tag:blogger.com,1999:blog-40655590605678238232024-03-01T09:59:06.788+00:00Two Cultures?This blog explores the possibility of a dialogue between two apparently antagonist poles: Sciences and Humanities (C. P. Snow's "two cultures".)y messerhttp://www.blogger.com/profile/04148765291227763442noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-4065559060567823823.post-27740819151247971022015-02-07T17:35:00.002+00:002023-09-07T15:53:44.222+01:00The "fourth dimension" in Arts and Sciences<span style="font-size: large;">The "fourth dimension" in Arts </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Cubism</span><br />
<span style="font-size: large;"><br /></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"><a href="http://everything2.com/user/devout/writeups/Fourth+dimension" target="_blank">FROM</a>: </span></span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"><br /></span></span>A phrase coined by <a class="populated" href="http://everything2.com/title/Guillaume+Apollinaire" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Guillaume Apollinaire">Guillaume Apollinaire</a> to describe the particular style of the cubists.<br />
<br style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;" />
At the start of the <a class="populated" href="http://everything2.com/title/20th+century" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="20th century">20th century</a> there were two popular interpretations of the fourth <a class="populated" href="http://everything2.com/title/dimension" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="dimension">dimension</a>. One was that it is <a class="populated" href="http://everything2.com/title/time" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="time">time</a>. This is fairly easy to imagine, and remains a common meaning for the term today. The second is that the fourth dimension is another <a class="populated" href="http://everything2.com/title/spatial" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="spatial">spatial</a> dimension. This is much harder, if not impossible, to visualize. Nevertheless, several illustrators attempted to. One of the most popular illustrations of this was the four-dimensional hypercube. Just as we can form a cube by folding a cross-shaped piece of paper consisting of six squares, so it was believed one could form a four-dimensional "hypercube" by folding a similar arrangement of seven <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;"><a class="populated" href="http://everything2.com/title/cubes" style="color: #507898; text-decoration: none;" title="cubes">cubes</a></i>. (see <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;"><a class="populated" href="http://everything2.com/title/Crucifixion" style="color: #507898; text-decoration: none;" title="Crucifixion">Crucifixion</a>,</i> <a class="populated" href="http://everything2.com/title/Salvador+dali" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Salvador dali">Dali</a>, 1954) A mathematician, <a class="populated" href="http://everything2.com/title/E.+Jouffret" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="E. Jouffret">E. Jouffret</a>, attempted to depict four-dimensional objects by drawing their projections on a <a class="populated" href="http://everything2.com/title/two-dimensional" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="two-dimensional">two-dimensional</a> plane.<br />
<br style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;" />
These representations were fairly well established when <a class="populated" href="http://everything2.com/title/Pablo+Picasso" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Pablo Picasso">Picasso</a> and <a class="populated" href="http://everything2.com/title/Georges+Braque" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Georges Braque">Braque</a> invented <a class="populated" href="http://everything2.com/title/cubism" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="cubism">cubism</a>. While it would be incorrect to claim that they formed the basis of <a class="populated" href="http://everything2.com/title/cubism" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="cubism">cubism</a>, it would be equally incorrect to say they had no influence on it. In the years before he started <a class="populated" href="http://everything2.com/title/cubism" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="cubism">cubism</a>, <a class="populated" href="http://everything2.com/title/Pablo+Picasso" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Pablo Picasso">Picasso</a> met regularly with a group of friends who called themselves <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;"><a class="populated" href="http://everything2.com/title/la+bande+%2526%2523224%253B+Picasso" style="color: #507898; text-decoration: none;" title="la bande à Picasso">la bande à Picasso</a></i>. Guillaume <a class="populated" href="http://everything2.com/title/Apollinaire" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Apollinaire">Apollinaire</a>, a member of <a class="populated" href="http://everything2.com/title/la+bande+%2526%2523224%253B+Picasso" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="la bande à Picasso">la bande</a> describes the influence of the fourth dimension on cubism in his book <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">Les Peintres Cubistes.</i><br />
<blockquote style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">
"Until <a class="populated" href="http://everything2.com/title/now" style="color: #507898; text-decoration: none;" title="now">now</a>, the three dimensions of <a class="populated" href="http://everything2.com/title/Euclid" style="color: #507898; text-decoration: none;" title="Euclid">Euclid's</a> <a class="populated" href="http://everything2.com/title/geometry" style="color: #507898; text-decoration: none;" title="geometry">geometry</a> were sufficient to the restiveness felt by great <a class="populated" href="http://everything2.com/title/artist" style="color: #507898; text-decoration: none;" title="artist">artists</a> yearning for the <a class="populated" href="http://everything2.com/title/infinite" style="color: #507898; text-decoration: none;" title="infinite">infinite</a>... The <a class="populated" href="http://everything2.com/title/modern+art" style="color: #507898; text-decoration: none;" title="modern art">new painters</a> do not propose, any more than did their predecessors, to be geometers. But it may be said that geometry is to the plastic arts what grammar is to the art of the <a class="populated" href="http://everything2.com/title/writer" style="color: #507898; text-decoration: none;" title="writer">writer</a>. Today, scholars no longer <a class="populated" href="http://everything2.com/title/limit" style="color: #507898; text-decoration: none;" title="limit">limit</a> themselves to the three dimensions of Euclid. The <a class="populated" href="http://everything2.com/title/painter" style="color: #507898; text-decoration: none;" title="painter">painters</a> have been led quite naturally, one my say by<a class="populated" href="http://everything2.com/title/intuition" style="color: #507898; text-decoration: none;" title="intuition">intuition</a>, to preoccupy themselves with the new possibilities of <a class="populated" href="http://everything2.com/title/spatial" style="color: #507898; text-decoration: none;" title="spatial">spatial</a> measurement which, in the <a class="populated" href="http://everything2.com/title/language" style="color: #507898; text-decoration: none;" title="language">language</a> of <a class="populated" href="http://everything2.com/title/modern" style="color: #507898; text-decoration: none;" title="modern">modern</a> studios, are designated by the term fourth dimension."<sup>1</sup></blockquote>
In this statement, he recognizes the <a class="populated" href="http://everything2.com/title/graphical" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="graphical">graphical</a> representation of the fourth dimension in <a class="populated" href="http://everything2.com/title/cubist+art" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="cubist art">cubist art</a>, and also the <a class="populated" href="http://everything2.com/title/mental" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="mental">mental</a> influence. The fourth dimension is representative of the <a class="populated" href="http://everything2.com/title/infinite" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="infinite">infinite</a> possibilities that the cubists sought. <a class="populated" href="http://everything2.com/title/Guillaume+Apollinaire" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Guillaume Apollinaire">Apollinaire</a> reaffirms this in <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;"><a class="populated" href="http://everything2.com/title/La+Peinture+nouvelle" style="color: #507898; text-decoration: none;" title="La Peinture nouvelle">La Peinture nouvelle</a></i>: "The art of the new painters takes the infinite universe as its ideal, and it is to the fourth dimension alone that we owe this new norm of the <a class="populated" href="http://everything2.com/title/perfect" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="perfect">perfect</a>..."<sup style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif;">2</sup>Another member, <a class="populated" href="http://everything2.com/title/Maurice+Princet" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Maurice Princet">Maurice Princet</a> had extensively studied <a class="populated" href="http://everything2.com/title/Henri+Poincar%2526%2523233%253B" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Henri Poincaré">Poincaré's</a> writings and is widely recognized as having exposed the cubists to his work. Poincaré's book <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;"><a class="populated" href="http://everything2.com/title/l%2527Science+et+l%2527Hyposthese" style="color: #507898; text-decoration: none;" title="l'Science et l'Hyposthese">l'Science et l'Hyposthese</a></i>, written in <a class="populated" href="http://everything2.com/title/1902" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="1902">1902</a>, popularized four-dimensional geometry and is often linked to the cubists work through Princet. First hand accounts tell of Princet discussing problems of perspective and simultaneously representing objects from multiple viewpoints. This would be a consequence of the fourth dimension being a spatial one which acts as an "<a class="populated" href="http://everything2.com/title/astral+plane" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="astral plane">astral plane</a>", from which an object of the usual <a class="populated" href="http://everything2.com/title/three" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="three">three</a> dimensions can be viewed from all sides <a class="populated" href="http://everything2.com/title/simultaneously" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="simultaneously">simultaneously</a>. (Just as in our three dimensional <a class="populated" href="http://everything2.com/title/world" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="world">world</a> we can see the entirety of a two dimensional object at once).<br />
<br style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;" />
We can see this effect quite clearly in Picasso's <a class="populated" href="http://everything2.com/title/painting" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="painting">paintings</a>. In <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;"><a class="populated" href="http://everything2.com/title/Les+Demoiselles+d%2527Avignon" style="color: #507898; text-decoration: none;" title="Les Demoiselles d'Avignon">Les Demoiselles d'Avignon</a></i>, <a class="populated" href="http://everything2.com/title/1907" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="1907">1907</a>, the crouching<a class="populated" href="http://everything2.com/title/woman" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="woman">woman's</a> <a class="populated" href="http://everything2.com/title/body" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="body">body</a> is seen from behind while her head is seen from the front. Similarly, the two central standing figures are shown in a frontal view, but their <a class="populated" href="http://everything2.com/title/nose" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="nose">noses</a> are painted in <a class="populated" href="http://everything2.com/title/profile" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="profile">profile</a>. The painting also shows influences of Jouffret's projections of a four-dimensional <a class="populated" href="http://everything2.com/title/ikosatetrahedroid" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="ikosatetrahedroid">ikosatetrahedroid</a> on a <a class="populated" href="http://everything2.com/title/plane" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="plane">plane</a>. The rightmost woman's upper body fits into a <a class="populated" href="http://everything2.com/title/diamond" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="diamond">diamond</a> grid that is extremely similar to Jouffret's projections of 1903. (This is more clearly seen in <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">Standing Nude with Joined Hands (Study of Proportions)</i>, 1907.) The <a class="populated" href="http://everything2.com/title/faceting" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="faceting">faceting</a> which has become synonymous with Picasso's name is also very similar to Jouffret's drawings, in which he superimposes his projections on top of each other in an attempt to display multiple sides of a polyhedron simultaneously. Though this may have been more a similarity in appearance than a direct depiction of the fourth dimension, it was certainly a rejection of three-dimensional <a class="populated" href="http://everything2.com/title/perspective" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="perspective">perspective</a>.<br />
<br style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;" />
Later cubists, particularly <a class="populated" href="http://everything2.com/title/Jean+Metzinger" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Jean Metzinger">Metzinger</a> and <a class="populated" href="http://everything2.com/title/Gleize" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Gleize">Gleize</a> show an even greater influence from Princet's lectures. Unlike Jouffret, who conceded to project his four-dimensional figures into two dimensions, Metzinger believed that the mind was capable of perceiving all four at once. In a style similar to Picasso's he shows figures from various perspectives in the same painting, though often with less fragmentation than Picasso used. In <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">Le Gouter</i> (1911), he varies perspectives as the viewer looks from one side of the woman's face to the other. The left side of her face is seen in a <a class="populated" href="http://everything2.com/title/frontal" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="frontal">frontal</a> view, her nose in a three-quarters view, and her right eye in profile. Of even greater interest is the <a class="populated" href="http://everything2.com/title/bowl" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="bowl">bowl</a> from which she eats. The left side of it is seen from the side, while the right side is seen from above. This is almost exactly the same problem posed by Princet in 1910:<br />
<br />
<blockquote style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">
"You represent by means of a <a class="populated" href="http://everything2.com/title/trapezoid" style="color: #507898; text-decoration: none;" title="trapezoid">trapezoid</a> a <a class="populated" href="http://everything2.com/title/table" style="color: #507898; text-decoration: none;" title="table">table</a>, just as you see it, distorted by perspective, but what would happen if you decided to express the table as a type? You would have to straighten it up onto the picture plane, and from the trapezoid return to a true rectangle. If that table is covered with objects equally distorted by perspective, the same straightening up process would have to take place with each of them. Thus the oval of a glass would become <a class="populated" href="http://everything2.com/title/a+perfect+circle" style="color: #507898; text-decoration: none;" title="a perfect circle">a perfect circle</a>."<sup>3</sup></blockquote>
Princet, in turn, took this from Poincaré, who writes, "We can even take of the same <a class="populated" href="http://everything2.com/title/four-dimensional" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="four-dimensional">four-dimensional</a>figure several perspectives from several different points of view. We can easily represent to ourselves these perspectives, since they are only three dimensions. Imagine that the various perspectives... succeed one another..."<sup style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif;">4</sup> In <a class="populated" href="http://everything2.com/title/1880" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="1880">1880</a>, a mathematician, <a class="populated" href="http://everything2.com/title/W.I.+Stringham" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="W.I. Stringham">W.I. Stringham</a>, attempted to illustrate such <a class="populated" href="http://everything2.com/title/perspectives" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="perspectives">perspectives</a>. In 1910, two painters also made use of Stringham's work. The vase in Gleizes's <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">Woman with the Phlox</i> and the fruit in Le Fauconnier's <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">Abundance</i> bear a striking resemblance to Stringham's figures.<br />
<br style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;" />
The <a class="populated" href="http://everything2.com/title/futurism" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="futurism">futurists</a> also used the term fourth dimension, but not in the same way the cubists did. While the cubist fourth dimension was spatial, the futurists' was temporal. <a class="populated" href="http://everything2.com/title/Umberto+Boccioni" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Umberto Boccioni">Boccioni</a> describes this in his <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;"><a class="populated" href="http://everything2.com/title/Plastic+Dynamism" style="color: #507898; text-decoration: none;" title="Plastic Dynamism">Plastic Dynamism</a></i> (1913).<br />
<blockquote style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">
