is just a slippery slope by which convicts are deep into hell.
The above text is not reduced to mere technical description of a bridge to illustrate about its size, its characteristics, height or other properties. It does not matter the bridge as something corporeal, as the body as mere physical or technical issue. If you ask the description in technical terms, the description given above would be inappropriate. The person concerned should better be referred to an engineering book or a specialized dictionary in which find all the data, measurements and calculations to meet him. But what matters here is essential to approach the bridge, a kind of image that transcends and which has been constituted in the memory of men through the sum of experiences that mankind has had or been able to accumulate in historical development, a future that has left their mark on the conscience of men. What really matters is the experience, the transcendent meaning the bridge has acquired over time and in diverse human. This sense, which as said above, is crucial in that it stems from the experiences, tells us much more radically what it truly is a bridge, or takes us closer to the essence of the bridge that he could tell us the best technical descriptions. The technical description, however complete it may seem, does not exhaust the subject, rather exhausted herself by their lack or inability to connect the object, ie to integrate the world of other objects and the world of life, the world of man as that gives meaning to things. For its part, a description as presented (phenomenological), becomes infinite and inexhaustible the subject, enriches it always and consistently, makes it beyond the grasp of words. In this description, the object, in this case the bridge, is revealed as a rather intimate gathering all the simple and complex that resides or has been put into it over time. The object, or the above bridge is installed on more than mere words, delves into the original, in the dimension in that language only allows the emergence of truth through intuition. Intuition increases the value of the gigantic reality in this description bridge, merge all the bridges we've seen, all the memories of the bridges that we crossed in life or in dreams or imagination games and also all the feelings we've had those experiences also converge there every images of the bridges that have appeared in the readings we've done, all imaginary and fantasy we have heard about the mystery of the bridges and all that with him have been linked, in short, a world of infinite and inexhaustible and incomprehensible to our limited powers of rational understanding, a world in which they are registered transcendental truths of human life, the life world of Lebenswelt.
In this paper, we present an argument that defends the thesis that phenomenology and poetry exist between multiple and complex relationships in time and space of human experience, relationships that refer to infinite horizons in which it is possible find and discover essential truths of being and existence. It is therefore show both the understanding of both the consubstantiality inevitable that essentially makes them family.
First, we want to make an approach to the phenomenology and in particular to the phenomenological. Then try to explain the phenomenon poetic to draw lines enabling suggests that there is a merger on the horizon of phenomenological description and poetry.
leave from trying to solve specific questions in a simple and brief: What is and what it takes phenomenology? What is the phenomenological description? What is proposed phenomenological description? What is poetry? Is it possible that both the phenomenological and poetic description to achieve the essence of the worldly things of life? PART

