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Our "love for life" is always, in some way, unrequited love.... Life does not care about us; it does not even know about our particular circumstances… - Julio Cabrera
" "Our "love for life" is always, in some way, unrequited love.... Life does not care about us; it does not even know about our particular circumstances. Contrary to what is said, life gives nothing for free, and everything we manage to obtain is snatched away from us. Life does not need us, but we chase after it, we humiliate ourselves, we beg and accept everything it makes us go through, even the greatest sufferings. Many are capable of the worst moral acts just to preserve their own lives a bit more.... To those who ask, "But, do you not love life?" we should answer, in a poetic way: "Of course I love life; I always did. I always wanted to live, but it is life that does not let me live, that limits me, that hurts me, that makes me ill and destroys me. It is not me who does not want to live, because life is everything I always wanted. I wanted to build things, but life demolished everything I built; I wanted to love others, but life killed everyone I loved. Do not say that I do not love life; it is life that does not love me, that does not love anybody."
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About Julio Cabrera
Julio Cabrera is an Argentine philosopher living in Brazil. He is best known for his works on "negative ethics" and cinema and philosophy.
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Julio Cabrera (philosopher)
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Additional quotes by Julio Cabrera
Cinema does not eliminate the requirement of truth and universality, but (...) redefines them within the logopathic phenomenon (...) the universality of cinema is peculiar, it belongs more to the order of possibility than to necessity. Cinema is universal, not in the sense of "necessarily happens to everyone", but in the sense of "could happen to anyone"
Wouldn't much of what Heidegger, for example, tries to say, almost without success, forcing the German language, forcing it to generate difficultly intelligible phrases, or Hegel's attempts to think the work of the concept "temporarily" putting it "on movement" wouldn't be much better exposed through the images arising from the calm and thoughtful displacement of a cinematic camera?
Margens das filosofias da linguagem, Editora da UnB, Brasília, 2009 (1st reprint), p. 21 <small></small>
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