"...Instead of the <a class="populated" href="http://everything2.com/title/old-fashioned" style="color: #507898; text-decoration: none;" title="old-fashioned">old-fashioned</a> concept of sharp differentiation of bodies, instead of the modern concept of the <a class="populated" href="http://everything2.com/title/impressionist" style="color: #507898; text-decoration: none;" title="impressionist">Impressionists</a> with their subdivision, their repetition, their rough indications of images, we would substitute a concept of dynamic continuity as unique form. And it is not by accident that I say form and not line, since dynamic form is a species of fourth dimension in painting and sculpture, which cannot exist perfectly without the complete affirmation of the three dimensions that determine <a class="populated" href="http://everything2.com/title/volume" style="color: #507898; text-decoration: none;" title="volume">volume</a>: <a class="populated" href="http://everything2.com/title/height" style="color: #507898; text-decoration: none;" title="height">height</a>, <a class="populated" href="http://everything2.com/title/width" style="color: #507898; text-decoration: none;" title="width">width</a>, <a class="populated" href="http://everything2.com/title/depth" style="color: #507898; text-decoration: none;" title="depth">depth</a>."<sup>5</sup></blockquote>
This "<a class="populated" href="http://everything2.com/title/dynamic+form" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="dynamic form">dynamic form</a>" he writes about is easily seen in his work. In <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">The City Rises</i>, 1910, the elongated<a class="populated" href="http://everything2.com/title/brushstrokes" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="brushstrokes">brushstrokes</a> create a blurred motion that is similar to the kind created when a <a class="populated" href="http://everything2.com/title/photograph" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="photograph">photograph</a> is taken of a moving object. His sculpture <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;"><a class="populated" href="http://everything2.com/title/Unique+Forms+of+Continuity+in+Space" style="color: #507898; text-decoration: none;" title="Unique Forms of Continuity in Space">Unique Forms of Continuity in Space</a></i>, <a class="populated" href="http://everything2.com/title/1913" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="1913">1913</a> perfectly captures the essence of motion, as the figure seems to <a class="populated" href="http://everything2.com/title/liquefy" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="liquefy">liquefy</a> and move forward through itself. Later futurist works, most notably<a class="populated" href="http://everything2.com/title/Giacomo+Balla" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Giacomo Balla">Balla's</a> "<a class="populated" href="http://everything2.com/title/dynamisms" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="dynamisms">dynamisms</a>" show a scene over the course of a period of time with much less <a class="populated" href="http://everything2.com/title/distortion" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="distortion">distortion</a>, and clearly demonstrate the idea of the fourth dimension being <a class="populated" href="http://everything2.com/title/time" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="time">time</a>. The futurist method was so effective that even Picasso reconsidered the possibilities of the fourth dimension. Around the same time as Balla's paintings, it was reported by <a class="populated" href="http://everything2.com/title/Kahnweiler" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Kahnweiler">Kahnweiler</a> that Picasso "considered setting his pictures in motion using a clockwork mechanism or producing a series of works which could be shown in rapid succession."<sup style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif;">6</sup><br />
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Marcel Duchamp also used the Fourth Dimension (and other topics from Poincaré's books). In 1911 he began meeting regularly with Princet, who, as mentioned above was a leading proponent of art of the "new geometries". A good example of the fourth dimension in his work is <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">The Bride Stripped Bare by Her Bachelors, Even</i>, 1915-1923 (often called <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">Large Glass</i>) In this work, Duchamp's goal was to depict the bride as four-dimensional, and the bachelors in three dimensions. The shapes which make up the bachelors' machine are textbook examples of geometric solids seen in one-point perspective. The bride, however, is composed of parabolic and hyperbolic forms which Duchamp considered idealized and typical of a four dimensional object's projection in three dimensions. Duchamp arrived at the fairly logical conclusion that because a three-dimensional object has a two-dimensional shadow, a four-dimensional object must have a three-dimensional shadow. This is the same reasoning that Jouffret used in his projections, and these were certainly Duchamp's inspiration. Although it is not readily apparent in <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">Large Glass</i>, Duchamp did extensive research into four-dimensional perspective. He likens the three-dimensional projection to "the method by which architects depict the plan of each story of a house"<sup style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif;">7</sup> and continues to discuss how the four-dimensional object is constructed: "A 4-dim'l figure is perceived (?) through an ∞ of 3-dim'l sides which are the sections of this 4-dim'l figure by the infinite number of spaces (3-dim'l) which envelope this figure."<sup style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif;">8</sup>Though these methods cannot be practically applied, they show the devotion which Duchamp gave to this idea. Some scholars have even gone as far as to claim that Duchamp's famous "ready-mades" have their roots in Poincaré's work. In an essay on mathematical thought, Poincaré describes how the unconscious mind cannot supply "ready-mades", but that it does constantly sift through ideas which the conscious mind can then select from. A related suggestion is that the photos he took of these ready-made objects from various perspectives were the result of his fascination with projecting higher-dimensional objects intolower-dimensional spaces.<br />
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The spread of the fourth dimension continued, and the depiction of it became more <a class="populated" href="http://everything2.com/title/abstract+art" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="abstract art">abstract</a> as art did. The<a class="populated" href="http://everything2.com/title/de+stijl" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="de stijl">de stijl</a> artists in <a class="populated" href="http://everything2.com/title/Holland" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Holland">Holland</a> interpreted the fourth dimension as <a class="populated" href="http://everything2.com/title/negative+space" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="negative space">negative space</a>. <a class="populated" href="http://everything2.com/title/Theo+van+Doesburg" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Theo van Doesburg">Van Doesburg</a> used shades of gray to represent negative space, and the <a class="populated" href="http://everything2.com/title/primary+colors" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="primary colors">primary colors</a> as <a class="populated" href="http://everything2.com/title/positive+space" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="positive space">positive space</a>. This interpretation differs from earlier ones because it does not try to represent the fourth dimension a as a physical reality, but conceptually. <a class="populated" href="http://everything2.com/title/Piet+Mondrian" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Piet Mondrian">Mondrian's</a> appreciation for mathematics led him to his unique style of representing the fourth dimension. He believed that his use of colored planes "by both their dimensions (line) and values (color), can express space without the use of visual perspective."<sup style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif;">9</sup> By eliminating perspective while maintaining the appearance of a three dimensional space, Mondrian has indirectly represented the fourth dimension. In a sense, <a class="populated" href="http://everything2.com/title/color" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="color">color</a> was Mondrian's fourth dimension. Van Doesburg continued using the fourth dimension after Mondrian abandoned it. He did this in a sort of natural continuation of Mondrian's work, by combining colored planes in three dimensional compositions. In <i style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px;">Color Construction in the Fourth Dimension of Space-Time</i>, 1924 he draws colored planes in perspective to create the four dimensional view which Mondrian denounced in 1918. Around this time, Van Doesburg also began experimenting with the fourth dimension as it was interpreted in <a class="populated" href="http://everything2.com/title/Albert+Einstein" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Albert Einstein">Einstein's</a> <a class="populated" href="http://everything2.com/title/relativity" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="relativity">relativity</a> <a class="populated" href="http://everything2.com/title/theory+of+relativity" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="theory of relativity">theory</a>, which was confirmed in <a class="populated" href="http://everything2.com/title/1919" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="1919">1919</a> and quickly gained popularity. Van Doesburg also applied the fourth dimension to architecture. In a plan for a house which he drew in 1923, he combined his three-dimensional colored planes with the idea of a hypercube. In this way he combined Mondrian's abstract notion of the fourth-dimension with the original, concrete notion of it. Van Doesburg explains:<br />
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"The new <a class="populated" href="http://everything2.com/title/architecture" style="color: #507898; text-decoration: none;" title="architecture">architecture</a> is <a class="populated" href="http://everything2.com/title/anticubic" style="color: #507898; text-decoration: none;" title="anticubic">anticubic</a>, in other words, its different spaces are not contained within a close cube. On the contrary, the different cells of space (<a class="populated" href="http://everything2.com/title/balcony" style="color: #507898; text-decoration: none;" title="balcony">balcony</a> volumes, etc., included) develop excentrically, from the center to the periphery of the cube, so that the dimensions of height, width, depth, and time receive a new plastic expression. Thus, the<a class="populated" href="http://everything2.com/title/modern+house" style="color: #507898; text-decoration: none;" title="modern house">modern house</a> will give the impression of floating, suspended in air, in opposition to the natural <a class="populated" href="http://everything2.com/title/force" style="color: #507898; text-decoration: none;" title="force">force</a> of <a class="populated" href="http://everything2.com/title/gravity" style="color: #507898; text-decoration: none;" title="gravity">gravity</a>... The new architecture takes account not only of space but also of time as an architectural value. The unity of space and time gives architectural <a class="populated" href="http://everything2.com/title/vision" style="color: #507898; text-decoration: none;" title="vision">vision</a> a more complete aspect."<sup>10</sup></blockquote>
By eliminating gravity, Van Doesburg eliminated the idea of an <a class="populated" href="http://everything2.com/title/absolute+coordinate+system" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="absolute coordinate system">absolute coordinate system</a> in architecture. No longer was one direction defined as "<a class="populated" href="http://everything2.com/title/down" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="down">down</a>" and opposed by "<a class="populated" href="http://everything2.com/title/up" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="up">up</a>", nor did the words "<a class="populated" href="http://everything2.com/title/left" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="left">left</a>" or "<a class="populated" href="http://everything2.com/title/right" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="right">right</a>" have meaning. All directions were equal, and only their relative orientation to each other mattered. The complex shape of his buildings also required motion in time to view. Van Doesburg was also the only major<a class="populated" href="http://everything2.com/title/artist" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="artist">artist</a> of the time to embrace Einstein's relativity theory. While it may seem <a class="populated" href="http://everything2.com/title/natural" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="natural">natural</a> the popularization of relativity theory would lead to a popularization of the fourth-dimension in art, the actual result was just the opposite.<br />
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Why? Well it's hard to say. The <a class="populated" href="http://everything2.com/title/driving" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="driving">driving</a> goal of using the fourth dimension had always been to make an art form that was somehow more ideal, more perfected than previous works. With the realization of the fourth dimension, this idea had in some ways been confirmed, but the thrill of pursuing it was lost. Another thing that should be mentioned is the frequent interpretation of relativity as the basis for cubism. Picasso denied any scientific roots to cubism but his recollections often contradict history as well as each other. Einstein, however, flat out states, "This new artistic ‘<a class="populated" href="http://everything2.com/title/language" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="language">language</a>' (of cubism) has nothing in common with the <a class="populated" href="http://everything2.com/title/Theory+of+Relativity" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="Theory of Relativity">Theory of Relativity</a>."<sup style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif;">11</sup> He seems to reject any connection between <a class="populated" href="http://everything2.com/title/arts+and+sciences" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="arts and sciences">science and art</a>, stating, "In science, the principle of order which creates units is achieved through logical connection while, in art, the <a class="populated" href="http://everything2.com/title/principle+of+order" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="principle of order">principle of order</a> is anchored in the <a class="populated" href="http://everything2.com/title/unconscious" style="color: #507898; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 12px; text-decoration: none;" title="unconscious">unconscious</a>."<sup style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif;">12</sup><br />
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<small style="color: #111111; font-family: Verdana, Tahoma, 'Arial Unicode MS', sans-serif; font-size: 10px;">Works Cited:<br />1 Apollinaire, Les Peintres Cubistes, 1912, p. 15. Cited in Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art, 1983, p. 75<br />2 Apollinaire, La Peinture Nouvelle. Cited in Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art, 1983, p. 75.<br />3 Delaunay, 1957, p. 146. Cited in Miller, Einstein Picasso, 2001, p. 114.<br />4 Poincaré, La Science et l'Hypothese, 1902, p. 89<br />5 Boccioni, "Plastic Dynamism", 1913. in, Futurist Manifestos, ed. Apollonio, trans. Brain, Flint, Higgitt, Tisdall, p. 93<br />6 Wolter-Abele, "How Science and technology changed art", History Today vol.46 no.11 , November 1996, p. 64<br />7 Duchamp, A l'infinitif, 1966. Cited in Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art,1983, p. 139.<br />8 Ibid.<br />9 Mondrian, "The New Plastic Painting", 1917. In The New Art – The New Life: The Collected Writings of Piet Mondrian, 1986, ed., trans. Holtzman, James, p.38<br />10 Van Doesburg, "L'Evolution de l'architecture moderne". Cited in Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art,1983, p. 325<br />11 Einstein, letter to Paul Laporte, in Laporte, "Cubism and Relativity with a Letter of Albert Einstein", from Leonardo, vol.21 no. 3, 1988, p. 313.<br />12 Ibid. </small><br />
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<strong style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">From </strong><strong style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><a href="http://eyeinside.wordpress.com/2012/08/12/the-popular-culture-of-modern-art-picasso-duchamp-and-avant-gardism/" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-Gardism">The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-Gardism</a> b</strong><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">y Mr. Jeffrey Weiss (Yale University Press - 1994) </span><br />
<a href="http://books.google.co.uk/books?id=jj82ZE_ctIoC&pg=PA301&lpg=PA301&dq=fumisme+L%27Hydropathe&source=bl&ots=u43NPYEpso&sig=-QJ9Vlufl5FN9uhKeykkiU42q5M&hl=en&sa=X&ei=q-QnUMz0BKeQ0AXC0oCoCg&redir_esc=y#v=onepage&q&f=false" style="border: 0px; color: #b85b5a; font-family: inherit; font-size: 12px; font-style: inherit; font-weight: inherit; line-height: 21.6000003814697px; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">FROM</a><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">:</span><br />
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Within the cubist or hermetic triangle of geometrical science, esoteric science and symbolism, lies the article "Qu'est-ce que... le 'Cubisme'.V* published in December 1913, by initie Maurice Raynal. Raynal explains cubism to the general audience of the magazine Comoedia illustrc by comparing cubists to pnmitifs such as Giotto, whose "mysticism" influenced them to "think painting rather than see it" - to paint following "that remarkable idea of conception that the Cubists have revived for a different</div>
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p 81:</div>
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purpose... The Cubists, no longer having the need to paint the mysticism of the primitifs* have received from rhcir century a sort of mysticism of logic, of science and of reason," which has been "amplified and rigorously codified under the well-known name of the <span style="background-color: yellow;">fourth dimension</span>*1*9<br />
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Theories of the <span style="background-color: yellow;">fourth dimension</span> had been applied to cubism by critics and artists since 1911, when Apollinaire publicized the term in his speech for the <i>Exposition d'Art Contemporain</i>, first published in 1912. Similarly, Raynal's dichotomy of perceptual and conceptual painting was, as we have seen, a commonplace of popular, often negative, cubist criticism; it too had been disseminated most recently within the community by Apollinaire. who invented the label "Cubisme Scientifique" for one of his four major categories of cubist painting.'51<br />
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By 1913, the fourth dimension was well-integrated into the specialist and popular literature on cubism. It is significant that, four months after Raynal's article, Roger Allard denounced elaborate theorizing, that "dreadful scientifico-esthetic vocabulary," as a plague of avant-garde group painting. In particular, he singled out the fourth dimension, describing it as a product of symbolist and cubist discussions at the <i>Closerie des Lilas</i>, the <i>café</i> which Allard himself attended:</div>