phenomenological description .
Supported by the German philosopher Edmund Husserl, we start from the statement that before us there is a world, a world away, actually, composed of things and events that span both space and time. It also assumes the existence of consciousness as a presence before any process of perception. There is a pure consciousness, "consciousness is in itself a being itself" - says Husserl, which is real-world awareness, awareness of reality "natural." On the other hand, the "perception itself is what is in the constant flow of consciousness and she is a constant flow" (Edmund Husserl. 1986. P. 92). Thus the world, this world is perceived or experienced by the existence of consciousness, either through senses or through intuition. We can see such an object that is before us: a tree, a table, a mountain, a house or a person, animal, etc. We also hear their voices, sounds, noises that occur when moving, we can also sense if we touch or graze in passing, we can equally enjoy a meal or the delicate flavor of a fruit, etc. That is, the way the world contact us and allow us to perceive objects or events that are there in this world. However, besides the ability to perceive objects through the use of the senses, ie, directly, objects or events can be apprehended or presented, thanks to the power of intuition: We can guess or display objects that are, for example, out of the room in which we study: we see, are there, we learned of its existence, enter our field of consciousness but do not enter our field of visual perception or auditory or tactile, etc. In other words, a perception is not necessarily supported by the presence of the object as a corporal. I can imagine the voices and the shouts of children playing in the pasture, I can feel the cold or heat, I can see me released landscapes, objects, living things, plants or any other items that are not necessarily close to me as some bodies but they are many miles away or an infinite distance. Suddenly I can lose myself in the illusion of dialogue, discuss, work, etc. with another or others not just with me, which may be in another country or may even have died, I hear their voices, see them react, move, etc. That is, by intuition I can bring the world to me, the world runs around me in time and space. I see reality through intuition or visualize a world of objects or events is infinite not only in the spatial order but also in the time frame. It is possible for me to access objects that are in the past, lost in my memories or who are at this present time or even in the future. I can apperceive beings, objects or events that are in another country, far, far away, or just be around me. In short, a world that is always nearby, at hand, and inevitably we access through the senses or intuition. But this world is not before us in the form of things or events as something cold, something emotionally neutral, like a somewhat empty of value. On the contrary, the world extends to us in time and space as a set of beings, things, events that fill the value, significance, of affection or disaffection and, in general, feelings. In other words, we feel the world that lies before us in time and space. Husserl writes: "... The world is persistent for me there before," I myself am a member of it, but not for me there as a mere world of things, but at the same immediately, as a world of values \u200b\u200band real, practical world. "(Husserl, Edmund. 1986. pg. 66).
Now when we set up or when we face the world in the way described in the above lines, according to Husserl, we face the world in natural attitude. But this natural attitude must be radically overcome. There are two options: first technical and scientific perspective, guilty of fathering an incomplete and even dangerous to understand and assimilate the world. The type positivist scientific attitude has led, according to Husserl, a wrong direction in the way we perceive the world and how we place value. The wrong way to see and appreciate the world is apparent when taken as mere objects of technical exploration elements, when reduced to mathematizable or mathematical field that they are only looking at aspects measurable, calculable, pesables. This positivist concept of type - according to Husserl - is a waste of seeing the world and things it reduces everything to benefit the sacrifice of formal and essentially separates us substantially as valuable, what is true of objects and events worldwide. The technical view uses a mathematical reason to exclude such things, people and events, the actual world of life or Lebenswelt, with this reductionism in favor of the technical, has fallen into the danger of science or specialized disciplines that separate us or prevent us from understanding unit or group of beings and objects in the world and are diverted to an isolated way, incomplete look at things without their natural relationships and interdependencies that make it more understandable and allow us approach to the discovery of the essential truth that the world consists. In short, things purely positive views from models, do not, according to our author, in isolation, a true and essential meaning but only an incomplete to be presented or understood. Essentially mean things as part of the whole world, as they relate to the other, as occur interdependently with other things and other beings, as involved in the composition of the real world of life. The man himself has become an object irrelevant and disconnected from the world, has lost the essential sense of himself is not his being lost in the desert that surrounds him, misses, and idles without roots, is among the things without realizing their need to empathize with them, the world has lost the charm and the essential meaning and has been turned into a permanent leak in a site not reconciled to man, in a kind of horizon solo man victim succumbs to despair.
But, as an alternative to this trend of technology and the instrumentalism that has led man to the loss itself, Husserl proposes a phenomenological approach. In the perspective of phenomenology, objects, events, things of the world lose the deceptive appearance that the reduction has reduced its multiple positive and recover respects, effective essence, their world of life.
Phenomenology is, in consideration of Husserl, the new science, the science of transcendental pure consciousness, a science that proposes a new method, the phenomenological reduction as a means of access to essential things. The investigator, or the philosopher who wants to reflect on the essence of things, and can not rely on the scope of critical consciousness, the sum of their beliefs or their assumptions about things in the world, beliefs, prejudices or apparent knowledge accumulated throughout its existence as a result of various historical experiences, cultural or scientific work that has participated. The philosopher or researcher should be in another area, an area in which it becomes possible to achieve pure consciousness. The first is that the world as a natural attitude must be placed in brackets, "the same way - adds Husserl - should succumb to the same destination - that is, to be placed in parentheses, all theories and sciences that relate to this world, and are estimated to be founded upon the positive or otherwise. "(Husserl, Edmund. 1986. page 74). In other words, the phenomenological attitude, the world as experienced from the natural attitude and all the theories we have about him, practically worthless, requiring just leave all this aside, put it in parenthesis to make it possible to delve into the pure experience. This bracketing - according to Husserl, is the epojé or phenomenological reduction is the essential starting point to move to a transcendent state of things, beyond mere perception. By epojé get to a state of pure consciousness, of pure experience that things do not matter as things in themselves but as experiences themselves. The thing as experience belongs to the realm of phenomenology. It's like the thing that transcends experience. This perception
reduced in this epojé or pure phenomenological experience, the thing, the object, is inherent to its essence; can not be separated, as experience is the thing that matters. Things are perceived from the experiences made as layers and levels, ie are composed of many elements that give meaning and understanding extended to: the memories, reviews, affection, feelings, nuance, fill the senses things. That is, things are as surrounded by determinations, associations, relationships that never runs out, that never end and that, by contrast, constantly enrich and bring them ever new ways. It is through the phenomenological reduction as it is possible to move towards a "new region" of the being of things, to the essential them into the original. It gives the object, happens, is revealed in various cases, in multiple ways that give new meanings and always fill it infinitely. Phenomenological description takes the objects or events are manifested in the subject and attends to what occurs in them or with them, that is, determinations, relationships, associations, experiences in general, and excludes trial or thesis on real thing. That is, it ignores the real thing, it avoids any empirical view it as a real object, to some extent is unknown to settle in the experiential description of the object, the essential. This should not suggest that things are not as important things: The tree thing is fundamental to have the experience of the tree and the tree requires experience to get through to their experience. The tree as anything, as tree, is inherent in its essence, but for phenomenology, what matters is the living tree as essential. Husserl says about the example of the tree that tree thing can go, be cut, burned, but the meaning, the essential, inherent to the perception remains, does not disappear, does not burn. The essential experience of the tree and everything related to it, inseparable from the experience - in a word, eidos - can not be reduced or assimilated directly to the physical thing, the noema or concrete thing. In Put simply: What matters in the phenomenological field is perceived as experienced - as eidos, that is essential, though it is understood to have experienced this or require a corresponding noema, ie their "real" object. To summarize, in other words, in order to have the experience of a tree requires that there is something tree. But the phenomenological description is actually describing what is in front as pure experience, as eidos, as immanent object of what the subject experiences, not the description of the thing "as is, not as a kind of res image directly perceived, an issue which may be of concern of positive science or psychology but of phenomenology which follows the pure experience that is placed in parentheses (epojé) the real object in order to achieve their senses. The image of the tree is not a vague impression that remains in consciousness as a transcription, as an imitation, by the perception of specific object, the essential image of the tree corresponds to an organized consciousness, a set of relationships and circumstances that make the tree is more than a mere simulation, circumstances that give the tree the quality of essential entity, full of meanings that the subject experience beyond the simple thing particular tree. In the bark of the tree could anyone have written the name of the beloved land could birds build nests for years and singing in the evenings, they could challenge each other hoodlums and sheltered the walker in one night in the open;
HUNDRED YEARS * trunk
years / your bark shows arrogant / like beasts scars / pits hundred engravings / double initials and hearts / that the bleeding had pigeons in their beaks. I
ombú
Viejo, * you're dreaming, like a grandfather
forgotten
all a glorious past,
Perhaps you're remembering.
II