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Since the time when painters frequented the <i>Closerie des Lilas</i> and some other highly literary popincs* they have been afraid of not appearing cultivated enough. [As a justification for] the slightest plastic initiative, often quite timid in its audacity… it was necessary to call mathematics and geometry to the rescue. It became good form ro speak familiarly of the geometry of Lobachinsky or the theories of Virchow, and from Montmartre to Montparnasse, there was a desperate dance of logomachy on the wire of the fourth dimension.1″</blockquote>
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<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">The most developed treatment of fourth dimensional mathematics during the period was Gaston de </span></span><strong style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Pawlowski’s</strong><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"> fantasy “</span></span><i style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Voyage au pays de la quatri</i><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"><i>è</i></span></span><i style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">me dimension</i><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">,” published as a serial and a book in 1912.1″ As a contributor to </span></span><em style="border: 0px; color: #333333; font-family: inherit; font-size: 12px; font-weight: inherit; line-height: 21.6000003814697px; margin: 0px; padding: 0px; vertical-align: baseline;">Comoedia</em><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"> of which he was editor-in-chief, Pawlowski had several occasions between 1911 and 1914 in which to address cubist art directly, both as painting at the </span></span><em style="border: 0px; color: #333333; font-family: inherit; font-size: 12px; font-weight: inherit; line-height: 21.6000003814697px; margin: 0px; padding: 0px; vertical-align: baseline;">salons</em><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"> and as the subject of two books, <i>Du Cubisme</i> and <i>L</i></span></span><span style="border: 0px; color: #333333; font-family: inherit; font-size: 12px; font-weight: inherit; line-height: 21.6000003814697px; margin: 0px; padding: 0px; vertical-align: baseline;">es Peintres cuhistes</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">. As Linda Henderson has shown, Pawlowski appears to make no connection in his writings between the fourth dimension and cubist pictorial space (even after Apollinaire explicitly discussed the fourth dimension in </span></span><em style="border: 0px; color: #333333; font-family: inherit; font-size: 12px; font-weight: inherit; line-height: 21.6000003814697px; margin: 0px; padding: 0px; vertical-align: baseline;">Les Peintres cubistes</em><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">). Not especially impressed with cubist pictures themselves, he calls cubism </span></span><em style="border: 0px; color: #333333; font-family: inherit; font-size: 12px; font-weight: inherit; line-height: 21.6000003814697px; margin: 0px; padding: 0px; vertical-align: baseline;">ridicule and incompréhcesible</em><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">. None the less, he approves of cubists as originates* recognizable by a family resemblance of style; and he admits that the works might at least prove ro be a catalyst for positive change in the pictorial arts. 1M</span></span><br />
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p 154:<br />
<b>Princet’s </b>influence, at least according to Duchamp’s account, was similarly conditioned by this fascination for the kind of erudition that falls somewhere between positivistic bourgeois sincerity and outrageous <strong>hoax</strong>. “We weren’t mathematicians at all,” Duchamp explained, “but we really did believe in Princet. He gave the illusion of knowing a lot of things.”<br />
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critic Jacques Rivière on cubist science in May 1912:</div>
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There is nothing for which one should be more cruelly punished than having taken for granted the intelligence of a painter. As soon as you think you’ve confirmed his position by explaining the sense of his research, he inflicts upon you an explosive denial and makes everyone know that you’ve understood nothing of his business… What good does it do to critique their works? I would only like to describe their state of spirit. They pretend to think; they would have you believe that they are theoreticians; for them intelligence dominates sensibility. They feel that in order to be new, they must pose as intellectuals… But in their brain there is nothing; consequently, an idea dilates there like the gas in the cylinder of a motor, expanding to fill the available space, inflating and carrying them forward.</blockquote>
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Among the repertory of cubist pseudo-ideas, Rivière includes “representing objects in the ‘four dimensions of esoteric space*.”250</div>
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DUCHAMP: [...] Paris was very <strong>divided</strong> then, and Braque’s and Picasso’s neighborhood, Montmartre, was very much separated from the others. I had the chance to visit it a little at the time, with Princet. <strong>Princet</strong> was an extraordinary being. He was an ordinary mathematics teacher in a public school, or something like that, but he played at being a man who knew the fourth dimension by heart. So people listened. Metzinger, who was intelligent, used him a lot. The<strong> fourth dimension</strong> became a thing you talked about, without knowing what it meant. In fact, it’s still done.</div>
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(Note: cfr Apollinaire on 4th dimension!!!)</div>
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from “Dialogues with Marcel Duchamp” By Pierre Cabanne</div>
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<tr><td><a href="http://1.bp.blogspot.com/-yd-z695gfhQ/UwPRPYcFmbI/AAAAAAAADTc/6ZuFcV-9GGk/s1600/princet.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-yd-z695gfhQ/UwPRPYcFmbI/AAAAAAAADTc/6ZuFcV-9GGk/s1600/princet.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 9.60000038146973px;">Maurice PRINCET : Autoportrait - encre et aquarelle - 1928</td></tr>
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<b><a href="https://href.li/?http://en.wikipedia.org/wiki/Maurice_Princet" rel="noreferrer" style="background-color: white; border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Maurice Princet</a> </b>(1875 – October 23, 1973) was a French mathematician and actuary who played a role in the birth of cubism. He was an associate of Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, and Marcel DUCHAMP. He is known as “<i>le mathématicien du cubisme</i>” (“the mathematician of cubism”). Princet is credited with introducing the work of <strong>Henri Poincaré</strong> and the concept of the “fourth dimension” to the cubists at the Bateau-Lavoir. </div>
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Princet brought to Picasso’s attention a book by <b>Esprit Jouffret</b>, <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Traité élémentaire de géométrie à quatre dimensions</em> (Elementary Treatise on the Geometry of Four Dimensions, 1903),[5] a popularization of Poincaré’s Science and Hypothesis in which Jouffret described <strong>hypercubes</strong> and other complex polyhedra in four dimensions and projected them onto the two-dimensional page. Picasso’s sketchbooks for <i>Les Demoiselles d’Avignon</i> illustrate Jouffret’s influence on the artist’s work.</div>
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From <a href="https://href.li/?http://fr.wikipedia.org/wiki/Maurice_Princet" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Princet </a>(french wiki)</div>
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">The contribution of Princet to the adventure of Cubism was also raised by Louis Vauxcelles and André Salmon, who made him the initiator of the fourth dimension with painters. Yet, as noted by Jacob, "there is very little math in Cubism. Obviously, we could apply the arithmetic parabols but assuming that the Princet had known them, Picasso would had been at pain in applying them." (Letter from Jacob to Salmon, in "</span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Max Jacob et Picasso</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">").</span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><br /></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">Located in Montmartre, </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Princet </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">organizes with his wife Alice evenings where Apollinaire, Picasso and Jacob share various thoughts and indulge in the pleasure of opium and hashish . He became close to Jean Metzinger , and then took part in the meetings of Puteaux . By his knowledge of mathematics , he is certainly a useful intellectual support to painters who, by destroying perspective, materialize space subject to incomprehension. He is probably the cause of rapprochement of their works with Einstein 's Theory of Relativity, which causes Apollinaire to speak of "fourth dimension ." It is likely that by sharing his knowledge to painters , he narrows their research , including those of Picasso who, from 1912 , make to cohabit several spaces (both Cubist and perspective ) . But Princet certainly has more affinity with the group of the Golden Section , then enthusiast about sciences and which feels the need to justify scientifically the directives of Cubism.</span></span></div>
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<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">+ </span></span><a href="https://href.li/?http://www.amazon.com/Maurice-Princet-mathematicien-du-Cubisme/dp/2840681919" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-size: 12px; font-style: inherit; font-weight: inherit; line-height: 21.6000003814697px; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Maurice Princet , le mathematicien du Cubisme</a><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"> (amazon) "Maurice Princet. le mathématicien du cubisme"</span></span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">by Marc Décimo- </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Published by Echoppe, 2007</span></div>
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<strong><strike> >< Einstein’s general relativity (<strong>same time!</strong>)</strike></strong></div>
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<a href="https://href.li/?http://fr.wikipedia.org/wiki/Quatri%C3%A8me_dimension_(art)" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Quatrième dimension (art) (wiki)</a>:</div>
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<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"><br /></span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">"Just as a non-Euclidean world, one can imagine a four-dimensional world," Henri Poincaré wrote in his 1902</span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> </span><em style="border: 0px; color: #333333; font-family: inherit; font-size: 12px; font-weight: inherit; line-height: 21.6000003814697px; margin: 0px; padding: 0px; vertical-align: baseline;">La Science et l’Hypothèse</em><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">.</span></div>
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<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">Culture and sensitivity of Poincaré allowed him to bring the exact sciences research to a lay audience without 'popularizing', but in expressive and visual poetic terms. His conception of space as a joint representative experience of visual space, tactile and motor has call to the artists. </span></span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">Even though, as such, the </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">curved </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">non-Euclidean </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">space hardly appears in Cubist painting, the new geometries have been at the heart of the intellectual concerns of artists of the early twentieth century in France and Russia.</span></div>
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<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"><b>Painting and new geometries</b></span></span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"><b><br /></b></span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">The painter " brings his body ," said Valery [ quoted by Merleau-Ponty in </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">L'Œil et l'esprit</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">] , it is by "offering his body that the painter changes the world in </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">painting</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">." Friend of Alfred Jarry </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">(La pataphysique, Ubu</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">) , and readre of Herbert George Wells (The Time Machine), Valéry was a passionate admirer of Poincaré. He had even started studying mathematics in 1890 and his notebooks between 1894 and 1900 were filled with equations.</span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><br /></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">Regarding "matter", for Poincaré , one of the most amazing </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">discoveries</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">physicists have announced in recent years is that the </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">matter </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">does not exist.</span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><br /></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">This statement puzzled painter Matisse who wrote to </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Derain</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">in 1916 about "Science and Hypothesis " : "Have you read this book ? There are some assumptions in a breathtaking audacity, in particluar about the destruction of </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">matter</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">. Movement exists only by the fact of the destruction and reconstruction of </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">matter</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">. "</span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><br /></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">But it is especially the idea of the "fourth dimension", a possible mode of theoretical understanding of the new Cubist painting, which will fascinate the art world.</span></span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"><br /></span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">What we have to to remember is the highly social aspectof Cubism. Everyone knows each other, ideas circulate and take mathematical, literary, pictorial forms. However, these </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">ideas</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">must be centered around those of Poincar</span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">é's</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">. It is he who gives for the first time this distinction between a geometric space and representational space. This may explain not only the birth of Cubism in France , but also a minimum of public ready to receive it.</span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"><br /></span><span style="font-size: 12px; line-height: 21.6000003814697px;"><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"></span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">However, Einstein's theories are unlikely to have influenced cubism as they are known in France relatively late . The development of the theory of relativity itself spans over a fairly long period.</span></span></div>
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<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"><b>The fourth dimension and Cubism</b></span></span><br />
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<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">"They say Matisse was the first to use this expression ("fourth dimension", note</span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">) before </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Picasso's </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">first Cubist researches. "</span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;">That is what Italian Futurist painter Gino Severini wrote in 1917 about the fourth dimension in the Mercure de France. Matisse, who read a treatise entitled </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Essai sur l’Hyperespace</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"> would have shouted: "Oh! but this is but a popular book! ". (This is Metzinger who quotes this anecdote in </span></span><em style="border: 0px; color: #333333; font-family: inherit; font-size: 12px; font-weight: inherit; line-height: 21.6000003814697px; margin: 0px; padding: 0px; vertical-align: baseline;">Le cubisme était né</em><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.6000003814697px;"> and he so concludes: "Ultimately, it demonstrated that for large tan (fauve), the time when the </span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">ignorant</span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> </span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">painter was running, carried by the wind, looking for a beautiful pattern, was over for good.")</span><br />
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En 1909, Charles Camoin écrit à Matisse à propos de son art :</div>
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« Quelle profession honteuse à une époque de si grandes spéculations et après la découverte de la 4e dimension. »</div>
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Si Matisse peut, dès les premières années du siècle, estimer à sa juste valeur un ouvrage sur les nouvelles géométries et s’entretenir de la 4e dimension, c’est en effet certainement parce qu’il connaît les publications scientifiques qui font autorité dans le Paris d’avant-guerre à savoir, celles d’Henri Poincaré.<br />
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Notamment <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">La Science et l’Hypothèse</em>, parue en 1902, dont les deux chapitres <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Les géométries non-euclidiennes</em> et<em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">L’espace et la géométrie</em> décrivent de façon simple et précise quelques notions essentielles sur les géométries non-euclidiennes, les géométries à n-dimensions, et la quatrième dimension. Mais la force de cet ouvrage réside dans sa description de la <span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: underline; vertical-align: baseline;">différence</span> entre l’espace géométrique qui est une convention (la géométrie n’est pas vraie, elle est avantageuse), et l’espace représentatif à composantes visuelle, tactile, motrice.<br />