viboriando With your roots and your COPAZA expired,
O as a life other than death
waiting.
III
Under your shadow sixth,
The matreros pursued
And
birds nest in your branches were hung. Besides

IV you were challenged Holy
Vega and John, without clothes,
And on top of your cup
stars tangled.

many times terrible pulmonazo of pampero / te pa `voltiarte intensified the nest where the bird got the kiss / Put the chirping of their love / and songs of sun. V

Ombú you were flowery
As the eaves of a ranch, greets you today
carancho *
With a mournful cry. VI

For your skeleton shivering, crying
The wind passes, holding you
hundred years old My

eaten ombú
* One Hundred Years: Argentina Traditional song, composed and written by Agustín Magaldi.
* Ombú: Tree fitolacáceo of America, also called Bellasombra.
* Carancho: Bird of prey, in Argentina.
The tree thing, the ombú, may disappear, fall, die, rot. But the experience of ombú, the essential, inherent to the perception remains, does not disappear, does not burn, it is poetry, emerges as phenomenal reality .. The essential experience of the tree and everything related to it, inseparable from the experience - in a word, eidos - can not be reduced to mere physical thing tree. Repeat: what matters in the phenomenological field is perceived as experienced - as eidos, that is essential, though it is understood that this experience has been only possible by direct presence in a given time and place of the corresponding noema is that their "real" object.
These experiences, essential images whose meanings are born of endless referrals in time and space have happened, give the tree a transcendental character, meaning that relates multiple and infinite moments, events and objects, which are articulated in a kind Set in a sort of original universe that is given or takes place only systematic order which qualifies and full of life in order beyond its status of mere being. In (and by) the experience, the object gains its being, that is happening, becomes infinite.
In summary, the phenomenological approach, the important things not as things but as experiences and as experiences and transcend and become essential. One thing is the house as a simple home, as a matter of reality, another thing is the house of my childhood, full of memories, voices and colors, rumors, images, ie the house as essential and pure experience.
PART TWO: THE
poetic phenomenon After this brief reference to the phenomenological description we will practice a poetic description of the phenomenon in order to clarify the fruitful relations between the phenomenological and poetic.
We begin with the assertion that poetry is primarily a phenomenon of language. The language should be seen, for our purposes, as the body from which it is possible the constitution of sense. We do not take a body language as limited to its natural form used for communicative purposes linguistic perspective, framed in a precise grammar rules to be addressed and clear. The language in the order of our argument is actually a power that allows the founding of the world, found the meaning of things and of human experience, creating a truth of things beyond the simple correspondence between words - as a mere empirical phenomenon - and the concrete things that is far beyond a correspondence between things and words (adaequatio rei et intellectus). In the language of the world is summarized in a word is the entire universe. Jorge Luis Borges brilliantly illustrated in a text entitled The writing of God, in El Aleph, "I felt that even human languages \u200b\u200bthere is no proposition that does not involve the entire universe, to say the tiger is the tiger who bore deer and turtles that ate the grass that fed the deer, the land that gave birth to the grass, the sky that gave light to the earth. "(Jorge Luis Borges. 1974. Pp. 597-598.)
Hans Gadamer, Art and Truth of the word, is that creation of meaning is a property of literary and poetic vision, that is, poetry in its broadest meaning pure and generates a world order which is inconsistent with the positive order with the "natural" order in which things are given in conventional reality. Establish new ways of the world amounts to permanently establish new possibilities or aspects of the being of things, moving away from finite frames that are locked in the orderly world of the conventional. It is in the poetic vision where there was a hand, a fold of the word that reminds us of a truth, a new way to find the world, a particularly new, stunning, fresh, in a way that can not be drained in the transfer or presentation in the form of logical concepts. There are, in effect, an order, a metaphysical character of the word and for this metaphysical character which makes possible the poetic event. In the world of poetic vision, the word seems to stop being a direct expression of a reference thing-like, and be herself the center of its expression, is a word that is both body and be their own unique world. It can be stated categorically that there is only poetic vision the word, a word that is both form and content, body and soul, body creative agency and in turn revealing worlds, worlds-giving word, a word that we installed, which leads us to dwell in a dimension not daily, but not spiritual thing-like existence.