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C’est le mathématicien <strong>Maurice Princet</strong>, qui fréquentait les cercles cubistes, qui <span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: underline; vertical-align: baseline;">le premier établit une analogie formelle entre l’effet de facettes obtenues dans les perspectives cavalières des seize Octahédrons d’un Icosatetrahédroide de Jouffret et le Portrait cubiste d’Ambroise Vollard par Picasso (1910).</span> Mais Picasso a toujours énergiquement <strong>nié</strong> avoir jamais discuté mathématique avec Princet (interview à Alfred Barr, 1945). Le collectionneur et marchand d’art Daniel-Henry Kahnweiler, dans son livre sur Juan Gris, 1947, précise à propos de Princet “qu’il n’a<span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: underline; vertical-align: baseline;">jamais eu la moindre influence</span> sur Picasso ou Braque, pas plus que sur Gris, qui avait suivi ses propres études de mathématiques.”</div>
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Mais l’idée de la quatrième dimension dans le cubisme a incontestablement une origine mathématique, celle de <b>Poincaré</b>. Comment s’est-elle transmise ?<br />
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En 1918, Louis Vauxcelles se moquait de Princet et de la façon dont s’était répandue l’idée de la quatrième dimension en art :</div>
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«Il est de notoriété publique dans les ateliers de Montparnasse, et partout ailleurs, que l’inventeur du cubisme était <strong>Max Jacob</strong>. Nous le croyions nous-mêmes. Mais il est nécessaire de rendre son honneur à César, et César, dans ce cas précis, s’appelle M. <strong>Princet</strong>. C’est, nous le pensons, la première fois que ce nom est imprimé dans les annales du cubisme. M. Princet est un “agent d’assurance” et très fort en mathématiques. M. Princet calcule comme Inaudi. M. Poincet (sic) lit Henri Poincaré dans le texte. M. Princet a étudié à fond la géométrie non-euclidienne et les théorèmes de <strong>Rieman</strong>, desquels Gleizes et Metzinger ont parlé si négligemment. Ainsi, un jour, M. Princet rencontra M. Max Jacob et lui confia une ou deux de ses découvertes sur la quatrième dimension. M. Jacob en informa l’ingénieux M. Picasso, et M. Picasso y vit la possibilité de nouveaux schémas ornementaux. M.Picasso expliqua ses intentions à M. <strong>Appollinaire</strong> qui se hâta de les mettre en formules et de les codifier. La chose proliféra et se propagea. Le cubisme, enfant de M. Princet était né. »</div>
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En fait Max Jacob fait mention dans un article fin 1915 pour un périodique américain “291″ de sa rencontre avec Galani dont la tentative d’expliquer la quatrième dimension fut convertie par Max Jacob le religieux en une explication des apparitions et disparitions du Christ ressuscité.</div>
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Matisse, dans une lettre à Derain en 1916, parle de Galani qui vient juste de lire <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">La Science et l’Hypothèse</em>, livre dans lequel il a trouvé l’origine du cubisme (Matisse ajoute trois points d’exclamations entre parenthèses).</div>
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Gleizes et Metzinger avaient probablement étudié l’œuvre de Poincaré d’assez près. Mais, d’une part, les discussions avec Princet, et d’autres part des lecture possibles de théosophes citant Poincaré comme Revel dans “L’esprit et l’espace: La Quatrième dimension” ont pu amener une certaine confusion dans la façon dont le lien entre les nouvelles géométries et le cubisme s’établissait.</div>
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Pour Gleizes et Metzinger il existe deux sortes d’espaces géométriques, l’espace euclidien et l’espace non-euclidien. L’espace euclidien pose l’indéformabilité des figures en mouvement. L’espace non-euclidien est celui auquel il convient de rattacher l’espace des peintres. Gleizes et Metzinger préconisent à ce propos d’étudier les nouvelles géométries :</div>
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« Si nous devions rattacher l’espace pictural à une géométrie particulière, nous devrions nous référer aux savants non-euclidiens; il nous faudrait étudier, en fin de compte, certains des théorèmes de <strong>Rieman</strong> (sic). »</div>
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En fait, malgré les préoccupations intellectuelles des artistes au sujet des nouvelles géométries, l’espace courbe non-euclidien apparaît rarement dans la peinture cubiste sauf dans des œuvres comme l’<em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Estaque</em>, par Braque et Dufy (1908), les <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Tours Eiffel</em> de Delaunay (1910-1911), ou le <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Paysage cubiste</em> de Metzinger (1911), où il semblerait que celui-ci se soit appliqué à mettre en pratique consciencieusement les principes de déformation de l’espace courbe non-euclidien.</div>
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<a href="https://href.li/?http://dadasurr.blogspot.co.uk/2010/03/marcel-duchamp-iii.html" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">source</a>:</div>
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Duchamp a déclaré à Pierre Cabanne : « C’est Roussel qui, fondamentalement, fut responsable de mon Verre, La Mariée mise à nu [...], ce furent ses Impressions d’Afrique qui m’indiquèrent dans ses grandes lignes la démarche à adopter » et qu’ayant lu les « choses de ce Povolowski » (sic), il a simplement « pensé à l’idée d’une <strong>projection</strong>, d’une quatrième dimension invisible [...], autrement dit que <span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: underline; vertical-align: baseline;">tout objet de trois dimensions, que nous voyons froidement, est une projection d’une chose à quatre dimensions, que nous ne connaissons pas</span> ».</div>
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<strong><a href="https://href.li/?http://www.math.umt.edu/tmme/vol6no3/Bodish_article15_vol6no3_pp527_540.pdf" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Cubism and the Fourth Dimension (PDF) </a></strong></div>
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<strong><a href="https://href.li/?http://www.brocku.ca/MeadProject/Poincare/Poincare_1905_04.html" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Science and Hypothesis, Chapter 3: Non-Euclidean Geometries</a></strong>, by Henri Poincaré</div>
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+ <a href="https://href.li/?http://www.brocku.ca/MeadProject/Poincare/Poincare_1905_05.html" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">http://www.brocku.ca/MeadProject/Poincare/Poincare_1905_05.html</a> :</div>
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<strong>Visual Space.</strong> — First of all let us consider a purely visual impression, due to an image formed on the back of the <strong>retina</strong>. A cursory analysis shows us this image as continuous, but as possessing only two dimensions, which already distinguishes purely visual from what may be called geometrical space. On the other hand, the image is enclosed within a limited framework; and there is a no less important difference: this pure visual space is not homogeneous. All the points on the retina, apart from the images which may be formed, do not play the same role. The yellow spot can in no way be regarded as identical with a point on the edge of the retina. Not only does the same object produce on it much brighter impressions, but in the whole of the limited framework the point which occupies the centre will not appear identical with a point near one of the edges. Closer analysis no doubt would show us that <span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: underline; vertical-align: baseline;">this continuity of visual space and its two dimensions are but an <strong>illusion</strong></span>. It would make visual space even more different than before from geometrical space, but we may treat this remark as incidental. However, sight enables us to appreciate distance, and therefore to perceive a third dimension. But every one knows that this perception of the third dimension reduces to a sense of the effort of accommodation which must be made, and to a sense of the convergence of the two eyes, that must take place in order to perceive an object distinctly. These are muscular sensations quite different from the visual sensations which have given us the concept of the two first dimensions. The third dimension will therefore not appear to us as playing the same role as the two others. What may be called complete visual space is not therefore an isotropic space. It has, it is true, exactly three dimensions; which means that the elements of our visual sensations (those at least which concur in forming the concept of extension) will be completely defined if we know three of them; or, in mathematical language, they will be functions of three independent variables. But let us look at the matter a little closer. The third dimension is revealed to us in two different ways by the effort of accommodation, and by the convergence of the eyes. No doubt these two indications are always in harmony; there is between them a constant relation; or, in mathematical language, the two variables which measure these two muscular sensations do not appear to us as independent. Or, again, to avoid an appeal to mathematical ideas which are already rather too refined, we may go back to the language of the preceding chapter and enunciate the same fact as follows: — If two sensations of convergence A and B are indistinguishable, the two sensations of accommodation A’ and B’ which accompany them respectively will also be indistinguishable. But that is, so to speak, an experimental fact. Nothing prevents us is priori from assuming the contrary, and if the contrary takes place, if these two muscular sensations both vary independently, we must take into account one more independent variable, and complete visual space will appear to us as a physical continuum of four dimensions. And so in this there is also a fact of external experiment. Nothing prevents us from assuming that a being with a mind like ours, with the same sense-organs as ourselves, may be placed in a world in which light would only reach him after being passed through refracting media of complicated form. The two indications which enable us to appreciate distances would cease to tie connected by a constant relation. A being educating his senses in such a world would no doubt attribute four dimensions to complete visual space.</div>
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<strong>Poincare is wrong: this “illusion” does NOT come from our senses but our BRAIN!!!</strong></div>
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<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 7px 0px 8px 10px; padding: 0px; vertical-align: baseline;">// same error as <strong>Descartes</strong>! Yes, our perceptions come via our senses BUT this the brain which makes sense of it all! Besides eyes don’t need to be two to see. They already see in perspective! Stereoscopic vision adds the depth info to this projection.</li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 7px 0px 8px 10px; padding: 0px; vertical-align: baseline;"><strong>Nietzsche</strong>: time = <strong>chaos</strong> (Heraclitus) and dominates eveything (so >< images, order, Apollo)</li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 7px 0px 8px 10px; padding: 0px; vertical-align: baseline;"><strong>Hegel</strong>: time = sequential, logical/ rational (zeitgeist), <strong>order</strong> -> historic determinism (Marx/Engels)</li>
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<a href="https://href.li/?http://en.wikipedia.org/wiki/The_Persistence_of_Memory" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">http://en.wikipedia.org/wiki/The_Persistence_of_Memory</a> + <a href="https://href.li/?http://en.wikipedia.org/wiki/The_Disintegration_of_the_Persistence_of_Memory" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">http://en.wikipedia.org/wiki/The_Disintegration_of_the_Persistence_of_Memory</a></div>
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<a href="https://href.li/?http://en.wikipedia.org/wiki/Salvador_Dal%C3%AD#Science" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">http://en.wikipedia.org/wiki/Salvador_Dal%C3%AD#Science</a>:</div>
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<strong>Science</strong><br />
References to Dalí in the context of science are made in terms of his fascination with the paradigm shift that accompanied the birth of <strong>quantum mechanics</strong> in the twentieth century. Inspired by Werner Heisenberg’s<em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Uncertainty Principle</em>, in <strong>1958</strong> he wrote in his “<em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Anti-Matter Manifesto</em>“: “In the Surrealist period, I wanted to create the iconography of the interior world and the world of the marvelous, of my father <strong>Freud</strong>. Today, the exterior world and that of physics has transcended the one of psychology. My father today is Dr.<strong>Heisenberg</strong>.”[63]<br />
In this respect, <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Disintegration of the Persistence of Memory</em>, which appeared in 1954, in hearkening back to <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Persistence of Memory</em>, and in portraying that painting in fragmentation and disintegration summarizes Dalí’s acknowledgment of the new science.[63]</div>
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<a href="https://href.li/?http://www.philipcoppens.com/dali.html" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Salvador Dali: painting the fourth dimension</a> (no url)</div>
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<a href="https://href.li/?http://www.salvador-dali.org/serveis/ced/articles/en_article3.html" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Salvador Dalí and Science</a></div>
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<a href="https://href.li/?http://longstreet.typepad.com/books/art-history/page/2/" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">http://longstreet.typepad.com/books/art-history/page/2/</a></div>
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<a href="https://href.li/?http://yalepress.yale.edu/yupbooks/excerpts/robbin_shadows.pdf" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">The Origins of Four Dimensional Geometry</a> (pdf)</div>
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<a href="https://href.li/?http://www.abebooks.com/9781271106318/M%C3%A9langes-G%C3%A9om%C3%A9trie-Quatre-Dimensions-French-1271106310/plp" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Mélanges De Géométrie À Quatre Dimensions</a>… (French Edition) by <a href="https://href.li/?http://en.wikipedia.org/wiki/Esprit_Jouffret" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Esprit Jouffret</a></div>
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<tr><td><a href="http://1.bp.blogspot.com/-Wrv6udLZp2Y/Uv02NWa6YwI/AAAAAAAADRY/ZoEGScht2c0/s1600/jouffret.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-Wrv6udLZp2Y/Uv02NWa6YwI/AAAAAAAADRY/ZoEGScht2c0/s1600/jouffret.gif" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8000001907349px;">Jouffret’s Traité élémentaire de géométrie à quatre dimensions.<br />
The book, which influenced Picasso, was given to him by Princet.</td></tr>
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<tr><td><a href="http://4.bp.blogspot.com/-n7DtJSsPpLE/Uv02bNhKFYI/AAAAAAAADRg/6hbfvXuiuVo/s1600/picabia_poicare.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-n7DtJSsPpLE/Uv02bNhKFYI/AAAAAAAADRg/6hbfvXuiuVo/s1600/picabia_poicare.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8000001907349px;">Francis Picabia: Portrait de Poincaré (1927-28); collage.</td></tr>
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<tr><td><a href="http://2.bp.blogspot.com/-GrTSnmsGQ7o/Uv09_KC2zsI/AAAAAAAADR4/UH-yqe9wvnM/s1600/PabloPicasso-Ambroise-Vollard-1915.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-GrTSnmsGQ7o/Uv09_KC2zsI/AAAAAAAADR4/UH-yqe9wvnM/s1600/PabloPicasso-Ambroise-Vollard-1915.jpg" height="640" width="441" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8000001907349px;">Pablo Picasso: Ambroise Vollard (1915)</td></tr>
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On cubism and <a href="http://eyeinside.wordpress.com/2012/08/12/the-popular-culture-of-modern-art-picasso-duchamp-and-avant-gardism/" target="_blank">pseudo-science </a><br />
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DUCHAMP</div>
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<strike>SEQUENTIALITY IN ART</strike></h3>
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<strike>Cinema's influence on Braque and Picasso</strike><br />
<strike><a href="http://www.nytimes.com/2007/04/15/arts/design/15kenn.html?pagewanted=all&_r=0" target="_blank">When Picasso and Braque Went to the Movies</a> = also a FILM (2008)</strike></div>
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<span style="font-size: large;"><strike>This was rejected and Duchamp went into a war against the art establishment >>> urinal!</strike></span></div>
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<strike><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">Duchamp’s interest in plotting the static phases of a moving subject has often been compared to the work of the Italian Futurists, who were obsessed with notions of velocity. Another precedent for the work can be found in the time-lapse photography of Étienne-Jules Marey in France and Eadweard Muybridge and Thomas Eakins in the United States. Muybridge’s book Animal Locomotion, of 1887, which included a sequence of twenty-four images of a naked woman descending a flight of stairs, possibly served as a </span><strong style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;">source</strong><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif; font-size: 12px; line-height: 21.6000003814697px;"> for Duchamp s landmark painting.</span></strike></div>
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<strike>————-</strike></div>
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<strike>1832 Joseph Plateau and sons introduce the Phenakistoscope. Like other toys of its kind, the Phenakistoscope was one of the more successful illusion toys. Pictures on one disc viewed through slots in the other, appeared to move when the two were spun and viewed in a mirror.</strike></div>
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<strike>1834 Another illusion toy – the Zoetrope was introduced by William George Horner. The Zoetrope used the same principle as Plateau’s Phenakistoscope but instead of discs the pictures and slots are combined in a rotating drum. Zoetrope’s were widely sold after 1867. <a href="https://href.li/?http://www.earlycinema.com/timeline/index.html" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">FROM</a></strike></div>
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<strike><a href="https://href.li/?http://en.wikipedia.org/wiki/Zoetrope" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">Wiki</a>: The earliest known zoetrope was created in China around 180 AD by the inventor Ting Huan. The modern zoetrope was invented in 1833 by British mathematician William George Horner. He called it the “<strong>daedalum</strong>“, most likely as a reference to the Greek myth of <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Daedalus</em>, though it was popularly referred to as “<strong>the wheel of the devil</strong>“. The American developer William F. Lincoln named his toy the “zoetrope”, meaning “<strong>wheel of life</strong>“. Almost simultaneously, similar inventions were made independently in Belgium by Joseph Antoine Ferdinand Plateau (the<em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">phenakistoscope</em>) and in Austria by Simon von Stampfer (the <em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">stroboscope</em>).</strike></div>
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<strike>The <a href="https://href.li/?http://en.wikipedia.org/wiki/Praxinoscope" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">praxinoscope</em> </a>was an improvement on the zoetrope that became popular toward the end of the 19th century. The praxinoscope was an animation device, the successor to the zoetrope. It was invented in <span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">France</span> in 1877 by Charles-Émile Reynaud. In 1889 Reynaud developed the Théâtre Optique, an improved version capable of projecting images on a screen from a longer roll of pictures. This allowed him to show hand-drawn animated cartoons to larger audiences, but it was soon eclipsed in popularity by the photographic film projector of the Lumière brothers.</strike></div>
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<strike><span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">NOTE</span>: Picasso et al were fans of MOVIES! (see below)</strike></div>
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<strike>COULD BE SEEN AS <a href="http://eyeinside.wordpress.com/2011/08/09/visual-sequential/" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" title="Sequential / Non-Sequential (Visuo-Spatial)"><strong>SEQUENTIAL</strong> </a>OR ALL AT ONCE… <a href="http://eyeinside.wordpress.com/2011/08/09/sequential/" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" title="Sequential"><br /></a></strike></div>
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<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 7px 0px 8px 10px; padding: 0px; vertical-align: baseline;"><strike>SO we are (at best) invited to follow a journey passing through all these various perspectives… : = sequentiality!</strike></li>
<li style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 7px 0px 8px 10px; padding: 0px; vertical-align: baseline;"><strike>OR attempts (via photos snapshots) from D <strong>Hockney</strong></strike></li>
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<strike><strong>CUBISM</strong>: multiple points of perspective (// Nietzsche’s perspectivism?)</strike></div>
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<strike>N perspectivism -> <strong>C<strong>ubism as</strong> concept of a DECONSTRUCTED space (chaos) through TIME (sequential) </strong></strike></div>
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<strike><strong> <-> </strong><strong>Heraclitus!</strong></strike></div>
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<strike><strong><strong>FILM TECHNOLOGY: <strong>See <a href="https://href.li/?http://movies.nytimes.com/2010/05/28/movies/28picasso.html" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">Picasso & Braque Go to the Movies (2008)</a></strong></strong> influence of FILMS in 1906-07 (note: </strong>Duchamp<strong> nude rejected THEN -> DADA REVOLT!) </strong></strike></div>
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<strike>See <a href="https://href.li/?http://www.nytimes.com/2007/04/15/arts/design/15kenn.html?pagewanted=all" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">When Picasso and Braque Went to the Movies</a></strike></div>
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<strike><-> silent films (FRENCH invention -the Lumieres bros) // nude descending stair</strike></div>
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<strike>The Frenchman Louis <strong>Lumiere</strong> is sometimes credited as the inventor of the motion picture camera in <strong>1895</strong>. Other inventors preceded him, and Lumiere’s achievement should always be considered in the context of this creative period. Lumiere’s portable, suitcase-sized cinematographe served as a camera, film processing unit, and projector all in one. He could shoot footage in the morning, process it in the afternoon, and then project it to an audience that evening. His first film was the arrival of the express train at Ciotat. Other subjects included workers leaving the factory gates, a child being fed by his parents, people enjoying a picnic along a river. The ease of use and portability of his device soon made it the rage in France. Cinematographes soon were in the hands of Lumiere followers all over the world, and the motion picture era began. The American Thomas Alva Edison was a competitor of Lumiere’s, and his invention predated Lumiere’s. But Edison’s motion picture camera was bulky and not portable. <a href="https://href.li/?http://www.tc.umn.edu/~ryahnke/film/cinema1.htm" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">FROM</a></strike></div>
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<b><strike><i>Ex nihilo nihil fit</i> ("Out of nothing comes nothing")</strike></b><br />
<strike><br /></strike><strike>How large is this "instant" between "past" and "future"? How long does this "instant* last?</strike><br />
<strike>This "instant" is an imperceptible space of time yet this instant as we have seen it, is not equal to zero (otherwise it leads us to Zeno's paradox) : time (i.e. change, movement) itself would stop from existing which is absurd.</strike><br />
<strike>So this "instant" is not "nothing." It is paradoxically an infinitely small yet non-zero entity without which Time itself would cease to exist. Yes as we have seen it: "Out of nothing comes nothing." This sentence was dramatically used in William Shakespeare's <i>King Lear </i>when his dearest daughter Cordelia is unable to put her love for him into words. The King then says, "Nothing will come of nothing", meaning that as long as she says nothing to flatter him, she will receive nothing from him. Later in the play, Lear will repeat this line several times, while plunging into madness. As Lear's, Eckaert Tolle's philosophy is also deeply "nihilistic" (and depressing.)</strike><br />
<strike>But this philosophical definition of "nothing," is quite different from that defended by scientists (to which Tolle sometimes refers to.) In the real physical world as studied by them this "philosophical nothing" has no existence since "nothing" can always be defined by certain properties such as space, and is governed by physical laws. Even in today's quantum mechanics, "nothing" refers to a "quantum vacuum." In "quantum field theory," this so called "vacuum" or "Zero-point" field is the quantum state with the lowest possible energy and contains no physical particles. According to quantum mechanics, the "vacuum" is not truly empty but instead contains fleeting electromagnetic waves and particles that pop into and out of existence. This "vacuum model" is a strong argument, by analogy, in favor of a multiverse cosmological model where universes could pop into and out of existence. This is very different from our philosopher’s or theologian’s idealized "nothing" and "creation."</strike><br />
<strike>So, in reality there is always "something."</strike><br />
<strike>This reality is in itself the answer to this old question : "Why is there something rather than nothing? "</strike><br />
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<li>Artist Brian Eno's "<a href="http://longnow.org/" target="_blank">Long Now</a>" project about "long-term thinking."</li>
<li>Time as fourth dimension??? (cubism)</li>
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<span style="font-size: large;">PERSPECTIVE: FROM 3D TO 2D</span></div>
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3D > 2D:</h3>
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solution = PERSPECTIVE (PROJECTION)</div>
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Note: cubism REJECTS such perspective</div>
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<span style="border: 0px; color: #b85b5a; font-family: inherit; font-size: large; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><a href="https://href.li/?http://www.iep.utm.edu/time-sup/#H9" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Is Time the Fourth Dimension?</a></span><a href="http://1.bp.blogspot.com/--IDE0HCCyIs/Uw83WyofLvI/AAAAAAAADaU/UZT9Nb-DzO0/s1600/icon_linkExternal.gif" imageanchor="1" style="font-family: inherit; font-size: x-large; font-style: inherit; font-weight: inherit; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://1.bp.blogspot.com/--IDE0HCCyIs/Uw83WyofLvI/AAAAAAAADaU/UZT9Nb-DzO0/s1600/icon_linkExternal.gif" /></a></div>
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From my <a href="http://eyeinside.wordpress.com/2012/03/28/4th-dimension-time/" target="_blank">4th dimension (≠ time!)</a> <a href="http://1.bp.blogspot.com/--IDE0HCCyIs/Uw83WyofLvI/AAAAAAAADaU/UZT9Nb-DzO0/s1600/icon_linkExternal.gif" imageanchor="1" style="font-family: inherit; font-size: x-large; font-style: inherit; font-weight: inherit; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://1.bp.blogspot.com/--IDE0HCCyIs/Uw83WyofLvI/AAAAAAAADaU/UZT9Nb-DzO0/s1600/icon_linkExternal.gif" /></a></div>
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Einstein: spacetime >> time as "fourth dimension" >>> <b>BRANES</b></div>
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<b>Einstein: space-time ("</b><b>fourth </b><b>dimension")</b></div>
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<b>Time's arrows as the "fourth dimension"?</b></h3>
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<b>Hawking: </b></div>
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A temporal dimension is a dimension of time. Time is often referred to as the “<strong>fourth dimension</strong>” for this reason, but that <strong>is not to imply that it is a spatial dimension</strong>. A temporal dimension is one way to measure physical change. It is perceived differently from the three spatial dimensions in that there is only one of it, and that we cannot move freely in time but subjectively move in one direction.<br />
The equations used in physics to model reality do not treat time in the same way that humans commonly perceive it. The equations of classical mechanics are symmetric with respect to time, and equations of quantum mechanics are typically symmetric if both time and other quantities (such as charge and parity) are reversed. In these models, the perception of time flowing in one direction is an artifact of the laws of thermodynamics (we perceive time as flowing in the direction of increasing entropy).<br />
The best-known treatment of time as a dimension is Poincaré and Einstein’s special relativity (and extended to general relativity), which treats perceived space and time as components of a four-dimensional manifold, known as spacetime, and in the special, flat case as Minkowski space. <a href="https://href.li/?http://www.thefullwiki.org/Spacetime" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">more</a> and <a href="https://href.li/?http://www.thefullwiki.org/Dimension" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">here</a></div>
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<strong>= sequentality (“time”) and diff view points = like a de-construction of space via time (// cubism)</strong></div>
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<strong>Is “time” a “fourth dimension”, ie euclidian space (3d) is a mere <span style="border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: underline; vertical-align: baseline;">projection</span> of a 4d “hyperspace”? in which case time as a “fourth spatial” dimension <—> Riemann</strong><br />
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HAWKING AND <b>IMAGINARY TIME AS FOURTH DIMENSION</b> (different from REAL time)</div>
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The Beginning of Time</h3>
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It seems that Quantum theory, on the other hand, can predict how the universe will begin. Quantum theory introduces a new idea, that of imaginary time. Imaginary time may sound like science fiction, and it has been brought into Doctor Who. But nevertheless, it is a genuine scientific concept. One can picture it in the following way. One can think of ordinary, real, time as a horizontal line. On the left, one has the past, and on the right, the future. But there's another kind of time in the vertical direction. This is called imaginary time, because it is not the kind of time we normally experience. But in a sense, it is just as real, as what we call real time.<br />
<span style="background-color: yellow;">The three directions in space, and the one direction of imaginary time, make up what is called a Euclidean space-time. I don't think anyone can picture a four dimensional curve space.</span> But it is not too difficult to visualise a two dimensional surface, like a saddle, or the surface of a football.<br />
In fact, James Hartle of the University of California Santa Barbara, and I have proposed that space and imaginary time together, are indeed finite in extent, but without boundary. They would be like the surface of the Earth, but with two more dimensions. The surface of the Earth is finite in extent, but it doesn't have any boundaries or edges. I have been round the world, and I didn't fall off.<br />
<span style="background-color: yellow;">If space and imaginary time are indeed like the surface of the Earth, there wouldn't be any singularities in the imaginary time direction, at which the laws of physics would break down. </span>And there wouldn't be any boundaries, to the imaginary time space-time, just as there aren't any boundaries to the surface of the Earth. This <span style="background-color: yellow;">absence of boundaries</span> means that the laws of physics would determine the state of the universe uniquely, in imaginary time. But if one knows the state of the universe in imaginary time, one can calculate the state of the universe in real time. One would still expect some sort of Big Bang singularity in real time.</blockquote>
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From <a href="http://www.hawking.org.uk/the-beginning-of-time.html" target="_blank">http://www.hawking.org.uk/the-beginning-of-time.html</a></div>
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<a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/whats-time.html#link16">Does Time Fly Like An Arrow?</a><br />
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<li><a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/whats-time.html#link18">Uncertainty of Time</a></li>
<li><a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/whats-time.html#link19">Conclusion: Is This The End?</a></li>
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<b><span style="font-size: large;">IRREVERSIBILITY of time</span></b></div>
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We have seen and know out of our daily experience that time has a DIRECTION (the "arrow"), it is irreversible ("Time paradoxes" deal with this reality.)</div>
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See Feynman's "<a href="http://www.informationphilosopher.com/solutions/scientists/feynman/past_and_future.html" target="_blank">The Distinction of Past and Future</a>"</div>
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<span style="font-weight: normal;">Hawking: "Quantum theory introduces a new idea, that of </span>imaginary time<span style="font-weight: normal;">." >>> 3D + imaginary time + real time</span><br />
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Scientific American:</div>
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My view: space-time as valid concept. But time NOT as a "fourth dimension" but perpendicular to "space". If we consider the 3-dim. space as a LINE, then time being perpendiculare can be considered (mathematically) as "imaginary" (??? what about Feynman et al 's "imaginary time"?).<br />
Now, since there is "space inflation" there must be "time inflation"... starting-point is "chronon". With extension of universe, this ("infinitely" dense) "chronon" becomes "timeline", or rater an "infinity" of timelines (that is at every "point-quanta" of space there is a time-vector). Could this be considered as a 2D-time? (therefore it requires an imaginary time!)<br />
Imaginary may imply "rotation" (spin) ---> rotation of Universe? (not spatial but temporal around its "big bang singularity") This rotation might be the "force" (dark force) which forces our universe to expand spatially and temporally.<br />
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<li><a href="http://www.scientificamerican.com/article/sean-carroll-eternity-to-here/" target="_blank">What Keeps Time Moving Forward? Blame It on the Big Bang</a></li>
<li><a href="http://www.stealthskater.com/Documents/BigBang_05.pdf" target="_blank">Does Time Run Backward in Other Universes?</a></li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlVkRoKu3eZ2gwgvGgR_6roSxG2mffTKekVA8w7FDxq8MLegT7OrGbPWw5Mvy9TUzo5rhjblqy5ZOBlEM-fPHhrSpi-0BzqyKe-I-9mjS3o1e2SqT7q-5GyQ9pbn4VKVZ4NYlZQfo8hc4/s1600/tempusfugit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlVkRoKu3eZ2gwgvGgR_6roSxG2mffTKekVA8w7FDxq8MLegT7OrGbPWw5Mvy9TUzo5rhjblqy5ZOBlEM-fPHhrSpi-0BzqyKe-I-9mjS3o1e2SqT7q-5GyQ9pbn4VKVZ4NYlZQfo8hc4/s400/tempusfugit.jpg" height="400" width="400" /></a></div>
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1. Does Time Fly Like An Arrow? </h3>
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As I said in my <a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/whats-time.html">What's the Time?</a>, although we experience it “all the time”, we all know that ours will eventually be up. Time has one direction (it is irreversible) and is finite.<br />
It therefore has been compared to a river, a flow or an arrow.<br />
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So much so that even our clocks’ arms look like arrows!<br />
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This English expression comes from <i>Tempus fugit</i>, meaning in Latin "time flees". It is frequently used as an inscription on clocks. It was first recorded in the poem Georgics written by Roman poet Virgil (70 BC - 19 BC): "But meanwhile it flees: time flees irretrievably, while we wander around, prisoners of our love of detail."<br />
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Interestingly, the phrase "the arrow of time" was popularized in 1927 by British astrophysicist Arthur Eddington. Newton also believed that time was like an arrow; once fired; it soared in a straight, undeviating line obeying his laws of mechanics.<br />