Heidegger in his already cited work aletheia the Greek term used to indicate a way to reveal the true meaning of the poetic word. This aletheia, this unconcealment of truth happens - according to this author - in poetry, is in it as revealed truth in the world. Poetry - he said - open the world of bodies, promotes or encourages the opening of the world to new horizons of meaning, in short, according to Heidegger, poetry put into operation a be a truth uncovers being. Also, German author believes that poetry, which is itself poetic, lies indeed in all art forms: music, painting, literature, sculpture, architecture are ways to be a poetic, are statements or recommendations of the spirit of poetry happens in them the truth and the truth can not be anything other than poetry, or, in terms Heidegger poetry is a way of projecting the truth, poetry reflects a historical truth Dasein, of being, in short, man. Through poetic vision or because she "suddenly we get where we are not normally" (Heidegger, Martin. 1995. Pág.62), we "uncovers" a particular spirit of things, reveals her to be, happens given the truth as it is. In the work of art, then, do not play things, beings as such, but it reveals the essence of them, poetry that is happening, the truth shines.
Gadamer in his work and also cited, referring to the poetic word view that the word is telling when we refer to something beyond their concrete representation, who stays in the concrete of the word, does not agree, it ignores what constitutes it as poetry, it loses the ability to be a word. If, as anotábamos before, in the poetic vision The word ceases to be a direct expression of a reference thing-like and she becomes the center of the world, in body and being, then we can say that nothing, including the words as such, ie as entities, nothing is an object poetic, so there is the poetic representation of objects in the world, there are ways to be the essence of things, the being of words and, in short, the essence of language.
Because poetry, we must insist, is primarily revelation of the spirit of language, unconcealment multiple and infinite universe of language that is not reduced to being a mere instrument nominator of objects. "What is the language as a language and that we seek as truth of the word is not intelligible on the basis of "natural" forms - and they are known - of linguistic communication, but on the contrary, these forms of communication are understandable in their own chances of him starting to speak poetically of . Poetic language training presupposes the dissolution of all the "positive" all that is valid conventionally (Holderlin). But this means precisely that training is the creation of language and non-application of words according to rules or constitution convention. Establishes the poetic word meaning. "(Gadamer, Hans George. 1988. Page 42).
can not be outside of language, without him there the world would not exist without it ourselves. Only exist for and language. Language and consciousness testifies, only he can tell us and the world. Without language we could even exist but not likely to notice our existence we are unaware as water or trees or animals of its existence in the world. We can not imagine a reality that exists outside of language. Heidegger should be repeated that language is indeed the house of being and thus, the poetic revelation, unconcealment of the multiple meanings of being in the house of language, which is its original location and essential.
Gaston Bachelard in The Poetics of Space says that in the poetic soul reveals its presence, ie, in full agreement with Heidegger, poetry is evident essence of being. For Bachelard, as well as for Borges, the poetic appears suddenly, the moment when the soul takes refuge in a kind of intimacy, and intimacy that, in this case originally is like saying: a state that momentous discovery he experiences the true giving of self in the world. For Borges, the words have a magical side which is what leads us to discover the poetry, we are touched by the magic of words and into the realm of the poetic, intimate, how amazing, finally, of the original.
Through poetry is how we fill the world of humanity, ie, through poetry, we give things a sense or senses are born necessarily essential in our experience of the world. Full of humanity the world when approaching things, bodies, our emotions, that is when we give them a value that comes from the experiences in and with them. Fill humanize humanity or something: a house, a landscape, a sunset, a piece of bread, a humble shoe, is to give these individuals, to such things, the specific weight they have in our soul, the essential value that were or they have had on our experiences. Full of humanity is to find revelations of his being that affect us, which we refer to the essential, key is to put them in human, intimate retreat in them, feel absorbed by a force that has been generated in the hard struggles of our existence in the middle of things in the world they provide to be, and whose being transcends us and that such things have been present in our labors and in our dealings with the world.
old house / I feel your warmth red / It comes from the sense of spirit. (Jean Wahl, quoted by Bachelard, Gaston. 1995. Pág.80)
dream of a house floor, high windows / old with three steps, smooth and greenish / purple poor as a secret and ancient prints / that only lives in me and where I go sometimes / to forget, sitting, gray and rainy day "(André Lafon. Quoted by Bachelard, Gaston. 1995. p. 82).
"A house built in the heart / My cathedral of silence / rebooting every morning in a dream / And every night abandoned / A dawn-covered house / open to the wind of my youth. (Jean Laroche. Quoted by Bachelard, Gaston. 1995. P. 86)