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Basically, it is the idea that time flows in only one direction, as opposed to dimensions in space which have no preferred orientation: we turn right or left, move forwards or backwards, up or down without creating paradoxes. Space is “symmetrical” and has no preferred direction. Time isn’t. It has only one direction: Past is NOT equivalent to Future. Time introduces an asymmetry. It is a “symmetry-breaker” of our Universe‘s known fundamental forces at this singularity point called “Big Bang”.<br />
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<a href="http://1.bp.blogspot.com/-7y2RIqVLbEs/Uw8VIs2nNWI/AAAAAAAADaA/GNhR5humIR0/s1600/Hourglass-shaped-women.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-7y2RIqVLbEs/Uw8VIs2nNWI/AAAAAAAADaA/GNhR5humIR0/s1600/Hourglass-shaped-women.jpg" height="275" width="400" /></a></div>
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We concluded in <a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/whats-time.html">our previous article</a> that time, in order to exist (which it does), must be made of non zero infinitely small units (atoms, quanta) which we called "grains of time" or "<a href="http://en.wikipedia.org/wiki/Chronon" target="_blank">chronons</a>". Time must be "quantized" in order to exist... otherwise we are heading back to Zeno's paradox where an arrow never reaches its target or where a tortoise runs faster than Achilles! As we have seen, infinitesimal calculus and "quantization of time" provide a solution to these paradoxes.<br />
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But "quantization" comes at a price: the loss of predictability.<br />
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Before, science considered there is a reason behind everything and this was the mission of the scientists to uncover Nature's secret reasons. To illustrate this, one French mathematician and astronomer Pierre-Simon, marquis de Laplace (1749 – 1827) imagined an intelligent being who knows the positions and velocities of all the constituent atoms and using Newton's equations of motion could predict the future (and the past) of the entire universe. This was and still is a deep philosophical problem: does it mean that when a phenomenon is "predictable" it is "determined" and therefore challenges the existence of "free will"?<br />
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Laplace knew however that the information for even one single particle is infinite mathematically and human’s brains are finite. This is why Laplace called his imagined infinitely "intelligent being" a Demon.<br />
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Today Quantum mechanics relies on probability, not on certainties.<br />
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<b>Heisenberg’s "Uncertainty Principle" and the Copenhagen interpretation of Quantum mechanics</b><br />
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Heisenberg’s "Uncertainty principle" of quantum mechanics brought uncertainty right at the center of Laplace's or Newton's science where everything used to be certain and predictable. The Copenhagen interpretation states that a particle exists in all states at once until observed. Heisenberg served as Bohr’s assistant in Copenhagen. Bohr, Heisenberg, and a few others then went on to develop what came to be known as the Copenhagen interpretation of quantum mechanics. A central element of the Copenhagen interpretation is Bohr’s complementarity principle (1927). According to "complementarity," on the atomic level a physical phenomenon expresses itself differently depending on the experimental arrangement. The behaviour of such phenomena as light and electrons is sometimes wavelike and sometimes particle-like; i.e., such things have a <b><a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/ther-waveparticle-duality-in-arts.html">wave-particle duality</a></b>. Thus, light appears sometimes as waves and sometimes as particles. a complete knowledge of phenomena on atomic dimensions requires a description of <b>both </b>wave and particle properties.<br />
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The "Uncertainty principle" meant also that the more closely one pins down one measurement... the less precise another measurement pertaining to the very same particle: at this quantic level matter's behaviour becomes unpredictable !<br />
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Einstein was himself very discontented by this “Copenhagen interpretation” which put “chance” and “probability” center stage. It holds that Quantum mechanics does not give an objective description of reality but deals only with probabilities because observing, or measuring, affect the observed Quantic phenomenon. Its reality is considered de facto… unpredictable: “flux” and “change” stand at the core of matter this interpretation ends the hope of laplacian “determinism”.<br />
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Unhappy Einstein replied:<br />
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"As I have said so many times, God doesn't play dice with the world."<br />
(William Hermanns: “Einstein and the Poet”)</blockquote>
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<a href="http://4.bp.blogspot.com/-qF4qjxbJQV4/UwSj8O__kDI/AAAAAAAADUI/lOecSB7m29U/s1600/quote-quantum-mechanics-is-certainly-imposing-but-an-inner-voice-tells-me-that-it-is-not-yet-the-real-albert-einstein-226488.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-qF4qjxbJQV4/UwSj8O__kDI/AAAAAAAADUI/lOecSB7m29U/s1600/quote-quantum-mechanics-is-certainly-imposing-but-an-inner-voice-tells-me-that-it-is-not-yet-the-real-albert-einstein-226488.jpg" height="300" width="640" /></a></div>
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1. Uncertainty of Time</h3>
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<span style="font-family: inherit;"><b>This "uncertainty" is the USP "unique selling point" of an age old business: astrology, oracles etc.</b></span></div>
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<a href="http://2.bp.blogspot.com/-nzzirqEoMRQ/UwSjDUjs5II/AAAAAAAADT8/8n-UVNST4sY/s1600/oracular-dice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-nzzirqEoMRQ/UwSjDUjs5II/AAAAAAAADT8/8n-UVNST4sY/s1600/oracular-dice.jpg" height="306" width="400" /></a></div>
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<strike>“For like life, love is a stream, ever flowing outward and inward in its true, eternal form. It’s never passive but always a moving, acting force.”</strike><br />
<strike>(From <a href="http://myodyssey7.wordpress.com/2010/06/24/shall-we-love/">Shall We Love?</a> By <a href="http://ymesser.blogspot.co.uk/2013/09/portrait-of-philosopher-sascha-norris.html">Sascha Norris</a>.) </strike></blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioKLq4S1DxnAxGYnS_IfoahACxsWLHtmRJRjrySkvchbWMlITkP9NMNEy1Cn3MQ6sg4igfj8v9ywV5T2GxXI2QReMp39QLEAeasHdLZJYS9nQ2IrBxvbj-QFOMyF3oDolhsO9sihbnHUs/s1600/cupids-arrow.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioKLq4S1DxnAxGYnS_IfoahACxsWLHtmRJRjrySkvchbWMlITkP9NMNEy1Cn3MQ6sg4igfj8v9ywV5T2GxXI2QReMp39QLEAeasHdLZJYS9nQ2IrBxvbj-QFOMyF3oDolhsO9sihbnHUs/s640/cupids-arrow.jpg" height="320" width="246" /></a><strike>If we are just squeezed between Past and Future, do we exist in the Present? </strike><br />
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Is our script written? Are we determined by fate or by chance? Ever struck by the arrow of “luck”? Is this chance or God-sent fate? Does God play dice? Is the “arrow of Time” like <b>Cupid’s</b>?<br />
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So many times has Cupid hit hearts of men poisoned by love. Cupid carries two kinds of arrows: a person wounded by the golden arrow is filled with uncontrollable desire, but the one struck by the lead feels distaste and wishes only to run away. This “chance” factor has been used by many writers such as William Shakespeare:<br />
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“Helena: (…) Love can make worthless things beautiful. When we’re in love, we don’t see with our eyes but with our minds. That’s why paintings of Cupid, the god of love, always show him as blind. And love doesn’t have good judgment either—Cupid, has wings and no eyes, so he’s bound to be reckless and hasty. That’s why they say love is a child. because it makes such bad choices. Just as boys like to play games by telling lies, Cupid breaks his promises all the time.”<br />
(A Midsummer Night’s Dream, Act 1 Scene 1, William Shakespeare, Modern Text)</blockquote>
Professor Hawking replied (posthumously) to Einstein: <b>yes God plays dice,</b> and it is “big” and sounds like a “bang”… ;-) !<br />
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“Thus it seems that even God is bound by the Uncertainty Principle, and can not know both the position, and the speed, of a particle. So God does play dice with the universe. All the evidence points to him being an inveterate gambler, who throws the dice on every possible occasion.”<br />
(From <a href="http://www.hawking.org.uk/does-god-play-dice.html">Does God play Dice?</a> By S Hawking, 1999)<br />
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<b style="font-size: x-large;">So is time </b><span style="font-size: large;">DISCRETE (quanta, GRAINY)</span><br />
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<tr><td><a href="http://4.bp.blogspot.com/-wU1wiC4Xw3g/UvsqYvEqIWI/AAAAAAAADQY/Zbplz4YGdMc/s1600/Ikepod-Hourglass-6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-wU1wiC4Xw3g/UvsqYvEqIWI/AAAAAAAADQY/Zbplz4YGdMc/s1600/Ikepod-Hourglass-6.jpg" height="267" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Ikepod Hourglass</td></tr>
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<b>Randomness and quanta</b></div>
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Here I created a visual analogy showing how "atom" can be perceived (measured), whether a length, time or else at the "Planck scale":<br />
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Three points-pixels ("objects") are shown <u>at various resolutions.</u> Depending on the resolution ("discreteness") some "objects" appear or disappear... a phenomenon well known at the "quantic level" (resolution).<br />
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Just a pointless "artist intuition." ;)</div>
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<b>Time as a measure of CHANGE</b></div>
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<b><span style="font-size: large;">Does Time Flow Like A River (Flux)? Heraclitus/ CHANGE</span></b><br />
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“Einstein gave us a much more radical picture (than Newton’s, note). According to Einstein, time was more like a river, which meandered around stars and galaxies, speeding up and slowing down as it passed around massive bodies. One second on the earth was NOT one second on Mars. Clocks scattered throughout the universe beat to their own drummer.” </blockquote>
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(From <a href="http://www.pbs.org/wnet/hawking/mysteries/html/kaku1-1.html">Is Time Travel Possible?</a> By American theoretical physicist Michio Kaku)</blockquote>
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Heraclitus of Ephesus (a pre-Socratic Greek philosopher), also saw time as a <b>river</b>. But unlike Einstein, he saw it as an unpredictable stream. He famously said:<br />
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“No man ever steps in the same river twice, for it's not the same river and he's not the same man…All is flux…Everything flows, nothing stands still" or “The Only Thing That Is Constant Is Change.” </blockquote>
Heraclitus is painted as the “weeping” or “sad philosopher” because of his renowned lamenting about change.<br />
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<tr><td><a href="http://3.bp.blogspot.com/-X0OQ9XVJvqc/UwSd2MIjf5I/AAAAAAAADTs/eQa9jSCirxc/s1600/Utrecht_Moreelse_Heraclite.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-X0OQ9XVJvqc/UwSd2MIjf5I/AAAAAAAADTs/eQa9jSCirxc/s1600/Utrecht_Moreelse_Heraclite.JPG" height="264" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Heraclitus by <a href="http://en.wikipedia.org/wiki/Johannes_Moreelse" target="_blank">Johannes Moreelse</a> (c. 1603–1634).</td></tr>
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<strike>Sounding like Eckhart Tolle’s skepticism, Heraclitus also said: “Thinking is a sacred disease and sight is deceptive.” He was a fundamental influence on Nietzsche’s philosophy well known for his defense of (passive or active) nihilisms. Tolle is also influenced by nihilist Nietzsche.</strike><br />
<br />
It all sounds a bit like Buddhism’s concept of “impermanence” but without any pessimistic, nihilist outlook. Buddhism informs us that all existence, all beings (even the “mortal gods” <i>devas</i>), are in a constant state of <b>flux</b>, or <b>change</b>, a concept very different to “Monism”. The Buddha taught that because phenomena are impermanent, attachment to them becomes the cause for future suffering (<i>dukkha</i>).<br />
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If time must be quantized, at every "point" of our reality, there is attached a "particle of time", a grain, an "arrow of time", a "chronon".<br />
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This can be visualized mathematically with <b>"vector fields," </b>very much used to describe and calculate gravitational, electric or magnetic fields. Even in Fluid Mechanics: Heraclitus' <b>river</b>!!! (FLUX)<br />
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TIME: <a href="http://en.wikipedia.org/wiki/Vector_field">http://en.wikipedia.org/wiki/Vector_field</a> AS A WAY TO EXPRESS/ UNDERSTAND HYPER-SPACE AND/OR TIME?<o:p></o:p></div>
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<span style="color: #ce9a0f; font-family: "Courier New"; font-size: 36pt; font-weight: normal; letter-spacing: 0.25pt;"><a href="http://isomorphismes.tumblr.com/post/3639554114/vector-fields"><span style="color: white; text-decoration: none;">Vector fields</span></a><o:p></o:p></span></h2>
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At <a href="http://isomorphismes.tumblr.com/post/3639554114/vector-fields">http://isomorphismes.tumblr.com/post/3639554114/vector-fields</a><o:p></o:p><br />
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<b>???? </b><b>Where is the “irreversibility” ??? It is symmetrical (yet again!)</b></div>
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<b>Note: it looks like a “perspective” or contains movement (change/ time)! </b></div>
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<a href="http://mathworld.wolfram.com/VectorField.html">http://mathworld.wolfram.com/VectorField.html</a> :</div>
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<a href="http://3.bp.blogspot.com/-qfOH9EuIeto/UwFRGJJC3iI/AAAAAAAADSI/T3sNkeuoFsw/s1600/VectorPlot_1001.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-qfOH9EuIeto/UwFRGJJC3iI/AAAAAAAADSI/T3sNkeuoFsw/s1600/VectorPlot_1001.gif" height="400" width="390" /></a></div>
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For each point (x,y) in the xy-plane the function F(x,y) assigns a <b>vector</b>. The coefficient i is the x component of the vector. The coefficient j is the y component of the vector. The length of the vector in the plot is proportional to the actual magnitude of the vector. In general, a vector field in two dimensions is a function that assigns to each point (x,y) of the xy-plane a two-dimensional vector F(x,y). A vector field in three dimensions is a function F that assigns to each point (x,y,z) in xyz-space a three dimensional vector F(x,y,z).</div>
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Vector fields arise in a number of disciplines in the physical sciences including:<br />
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<li class="MsoNormal">Mechanics: gravitational fields. At each point the vector field gives the direction and magnitude of the force on a particle.</li>
<li class="MsoNormal">Electricity and Magnetism: electric and magnetic fields. At each point the vector field gives the direction and magnitude of the force on a particle.</li>
<li class="MsoNormal"><b>Fluid Mechanic</b>s: velocity fields. At each point the vector field gives the velocity of a fluid.<o:p></o:p></li>
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<b>Vector Fields versus <span style="color: red;">Vector Functions</span></b></div>
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Vector fields and vector functions are two different types of functions. A vector function has three components, each of which is a function of ONE variable. A vector function represents a curve in space.</div>
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<b>+ // LEONARDO DA VINCI (flows of water) CHAOS<o:p></o:p></b></div>
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<tr><td><a href="http://1.bp.blogspot.com/-ZWYctZiwLi8/UwSwhQip3KI/AAAAAAAADUY/rZwAneEx8GI/s1600/leonardo_water.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-ZWYctZiwLi8/UwSwhQip3KI/AAAAAAAADUY/rZwAneEx8GI/s1600/leonardo_water.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Leonardo de Vinci</td></tr>
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<ul>
<li>David Hockney collages in early 1980s (has an affinity with Cubism, one of Hockney's major aims) It all started by accident in 1970, (creation of his first “joiner,”) as an assemblage of Polaroid photos laid out in a grid. While working on a painting of a Los Angeles living room, he took a series of photos for his own reference, and fixed them together so he could paint from the image. When he finished, however, he recognized the collage as an art form unto itself, and began to create more. <<<<</li>
<li>The front cover of Talking Heads album "More Songs About Buildings and Food" (1978), was conceived by Byrne and executed by artist Jimmy De Sana, as a photomosaic of the band comprising 529 close-up Polaroid photographs.</li>
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<a href="http://3.bp.blogspot.com/-D62kzV_BXPo/Uv0u1CnpltI/AAAAAAAADQs/31TyKMYcQLc/s1600/TalkingHeadsMoreSongsAboutBuildingsandFood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-D62kzV_BXPo/Uv0u1CnpltI/AAAAAAAADQs/31TyKMYcQLc/s1600/TalkingHeadsMoreSongsAboutBuildingsandFood.jpg" height="400" width="400" /></a></div>
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<a href="https://href.li/?http://www.bbc.co.uk/news/technology-11666162" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">David Hockney’s instant iPad art</a></div>
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<a href="https://href.li/?http://artduh.com/2011/01/23/david-hockneys-polaroid-camera/" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">David Hockney’s Polaroid Camera</a></div>
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<a href="https://href.li/?http://churchstreetart.net/exceptions/david-hockney-landscape-photographs/" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">David Hockney Landscape Photographs</a></div>
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<b>David Hockney's collages: different spacetimes </b><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-yrfoaDTobnw/UwzJ64BkFDI/AAAAAAAADYo/C-z83RVkTyA/s1600/kasmin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-yrfoaDTobnw/UwzJ64BkFDI/AAAAAAAADYo/C-z83RVkTyA/s1600/kasmin.jpg" height="640" width="465" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Hockney's Polaroid collage, <br />
Kasmin, Los Angeles, 28th March 1982</td></tr>
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<a href="http://3.bp.blogspot.com/-g03VxXaqeOI/UwzKl_8imII/AAAAAAAADY0/WkLxoNe6CP0/s1600/nina.kate.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /><img border="0" src="http://3.bp.blogspot.com/-g03VxXaqeOI/UwzKl_8imII/AAAAAAAADY0/WkLxoNe6CP0/s1600/nina.kate.jpeg" height="310" width="400" /></a></div>
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There is still a lot of debates as to whether tine could be considered as a "fourth dimension".<br />
This is <-> Einstein’s space-time concept<br />
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13. Time as a "fabric"?</h3>
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An artist view from S. Dali's:<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpN1bP_197RKr1XTrcBMKFHFYYN9Pu_nkGGb8B8gk_cLuiUNbReZUuH_BTVmfmO7vkdYIc_LTDkmW5pCQ2m7QCmb7kQt5IAY43cXgjP4TEluLVkAyVNlZJSVOBAXVcPlw0h5kSjnWwTfU/s1600/Dali-Persistence-of-Memory.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpN1bP_197RKr1XTrcBMKFHFYYN9Pu_nkGGb8B8gk_cLuiUNbReZUuH_BTVmfmO7vkdYIc_LTDkmW5pCQ2m7QCmb7kQt5IAY43cXgjP4TEluLVkAyVNlZJSVOBAXVcPlw0h5kSjnWwTfU/s1600/Dali-Persistence-of-Memory.jpg" /></a></td></tr>
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<span style="font-family: 'Palatino Linotype', sans-serif; font-size: 16px; line-height: 22px; text-align: start;"><span style="color: white;"><span style="background-color: red;">S</span><span style="background-color: red;">a</span></span><span style="background-color: red; color: white;">lvador Dali, The Persistence of Memory</span></span></div>
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<a href="http://phys.org/news/2012-04-physicists-abolish-fourth-dimension-space.html" target="_blank">Physicists continue work to abolish time as fourth dimension of space</a> : since Einstein, the prevailing view in physics has been that time serves as the fourth dimension of space, an arena represented mathematically as 4D Minkowski spacetime. [...] The main concepts of special relativity - that the speed of light is the same in all inertial reference frames, and that there is no absolute reference frame - are traditionally formulated within the framework of Minkowski spacetime. In this framework, the three spatial dimensions are intuitively visualized, while the time dimension is mathematically represented by an imaginary coordinate, and cannot be visualized in a concrete way.<br />
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"The scientists have published their article in a recent issue of Physics Essays. The work builds on their previous articles, in which they have investigated the definition of time as a “numerical order of material <b>change</b>.”" “With clocks we measure the numerical order of motion in 3D space,” Sorli told Phys.org. “Time is 'separated' from space in a sense that time is <b>not a fourth dimension of space. </b>Instead, time as a <b>numerical order of change</b> exists in a 3D space. Our model on space and time is founded on measurement and corresponds better to physical reality.”</div>
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<span style="font-size: 23.3999996185303px; font-weight: bold;">Now string theory suggests ELEVEN dimensions.</span></div>
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<strong>TODAY: UP TO 11 DIMENSIONS?</strong></h3>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-oaK_QQcp8oE/UwqaIsIQkII/AAAAAAAADWw/Qo-WQM0q67o/s1600/glass_tesseract_animation.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-oaK_QQcp8oE/UwqaIsIQkII/AAAAAAAADWw/Qo-WQM0q67o/s1600/glass_tesseract_animation.gif" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hypercube</td></tr>
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<b><strike><i><br /></i></strike></b>
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LOOP!</div>
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RIEMANN > EINSTEIN</h3>
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11 DIMENSIONS ETC</div>
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So what about <strong>4D</strong> (“hyperspace”?)</div>
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<strong>to attempt a solution from 2d is DOOMED!</strong></div>
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My solution: 3D lenticular prints</div>
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see DUCHAMP + nu descendant etc…<br />
<span style="color: black; font-family: 'Times New Roman'; font-size: small; line-height: normal;"> In theology, this </span><i style="color: black; font-family: 'Times New Roman'; font-size: medium; line-height: normal;">nihilo </i><span style="color: black; font-family: 'Times New Roman'; font-size: small; line-height: normal;">is considered as "chaos" which is not "nothing"!</span></div>
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<a href="https://href.li/?http://www.phaidon.com/agenda/art/articles/2012/july/19/picasso-einstein-and-the-fourth-dimension/" rel="noreferrer" style="border: 0px; color: #b85b5a; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Picasso, Einstein and the fourth dimension</a> (blog) <<< <a href="http://www.theguardian.com/science/blog/2012/jul/17/henri-poincare-einstein-picasso?newsfeed=true" target="_blank">Henri Poincaré: the unlikely link between Einstein and Picasso</a>: "Picasso was particularly struck by Poincaré's advice on how to view the fourth dimension, which artists considered another spatial dimension. If you could transport yourself into it, you would see every perspective of a scene at once. But how to project these perspectives on to canvas? Poincaré's suggestion in Science and Hypothesis was to do so one at a time, showing each in succession. Picasso disagreed. He wanted to depict them all at once." </div>
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.600000381469727px;">Einstein met Poincaré in 1911; they disagreed on relativity theory. Poincaré once wrote: "It is only through science and art that civilisation is of value." </span></span><br />
<span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.600000381469727px;"><br /></span></span><span style="color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;"><span style="font-size: 12px; line-height: 21.600000381469727px;">--------------</span></span><br />
Hawking: time as fourth dimension >>>> time travel!</div>
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<strike>Tolle is wrong and has a "spiritual" agenda (theosophy). His "now", is not the "now|" as we can experience it but is in fact a "spiritual instant" which pertains to "infinity."</strike><br />
complexity (chaos) and irrersibility?<br />
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++++++++++++<br />
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<a href="http://www.dummies.com/how-to/content/slowing-time-to-a-standstill-with-relativity.html" target="_blank">Slowing Time to a Standstill with Relativity</a><br />
The theory of special relativity allows motion in space to actually alter the flow of time. This effect is known as <b>time dilation </b>and was one of the earliest predictions of relativity. This sort of time travel is completely allowed by the known laws of physics, but it allows only travel into the future, not into the past.<br />
Time dilation has been experimentally verified. Time dilation is the idea that as you move through space, time itself is measured differently for the moving object than the unmoving object. For motion that is near the speed of light, this effect is noticeable and allows a way to travel into the future faster than we normally do.<br />
One experiment that confirms this strange behavior is based on unstable particles, pions and muons. Physicists know how quickly the particles would decay if they were sitting still, but when they bombard Earth in the form of cosmic rays, they’re moving very quickly. Their decay rates don’t match the predictions, but if you apply special relativity and consider the time from the particle’s point of view, the time comes out as expected.<br />
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In fact, time dilation is confirmed by a number of experiments. In the Hafele-Keating experiments of 1971, atomic clocks (which are very precise) were flown on airplanes traveling in opposite directions. The time differences shown on the clocks, as a result of their relative motion, precisely matched the predictions from relativity. Also, global positioning system (GPS) satellites have to compensate for this time dilation to function properly. So time dilation is on very solid scientific ground.<br />
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One other case where time slows down, this time in general relativity, involves black holes. Recall that a black hole bends space-time itself, to the point where even light can’t escape. This bending of space-time means that as you approach a black hole, time will slow down for you relative to the outside world. It certainly wouldn’t “feel” like time was moving differently. You’d have no idea that as you glide past the black hole’s event horizon, thousands of years were passing outside of the black hole.<br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/yqzgYRBlslw" width="640"></iframe>y messerhttp://www.blogger.com/profile/04148765291227763442noreply@blogger.com0tag:blogger.com,1999:blog-4065559060567823823.post-50750068113752503802015-02-04T23:53:00.001+00:002023-09-07T16:01:22.997+01:00feynman (draft)Helen Fay Dowker - Path Integral Interpretation
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See my <a href="https://eyeinside.wordpress.com/2011/08/05/richard-feynman/" target="_blank">Richard Feynman</a> page (wordpress)<br />
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This is my meaning of “living a discrete life”:</div>
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"If I am not for myself who will be for me, and if I am only for myself who am I and if not now, then when?!" </blockquote>
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(Pirkei Avot 1:14). Hillel, Jewish rabbi who lived at Jerusalem in the time of King Herod (c.110 BC - 10 AD).</blockquote>
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Unlike <a href="http://thetwoculturesdebate.blogspot.com/search/label/hawking">Professor Steven Hawking</a>, I couldn’t have had the chance to ever meet <a href="http://messer-art-design.com/art/sales/giclees/P26.htm" target="_blank">Richard Feynman</a>. However his writings, his filmed interviews, his recorded lectures, his drawings, paintings and poems have survived. They were all created by the same mind and can reach us as if still alive.</div>
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Helped with pictures or videos available on the Internet, I tried to capture his colourful and engaging personality: intense, deep yet frivolous.</div>
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The background looks like the “chaos” of particles collisions. This is no accident. I used here a technique similar to a <a href="http://www.jacksonpollock.com/" target="_blank">Jackson Pollock</a>’s “dripping paint”. But unlike Pollock, I didn’t stop there.<o:p></o:p></div>
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In my portrait of Feynman, his body posture has a Y shape. This is my preferred letter. I believe this was his too.<o:p></o:p></div>
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<b>Here is one of his poems:</b><o:p></o:p></div>
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<i>I wonder why?<o:p></o:p></i></div>
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<i>I wonder why?<o:p></o:p></i></div>
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<i>I wonder why I wonder?<o:p></o:p></i></div>
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<i>I wonder why I wonder why I wonder why I wonder?</i><o:p></o:p></div>
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<span class="Apple-style-span" style="font-size: small;">(From "Surely you're joking, Mr. Feynman!")</span><br />
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In 1965 he received the Nobel Prize in Physics for his contributions to the development of quantum electrodynamics (QED), jointly with Julian Schwinger and Sin-Itiro Tomonaga. He developed a widely used visual representation for the mathematical expressions governing the behaviour of subatomic particles, which later became known as “Feynman diagrams”. Yet Feynman despised honours and “academic” authorities. He even considered refusing his Prize!</div>
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Feynman was not just “another scientist”, he was a larger-than-life character.</div>
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His contributions were not limited to science but were also artistic. He was indeed a <a href="http://www.museumsyndicate.com/artist.php?artist=380">good painter</a>, a poet and an enthusiast bongo player!</div>
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His innate "child-like” curiosity and creativity caused him to be “labelled” a “genius”.</div>
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His personality was as summed up by General Donald Kutyna: "<i>Feynman had three things going for him. Number one, tremendous intellect and that was well known around the world. Second, integrity…..Third, he brought this driving, desire to get to the bottom of any mystery. No matter where it took him, he was going to get there, and he was not deterred by any roadblocks in the way. He was a courageous guy, and he wasn't afraid to say what he meant.</i>"</div>
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<a data-mce-href="http://www.inf.fu-berlin.de/lehre/pmo/eng/Feynman-Uncertainty.pdf" href="http://www.inf.fu-berlin.de/lehre/pmo/eng/Feynman-Uncertainty.pdf" target="_blank">The Uncertainty of Science - Feynman (PDF)</a> P9:<br />
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"Both were important discoveries, but most exciting was that this was one of the most dramatic moments in the history of science, one of those rare moments when two great fields come together and are unified. He (Faraday) suddenly found that two apparently different things were different aspects of the same thing. Electricity was being studied, and chemistry was being studied. Suddenly<strong> they were two aspects of the same thing</strong>—chemical changes with the results of electrical forces."</blockquote>
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"The most dramatic moments in the development of physics are those in which great syntheses take place, where phenomena which previously had appeared to be diíïerent are suddenly discovered to be but different aspects of the same thing. The history of physics is the history of such synthcses, and the basis of the success of physical science is mainly that we are able to synthesize." Feynman Lectures on Physics Volume 1 Chapter 28</blockquote>
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His contributions were not limited to science but were also artistic. He was indeed a <a href="http://www.museumsyndicate.com/artist.php?artist=380" target="_blank">good painter</a>, a poet and an enthusiast bongo player!<br />
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<strike>In 1965 he received the Nobel Prize in Physics for his contributions to the development of quantum electrodynamics (QED), jointly with Julian Schwinger and Sin-Itiro Tomonaga. He developed a widely used visual representation for the mathematical expressions governing the behaviour of subatomic particles, which later became known as “Feynman diagrams”.</strike></div>
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<strike>Feynman's theory was especially distinct from the other two in its use of graphic models to describe the intermediate states that a changing electrodynamic system passes through. These models are known as "Feynman diagrams" and are widely used in the analysis of problems involving pair production, <st1:city>Compton</st1:city> scattering, and many other quantum-electrodynamic problems.</strike><br />
<strike>Feynman was fond of using visual techniques to solve problems. In addition to his Feynman diagrams, he developed a method of analyzing MASER (microwave amplification by stimulated emission of radiation) devices that relies heavily on creating accurate pictorial representations of the interactions involved. A MASER device is one that uses the natural oscillations of molecules to generate or amplify signals in the microwave region of the electromagnetic spectrum; they are used in radios and amplifiers, among other things. Feynman's method for analyzing these devices greatly simplified and shortened the solutions, as well as brought out the important features of the device much more rapidly.</strike><br />
<strike>From: <a href="http://www.answers.com/topic/richard-feynman?cat=technology" target="_blank">Richard Feynman: Biography from Answers.com</a></strike><br />
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<strike><a href="http://en.wikipedia.org/wiki/Freeman_Dyson" target="_blank">Freeman Dyson</a>, one of the architects of modern <a href="http://en.wikipedia.org/wiki/Quantum_electrodynamics" target="_blank">QED </a>(Quantum electrodynamics) had this to say about how Richard Feynman did his calculations:<a href="http://abbynuss1.tripod.com/id32.htm" target="_blank"></a><o:p></o:p></strike></div>
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<i><u><strike>"... Dick was using his own private quantum mechanics that nobody else could understand. They were getting the same answers whenever they calculated the same problem...The reason Dick's physics was so hard for ordinary people to grasp was that he did not use equations... Dick just wrote down the solutions out of his head without ever writing down the equations. He had a physical picture of the way things happen, and the pictures gave him the solutions directly with a minimum of calculation... It was no wonder that people who had spent their lives solving equations were baffled by him. Their minds were analytical; his was pictorial..."</strike></u><o:p></o:p></i></div>
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<u><strike>Source : <a href="http://www.astronomycafe.net/vacuum/vactext.html" target="_blank">visualisations and mathematicians</a></strike></u><br />