poetic descriptions in these directions are being put in the house that did not exist or can exist outside of this poetic dimension. Because that's what the poetic language is the basis and revealed what the new meaning of things, which leads to a truth unconcealment essential beyond the specific object representation, beyond the house as a mere thing-like body. Here you feel the touch of poetry which Borges speaks in his Art of Poetry. It is for this poetic side of language, either side may suddenly discover that we all know what poetry is, but can not be defined in simple terms. We know that any definition impoverishes the world reduced to its component purely objective, and objectivity, far from what one might think, we are not close to the truth of the world. Poetry, however, not be objective, reveals the folds of reality and we uncovers a world where it is possible to find the truth. The "Houses" of these verses are suddenly in a moment, in the center of the world, "home" in these images is not Entico, not a word that end with its referent, "house" takes us in essence, the Being of beings. In this case, "home" as a concrete object, if we refer the poem, it would be a poetic object and would not be in the presence of poetry. "House" emerge, emerges as poetry, when it reveals and evokes the folds that have been woven into the intimacy of man through his dreams through his experiences with the body home, the organization that does or that happens and poetically significant only in its many relationships with other agencies brought into relation in the histories, significantly posts causal relationships in the words of Sartre. The poetic is in fact given in the form of the house, in the patent of his being: The "houses" of these verses are "houses" lost in the anfructuosidades, breaks in time and space and which appear, Suddenly, colorful, nostalgic, new meanings swollen, ready to be experienced from the intimacy, willing to let us bring to dwell in the original, "houses" that make us lieu of a truth in the world like the feeling of need for a shelter, feeling the need for a cosmic peace and August which promises a kind of lost happiness and desired. The word "house" is full of magic and in that instant we are touched by poetry.
Sartre in his Writings on Literature 1, beautifully expressed this when he writes: "If the artist we represent a field of flowers or flowers in a vase, it's windows open to the world, the red road lost in the wheat as we travel to far beyond what is painted by Van Gogh, including wheat, under other clouds, to a river that is lost at sea. And we extend to infinity, to the other end of the world, the deep earth that sustains the existence of the camps and purpose. So, through some items produced or reproduced, the creative act seeks a full recovery in the world. Each box and each book is a recovery of the whole being, every work of art presents this whole freedom of the beholder. "(Sartre Jean Paul. 1985. Page 207)
" I was fifteen, Lucy Herreros, and life come you unfairly, cautious in her farewell in her violent contention. Hidden bird whistles, butterfly wings, detached leaves from high branches, pieces of sunsets thrown in the night. Where you are, Lucia Herreros. Where you hear a song and a sob. Where the vacuum has the measure of your loneliness. Here I am, Medardo your brother, that your agony cried. Sweet Lucy Herreros, echo-free voice, strength voiceless song without words. From this side of things I call you. "(Mejía Vallejo, Manuel. 1991 p. 347)
And in the previous piece of Antioquia writer Manuel Mejia Vallejo, life and death are presented as counterparts, but at the same time, as a condition each other. Life is this side of death the other side of things, the two, the entire universe of existence. Love of one is the compensation of the absence of the other, life and death compensation, death and continuity of life. The dead girl in the breaks in the nebulae of the time, comes back into memory, is remaking patch to patch and with a dazzling vivacity, not make any effort to organize a course in order, his presence in this intimacy emerges in these vague intuitions of the inner life so full of meaning. These opacities past reassembled piece by piece, these recollections that make up the soul as intermittently, have the power to approach the essential, the infinite, to what you can not mess just on a practical level of words but extending to the point that they, precisely, are the founder of a world never before suspected: the words are so founders of the world, and world-giving truth. The poetic word, here and in all areas, is the opacity of the infinite, whereas the word supposedly objective is to determine only one kind of quantity or quality mathematizable finite.
At end of this second part I want to return to Borges, in a poem that appears in his 1925 book, Moon front. In it, Borges evokes the time, not time spent as evocative word might suggest, but in that dimension of the full and absolute time that Borges inscribed the entire universe, a dimension in which linear time and mathematizable, as we know, was not the basis of his poetic creation. Happens in the original poem recreation (up in the absolute time) a pure experience which contribute to the multiple images can experience the world from a transcendental contemplation, that is, from the epojé, who transcends the mere perception of things and beings - in this case the young "object" of the poem - to the point where they no longer matter as such but as experiences, as infinite and permanent remission of feelings and memories that give them new meanings and become inexhaustible. Thanks to the intuition, such as assumed in the first part is that it allows access to these regions to be invisible, full of truth. Germain Vargas and Harry Reeder, in his work Being and Sense, speaking of intuition tell us something that comes the point of this poem: "dynamis pure intuition is that not only offers the dimensions of" given "- (ie the girl's poem. Author's note) - in the sense data, but on the plus offering perception, and she activations and deployments of the imagination, the image of imaginative variations. In itself it is not possible to "capture" the "given himself" without at the same time display a "stream of experience" in which flow can not be detected and "put in place" emotions, feelings, images, ghosts, fantasies, representations, presentificaciones, etc. (Vargas, Germain and Reeder, Harry 2009). In sum, the very possibility of incorporating the epojé poem, we can move towards "regions" of being unexpected and new, to the essential and original things and beings: ADVANCE

LOVING your privacy Ni forehead, fair as a party or custom
your body, tacit and even mysterious girl,
neither of your life, taking words and silence for so mysterious
be like watching your dream

involved in the vigil of my arms .
Virgin again, miraculously, by the absolving power of sleep,
still, resplendent like a choice of memories, I
'll find that shore of your life that you yourself do not have.
Cast up into silence, I will perceive that ultimate beach of your being
and I'll see for the first time, perhaps,
as God must see,
the fiction of time,
without love, without me.
(Borges, Jorge Luis. 1974. P. 39)

SOME CONCLUSIONS Given the above address, by which it became possible to access an overview of the general areas of phenomenology and poetry, is not difficult to see including general vicinity that we can include on the following: 1. The world is both an object of phenomenology and the subject of poetry (which as said can be experienced under any of the forms of art). 2. Both phenomenology and poetry require imagination and intuition while through them is as possible the events of the causalities and remittent between the entities of the world. 3. Both in the field of phenomenology as in that of poetry is drawn from the memories or recollections of the subject's experience in the dimensions of time and space, and within a causal relationship, so that in the search for the essence of being of entities is not wrecked in a simple structure between things that are connected from the positive aspects of language. 4. In both, the sense is neither objects nor in words, by contrast, is in its entirety, in its infinite possibilities of relationship, as are the objects and words so essential. 5. For all the above aspects, the world is constituted and given, at last, after all, as a confluence infinite, perpetual and endless horizons that man (tempo-spatial perspective and causal) is full of meanings. The Foundation of meanings or senses of the world and being, since the essence, is what gives character to the phenomenology as true as poetry. 6. For both, finally, the world is constituted as a task through which the self finds its truth. As Dasein, as being, man only makes sense as it occurs at and around the world, constituting the world as a task, simply means the need to transform or change it, ie remove its limited objective forms that you want to enclose and carry the broad horizons to be confused with being in its dimensions of time, space and their situations and references, which give infinite and essential ways. These are the tasks of poetry and phenomenology in such tasks and meet and share their concerns. The world as it is for both an absolute imperative: if we see a road, sea, a mountain, a sunset, a city lit up at night, a farmer or an artisan in their work, a child in your endeavors, Immediately we know that its importance is essential shapes, loose or isolated entities but in a sense set from relationships and variations that entered as events in the context of man: phenomenology and poetry are forms of events objects, are horizons in which events are revealed. Nothing is as definitely or poetry or phenomenology, thanks to two, the world occurs and the man gives in its myriad forms perpetually becoming. Man and world are revealed, nothing is given them everything is given, including the unthinkable. The reason for the phenomenology and the poetry is none other than the need man's essential meaning in the world, the essence is in the giving of a particular order to this world, humanized and humanizing an order granting the unity of man and the world from consciousness. Phenomenology and poetry are so significant management systems in the world, a holy order, not strictly religious sense but in the sense that since they are looking for the original, the unit of men in the world of life, the truth of a being circulating among things, in conflict with them, trying to understand from the depths of his imagination, from his ability to dream, to hope and to give an address to your spirit. Between phenomenology and poetry are just variations tone, changes apparent only change the hue of approaching things in a world and a sense of man in this world. Neither phenomenology as rigorous science is so radical or rigorous as some may think or poetry is so capricious or whimsical as many would make him understand. The two are immersed in a world opacities in permanent constitution which is reached from the experience and that even since she is becoming. I mean both rationalists and unassuming but not so the world ceases to be essential, or ceases to be true.
And to conclude, as it is difficult for the examples given (in the original description of the bridge or in the corresponding verses home or in the description of death and what it evokes, or the Borges poem or piece of Sartre) to establish specific differences between the phenomenological and poetry since neither is reduced to a question merely technical, as well as the two deal with the same object (the world and being or man), since both have their essence in the relationship be-language and that this relationship is that it is founded and opens permanently the world, and finally given that both are constituted as systems of meaning rather than simple disciplines structuring of relations between things, Asaz difficult is also seeking to establish essential differences among them: If love and hate, life and death, hope and despair, fear and joy, in doubt and despair is like, according to Sartre, both men as the world reveal its true, then twin phenomenology and poetry in essence, for these passions and feelings are precisely the dimensions from which the world of life happens, and the events of the world is already the universe Common poetry and phenomenology.
For me this point of the differences requires hard work, harder than their affinities, like trying to determine exactly if the following excerpt from the novel La Casa de las Dos Palmas Manuel Mejia Vallejo, is a phenomenological description or a deep horizon that provides the strong poetic sense. In the text, the language has the strength and purity of the original, the words seem spoken for the first time and actually are, and so, are constituted as the founder of sense. We could actually say that in this text, as occurs in the poetic horizon and exercise phenomenological language frees us from the concrete and objective reference and refers to an infinite territory of relations of being with the world, of being part a world in which senses were opened or open new forever inscribed in the obliquity of the human experience in time and el espacio. En este fragmento el autor se refiere al verano: “…Olor de naranja madura, de corteza reventada y capotes aireados por insectos amigos del color. Silbos frescos hacia el cielo sin nubes, viento detenido en el mínimo temblor de la hoja, siluetas del monte destacado contra el crepúsculo del incendio. Y hacia él los mugidos de las reses, el relincho de los caballos, ladridos perezosos, la polvareda de cascos en estampida. Y maduraban los tamarindos y engrosaban los zapotes y doraban las ciruelas con picotazos y cantos; y se esferizaban más los totumos en su verde opulento, y cocos y papayas crecían sobre la prodigalidad del suelo; y los mangos amarilleaban y enrojecían su corteza a la pulpa jugosa y aromosa. Y alargaban their scimitars the cassia trees and carob trees harden his shell and coral trees flourished and Gualanday and fences and land invasion of watermelons and rags and the whole sky filled with green wings, red, yellow against the sunset fire. And a sweet aroma of cracked fruit and honey and hive and summer cloud. "(Mejía Vallejo, Manuel. 1991. Pág.207)
And let's see another example: what kind of text is it that while raising the rain to the summit of poetry, taking as a means to move the spirit to a distant time and place and of this present? Does this poem is not the pure experience is achieved when the rain stops as a mere matter rain to acquire a condition of essentiality that enters experiences recorded in a time in space and in circumstances of great significance for the self? The rain here, as an experience, as eidos, is surrounded by referrals, crossed partnerships, cross-determinations are never exhausted and new areas instead of being generated by man's metaphysical. In the following poem, rain is simply not there, we ignore it as real thing, do not care about her empirical trial, here is another rain rain, rain happens, which is given, which reveals a strange potential leads to another region of human life, this rain, it fills voices and memories of time and space, is infinite. This rain is not a simple imitation that has been in the consciousness from the concrete object perception rain, this rain is essential, occurs, and beyond being a mere simulacrum, is a form of consciousness that breaks the world of life filled with meaning to the existence. RAIN * Dulce


rain falling in dreams,
In the memories, fantasies

In the mysterious loss of my youth. Soft

water crackling sound piercing the wall of oblivion, half opening the horizons

submitted in the tangles of time.
And then, slowly escape from the rain happens
y se va
Cerrando – como párpados –
Los ventanales del viejo tiempo.

* Poema de autor anónimo.
NOTAS Y BIBLIOGRAFIA

- Borges Jorge Luis. 1974. Obras Completas. Emecé Editores. S.A. Buenos Aires.
- Husserl, Edmund. 1986 Ideas relativas a una fenomenología pura y una filosofía fenomenológica. Fondo de Cultura Económica. México.
- Heidegger, Martín. 1995. Arte y poesía. Fondo de Cultura Económica. México.
- Gadamer, Hans George. 1988. Arte y verdad de la palabra. Paidós. Barcelona.
- Bachelard, Gastón. 1995. La poética del espacio. Fondo de Cultura Económica. Bogotá.
- Sartre, Jean Paul. 1985. Writings on Literature 1. Alliance / Lozada. Madrid.
- Mejia Vallejo, Manuel. 1991. The house of the two palms. Planet. Bogotá.
- Vargas, Germain and Reeder, Harry. 2009. Being and Meaning. Editorial San Pablo. Bogotá

How To Stop Being A Light Sleeper

5. What do I call an astronomer?

Although you may not believe last week I received first telescope. All a doctor of astronomy and I had not yet purchased any telescope in my life! What I call me astronomer?

Well, that does not mean that no one ever observed by telescope, but simply that I have observed with telescopes that were not mine. If any of you want to look through a telescope and do not want to buy one, it is very easy. To go to the nearest astronomical insurance group that is with a lot of friendly people who organize trips to the countryside at night to watch the stars, and they have a telescope.

Finally I decided and I bought a telescope. But how high is only 5 cm in diameter. This is a Galileoscope , a telescope set up to mark the international year of astronomy 2009, simulating the telescope that Galileo used for the first time to observe the satellites of Jupiter, the moon. . . And it costs only $ 30! It is a very good attempt to make everyone who wants to do astronomy as an excuse not put the price of the telescopes for not having one at home (as I did).

Galileoscope image

The time to get my Galileoscope made me remember when I decided to be an astronomer. How exciting! That is comforting. If after all this time I can still feel it with astronomy, it means that I have the wrong profession.

Galileoscope you have to assemble yourself by following instructions in English as if it were a piece of furniture from Ikea. It's fun and also take the opportunity to see the inside parts that compose your telescope.

A friend of mine asked for another like me and when he realized he mounted an astronomical telescope inverts the image (what you see up and down and vice versa). To observe stars that does not matter, but if you intend to use your telescope to spy on the girl next door you can feel cheated when you realize later that you see cabezabajo (see above face down and not used to dropping the skirt for being backward , since gravity is still is!). Basically

refractor telescope, like Galileo, consists of two sets of lenses. One large ( objective) and a smaller one where you put the eye (ocular ). The distance between the two lenses is varied until the image is focused.

The telescope focuses light passing through the ocular lens and eye towards the

When I said that my telescope was only 5 cm in diameter, many of you will have stayed the same . Contrary to what many people think, what matters in a telescope are the increases (this is determined by how are the lenses of which we spoke) but by the diameter. A telescope is an instrument that captures all the light that enters and the concentration in the eye (you can imagine, then, what happens if instead of seeing the faint stars of the night look at the bright sun of the day. NEVER ye seek to Sun through a telescope without proper protection). The more I have my telescope diameter, more light from the stars comes to my eye and, thus, can see things more and more weak. Ie I see more stars than the naked eye and the brightest.

The stars are tiny. For many gains have my telescope will continue to see the stars as points with the difference that fewer stars ever see around them because I'm isolating the star more and more to be greater. And what I also see the effects of increased turbulence in the Earth's atmosphere, so let's see a clear image to see blurred and fluctuating. To increase or decrease a telescope increases just need to change lenses that compose. It is easier to change the small lens (the eye), so a telescope usually has several different eyepieces to change increases without changing the amount of light it receives.

first thing I checked when setting up my small telescope I needed something with a stable support point to conditions. When I saw try it without support I wanted to observe the stars were passing by the image of the telescope but that were at once because I did not have enough pulse. So as important as the telescope is to have a good foothold. A tripod mount. Supported and stable once the next step is to aim properly. Galileoscope I bought has a simple sight, as if a gun is involved. Other larger telescopes have a small telescope attached to the larger (search ) without many gains, to learn to place the object we want to observe more easily and once centered in the finder to look through the eyepiece.
As a professor of observational astronomy, the star was asked "And how much a telescope? . " Well, you see that cost me the same as a perfume (yes, last year my wife ran out the perfume of every Christmas so I could buy the damn Galileoscope). And the truth is that value for money is almost endless. I'm eager to see the moon again tonight.

I talked all the time a telescope as a set of lenses, but in fact the most common telescopes today are composed of mirror telescopes (devised by Newton), no lenses, because they take less. You see we're talking about Galileo and Newton, astronomers no unknown named Jack and Huey. The creation an instrument to better see the stars need a good dose of wit and intelligence and not surprisingly they were geniuses who will take care to approach the stars in our eyes.