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<strike><a href="http://eyeinside.wetpaint.com/page/%22Visualization+-+you+keep+repeating+that%22%2C+he+%28Feynman%29+said+to+another+historian%2C+Silvan+S.+Schweber%2C+who+was+trying+to+interview+him.++++Feynman%3A+%22What+I+am+really+try+to+do+is+bring+birth+to+clarity%2C+which+is+really+a+half-assedly+thought-out-pictorial+semi-vision+thing.+I+would+see+the+jiggle-jiggle-jiggle+or+the+wiggle+of+the+path.+Even+now+when+I+talk+about+the+influence+functional%2C+I+see+the+coupling+and+I+take+this+turn+-+like+as+if+there+was+a+big+bag+of+stuff+-+and+try+to+collect+it+in+away+and+to+push+it.It%27s+all+visual.+It%27s+hard+to+explain.%22++++Schweber%3A+%22In+some+ways+you+see+the+answer+-+%3F%22++++Feynman%3A+%22The+character+of+the+answer%2C+absolutely.+An+inspired+method+of+picturing%2C+I+guess.+Ordinarily+I+try+to+get+the+pictures+clearer%2C+but+in+the+end+the+mathematics+can+take+over+and+be+more+efficient+in+communicating+the+idea+of+the+picture.%22++++%22In+certain+particular+problems+that+I+have+done+it+was+necessary+to+continue+the+development+of+the+picture+as+the+method+before+the+mathematics+could+be+really+done.%22Source+%3A+interview+given+by+James+Gleick+from+%22The+Life+and+Science+of+Richard+Feynman%22%2C+Vintage+Books%2C+New+York%2C+1992%2C+pgs+241-225." target="_self"></a>"Visualization - you keep repeating that", he (Feynman) said to another historian, Silvan S. Schweber, who was trying to interview him.</strike><br />
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<u><strike>Feynman: "What I am really try to do is bring birth to clarity, which is really a half-assedly thought-out-pictorial semi-vision thing. I would see the jiggle-jiggle-jiggle or the wiggle of the path. Even now when I talk about the influence functional, I see the coupling and I take this turn - like as if there was a big bag of stuff - and try to collect it in away and to push it.It's all visual. It's hard to explain."</strike></u><br />
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<u><strike>Schweber: "In some ways you see the answer - ?"</strike></u><br />
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<u><strike>Feynman: "The character of the answer, absolutely. An inspired method of picturing, I guess. Ordinarily I try to get the pictures clearer, but in the end the mathematics can take over and be more efficient in communicating the idea of the picture."</strike></u><br />
<u><strike>"In certain particular problems that I have done it was necessary to continue the development of the picture as the method before the mathematics could be really done."<o:p></o:p></strike></u></div>
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<u><strike>Source : interview given by James Gleick from <a href="http://www.sv.vt.edu/quotes.html" target="_blank">"The Life and Science of Richard Feynman"</a>, Vintage Books, <st1:state>New York</st1:state>, 1992, pgs 241-225.</strike></u><o:p></o:p></div>
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<strike>This Feynman "visual method" could be compared to what a <a href="http://en.wikipedia.org/wiki/Carl_Friedrich_Gauss" target="_blank">Carl F. Gauss</a>, one of the greatest mathematicians, once said:<o:p></o:p></strike></div>
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<strike>"I have had my results for a long time: but I do not yet know how I am to arrive at them."<o:p></o:p></strike></div>
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<strike>Source : A Arber The Mind and the Eye 1954.</strike><o:p></o:p></div>
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<u>Further reading:</u><br />
<a href="http://www.amazon.com/Art-Richard-P-Feynman-Character/dp/2884490477" target="_blank">The Art of Richard P. Feynman</a>: Images by a Curious Character: Michelle Feynman, Albert Hibbs</div>
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<strike>His personality was as summed up by General Donald Kutyna:</strike><br />
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<strike>"<i>Feynman had three things going for him. Number one, tremendous intellect and that was well known around the world. Second, integrity... Third, he brought this driving, desire to get to the bottom of any mystery. No matter where it took him, he was going to get there, and he was not deterred by any roadblocks in the way. He was a courageous guy, and he wasn't afraid to say what he meant."</i> </strike></blockquote>
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More at <a data-mce-href="http://www.brew-wood.co.uk/physics/feynman.htm" href="http://www.brew-wood.co.uk/physics/feynman.htm" target="_blank">http://www.brew-wood.co.uk/physics/feynman.htm</a></div>
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<strike><em>"The adventure of our science of physics is a perpetual attempt to recognize that the different aspects of nature are really different aspects of the same thing"</em><em> </em>-- Richard Feynman</strike><br />
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<a data-mce-href="http://www.ysfine.com/feynman/feybot.html" href="http://www.ysfine.com/feynman/feybot.html" target="_blank">http://www.ysfine.com/feynman/feybot.html</a><br />
!!! all we know are just approximations, views (from different angle) of the sdame thing… eg: torus<br />
INDEED, he shared his Nobel prize with two others who found the solution in different ways… :<br />
Tomonaga and Schwinger took a strictly mathematical approach in their studies of QED, while Feynman took a more easily understood graphical approach. Feynman described the paths of particles through spacetime with what became appropriately known as "Feynman diagrams". Feynman's approach proved the most popular, possibly partly because he was an outstanding lecturer and could sell his ideas much more easily than most other physicists.<br />
Later in the 1950s the British-born American physicist Freeman Dyson (born 1923) would show, not too surprisingly, that the Feynman diagrams could be derived from Tomonaga's and Schwinger's equations.<br />
[…]<br />
* Feynman's sum over histories seems at first glance a ridiculous complication that ought to be carved away by Occam's Razor, the principle that logical excess baggage should be discarded, but Feynman pointed out that the QED approach does have specific implications, giving results that are consistent with experiment.<br />
Suppose Alice, our physics student, looks at her reflection of a point light source in a mirror, with a barrier in the line of sight between her and the light source. By classical physics, the reflected light will arrive by a single path, with the angle of incidence equal to the angle of reflection. By QED, however, the light is reflected from every point on the glass, with the angles being any required to allow the light to reach her eye. The sum of probabilities of these reflections ends up giving the same result as classical physics, with the most probable path being the single path with the same angle of incidence and reflection. This is the "least time" path, the path that takes the least possible time of all those available.<br />
From <a data-mce-href="http://www.vectorsite.net/tpqm_13.html" href="http://www.vectorsite.net/tpqm_13.html">http://www.vectorsite.net/tpqm_13.html</a> = <a data-mce-href="http://www.vectorsite.net/tpqm.html" href="http://www.vectorsite.net/tpqm.html">Elementary Quantum Physics</a> (book)<br />
+ <a data-mce-href="http://www.ysfine.com/feynman/feybot.html" href="http://www.ysfine.com/feynman/feybot.html">http://www.ysfine.com/feynman/feybot.html</a> (Book review by Yuval Ne'eman) <- ***!<br />
At a conference in the Poconos Mountains, in Pennsylvania, in March 1948, Schwinger gave a marathon presentation that exhausted but impressed his audience. A frustrated Feynman, however, failed during his talk to convince the attending physicists of the soundness of his methods. Elder statesmen such as Paul Dirac and Niels Bohr concluded that the young American simply did not understand quantum mechanics.<br />
But Feynman was able to solve complex problems far more quickly than those using the Schwinger formulation. Clarification came from Freeman Dyson, of the Institute for Advanced Study in Princeton, New Jersey, who showed in a classic paper that the Schwinger, Tomonaga, and Feynman <a data-mce-href="http://www.physicscentral.com/explore/action/feynman-1.cfm" href="http://www.physicscentral.com/explore/action/feynman-1.cfm">methods were equivalent.</a> ([2] F. J. Dyson, "The Radiation Theories of Tomonaga, Schwinger, and Feynman,"<a data-mce-href="http://link.aps.org/abstract/PR/v75/p486" href="http://link.aps.org/abstract/PR/v75/p486">Phys. Rev. <strong>75</strong>, 486 (1949)</a>.)<br />
From <a data-mce-href="http://www.physicscentral.com/explore/action/feynman-1.cfm" href="http://www.physicscentral.com/explore/action/feynman-1.cfm">http://www.physicscentral.com/explore/action/feynman-1.cfm</a><br />
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<strong>Schwinger and Feynman</strong><br />
As a famous physicist, Schwinger was often compared to another legendary physicist of his generation, Richard Feynman. Schwinger was more formally inclined and favored symbolic manipulations in quantum field theory. He worked with local field operators, and found relations between them, and he felt that physicists should understand the algebra of local fields, no matter how paradoxical.<br />
By contrast, Feynman was more intuitive, believing that the physics could be extracted entirely from the Feynman diagrams, which gave a particle picture. Schwinger commented on Feynman diagrams in the following way,<br />
“Like the silicon chips of more recent years, the Feynman diagram was bringing computation to the masses.[1]”<br />
Schwinger disliked Feynman diagrams, because he felt that they made the student focus on the particles and forget about local fields, which in his view inhibited understanding. He went so far as to ban them altogether from his class, although he understood them perfectly well and was observed to use them in private.<br />
Despite sharing the Nobel Prize, Schwinger and Feynman had a different approach to quantum electrodynamics and to quantum field theory in general. Feynman used a regulator, while Schwinger was able to formally renormalize to one loop without an explicit regulator. Schwinger believed in the formalism of local fields, while Feynman had faith in the particle paths. They followed each other's work closely, and each respected the other. On Feynman's death, Schwinger described him as<br />
“An honest man, the outstanding intuitionist of our age, and a prime example of what may lie in store for anyone who dares to follow the beat of a different drum.[2]<br />
from <a data-mce-href="http://www.answers.com/topic/julian-schwinger" href="http://www.answers.com/topic/julian-schwinger">http://www.answers.com/topic/julian-schwinger</a><br />
Dyson recounted the journey years later in “Disturbing the Universe,” contrasting Feynman’s Beat-like soliloquies on particles and waves with the mannered presentations (“more technique than music”) he heard later that summer from the Harvard physicist Julian Schwinger. On a Greyhound bus crossingNebraska— Dyson had fallen in love with the American highway — he had an epiphany: his two colleagues were talking, in different languages, about the same thing. […]In “The Scientist as Rebel,” a new collection of essays (many of them reviews first published in The New York Review of Books), he sounds content with his role as a bridge builder. “Tomonaga and Schwinger had built solid foundations on one side of a river of ignorance,” he writes. “Feynman had built solid foundations on the other side, and my job was to design and build the cantilevers reaching out over the water until they met in the middle.” […]<br />
//Plato-Aristotle Dyson: “In the history of science,” he writes, “there is always a tension between revolutionaries and conservatives, between those who build grand castles in the air and those who prefer to lay one brick at a time on solid ground.”<br />
<a data-mce-href="http://www.nytimes.com/2007/01/07/books/review/Johnson.t.html" href="http://www.nytimes.com/2007/01/07/books/review/Johnson.t.html">http://www.nytimes.com/2007/01/07/books/review/Johnson.t.html</a><br />
+ <a data-mce-href="http://en.wikipedia.org/wiki/Freeman_Dyson" href="http://en.wikipedia.org/wiki/Freeman_Dyson">http://en.wikipedia.org/wiki/Freeman_Dyson</a><br />
This was Richard Feynman nearing the crest of his powers. At twenty-three ... there was no physicist on earth who could match his exuberant command over the native materials of theoretical science. It was not just a facility at mathematics (though it had become clear ... that the mathematical machinery emerging from the Wheeler-Feynman collaboration was beyond Wheeler's own ability). Feynman seemed to possess a frightening ease with the substance behind the equations, like Albert Einstein at the same age, like the Soviet physicist Lev Landau—but few others.<br />
– James Gleick, Genius: The Life and Science of Richard Feynman<br />
From <a data-mce-href="http://www.answers.com/topic/richard-feynman" href="http://www.answers.com/topic/richard-feynman">http://www.answers.com/topic/richard-feynman</a><br />
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This Feynman "visual method" could be compared to what a Carl F. Gauss, one of the greatest mathematicians, once said:</div>
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"I have had my results for a long time: but I do not yet know how I am to arrive at them."</blockquote>
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<span style="font-size: x-small;">From: A Arber <em>The Mind and the Eye</em> 1954.</span></blockquote>
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<strong><strike>2008 Exhibitions</strike></strong><br />
<a data-mce-href="http://www.armoryarts.org/exhibitions/exhibitions-2008/jirayr-zorthian-richard-feynman-a-conversation-in-art/" href="http://www.armoryarts.org/exhibitions/exhibitions-2008/jirayr-zorthian-richard-feynman-a-conversation-in-art/" target="_blank"><strong><strike>Jirayr Zorthian / Richard Feynman: A Conversation In Art</strike></strong></a><br />
<a data-mce-href="http://eyeinside.files.wordpress.com/2011/08/richard_feynman_bongos.jpg" href="http://eyeinside.files.wordpress.com/2011/08/richard_feynman_bongos.jpg"><img alt="" class="alignnone size-full wp-image-3387" data-mce-src="http://eyeinside.files.wordpress.com/2011/08/richard_feynman_bongos.jpg" src="http://eyeinside.files.wordpress.com/2011/08/richard_feynman_bongos.jpg" height="552" style="border: 0px; cursor: default;" title="richard_feynman_bongos" width="400" /></a><br />
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<dt class="wp-caption-dt"><a data-mce-href="http://eyeinside.files.wordpress.com/2011/08/feynman_shelley-gazin_corbis.jpg" href="http://eyeinside.files.wordpress.com/2011/08/feynman_shelley-gazin_corbis.jpg"><img alt="" class="size-full wp-image-3385" data-mce-src="http://eyeinside.files.wordpress.com/2011/08/feynman_shelley-gazin_corbis.jpg" src="http://eyeinside.files.wordpress.com/2011/08/feynman_shelley-gazin_corbis.jpg" height="420" style="-webkit-user-drag: none; border: 0px none; cursor: default; margin: 0px; padding: 0px;" title="Feynman_Shelley Gazin_Corbis" width="614" /></a></dt>
<dd class="wp-caption-dd" style="font-size: 11px; line-height: 17px; margin: 0px; padding: 0px 4px 5px;">Richard Feynman, circa 1985. By Shelley Gazin/Corbis</dd></dl>
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y messerhttp://www.blogger.com/profile/04148765291227763442noreply@blogger.com0tag:blogger.com,1999:blog-4065559060567823823.post-45289560476926874002014-02-25T18:26:00.001+00:002023-04-14T21:04:19.588+01:00Between “Eternity” and “Now”: A Brief History of Art <br />
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<a href="http://2.bp.blogspot.com/-8D6UIEbyPf0/VNDyhSTddnI/AAAAAAAAEOo/-9XrvtBpxXg/s1600/artists_time2..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-8D6UIEbyPf0/VNDyhSTddnI/AAAAAAAAEOo/-9XrvtBpxXg/s1600/artists_time2..jpg" height="419" width="640" /></a></div>
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<li>Pre-modernism: Eternity</li>
<li>Modernisms: History </li>
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<li>15th-16th century: Humanist Renaissance </li>
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<li>Harmony</li>
<li>Anatomy </li>
<li>Perspective</li>
<li>The <i>Camera obscura</i></li>
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<li>17th-18th century: Enlightenment</li>
<li>19th-20th century: Modernism</li>
<li>When Modern Artists Discover “Motion Pictures”</li>
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<li>Post-modernism: Now (me me generation)</li>
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<b>It is strange to try to represent or include time in a visual medium such as painting. It would be more natural in music or literature because Visual arts deal with flat (two dimensional, 2D-) surfaces. This is maybe why some visual artists are fascinated by time: it is a mystery out of their realm.</b></div>
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<a name='more'></a>TRANSFERRED <a href="https://thetwoculturesdebate.blogspot.com/b/post-preview?token=5QoXcksBAAA.AeDGcAYclw3GkoIX6qdHGQ.xEsw__Wu0ct_EpPw7nJpHQ&postId=5188390625544977525&type=POST">HERE</a></div>
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<strike>1. Pre-modernism: Eternity</strike></h3>
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<strike>FROM PYRAMIDS TO CATHEDRALS</strike></div>
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<strike>O WELLES on the artists' name...</strike></div>
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<strike>Artists’ views on time reflect their society’s. At the beginning, art was associated with religion (as patrons and commissioners) and artists were painting religious “eternal themes”, immortal gods. Their mission was to paint Eternity (God's "Time") and art was meant to last forever. Emblematic was the case of ancient <st1:country-region>Egypt</st1:country-region> whose religion was entirely dedicated to eternal afterlife: pharaohs were godlike figures and aspired, after their time was up, to be reunited in the afterlife to this eternal spiritual world where stars are floating on this dark ocean we can sometimes witness at night. Pharaoh being on top of the society hierarchy, he was meant to be reunited to the King of all stars: the Sun, hence their worship of the Sun. </strike></div>
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<a href="http://4.bp.blogspot.com/-LOWhoXQqTlU/UwqQKkQ-ByI/AAAAAAAADU8/v9byXpjwOew/s1600/egypt_akhenaton.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><strike><img border="0" src="http://4.bp.blogspot.com/-LOWhoXQqTlU/UwqQKkQ-ByI/AAAAAAAADU8/v9byXpjwOew/s1600/egypt_akhenaton.jpeg" height="400" width="316" /></strike></a></div>
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<strike>Eternity is associated in art with gold as it never rusts. It is still a symbol of eternal love as golden rings are used to mark the union of wedded couples.</strike></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small; text-align: start;"><strike>Egyptians (Tutankhamen = son of Akhenaton)</strike></span></td></tr>
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<strike>Time has also been an important question in Christianity. Like the Pharaoh’s religion, this religion is defying time with a similar theme resurrection and eternal afterlife. In ancient <st1:country-region>Egypt</st1:country-region>, this resurrection was demonstrated by the <st1:place>Nile</st1:place>’s annual flooding as the Osiris’ legend symbolizes it. Christianity added an apocalyptic outlook with <st1:city>St. John’s</st1:city> “end of time” Revelation: the final judgement.</strike><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-XmIMLy4SJ5Q/UwyjX4Q36qI/AAAAAAAADYM/XP_E4QDQqTU/s1600/Imprinting_the_Divine_Saint_John.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><strike><img border="0" src="http://4.bp.blogspot.com/-XmIMLy4SJ5Q/UwyjX4Q36qI/AAAAAAAADYM/XP_E4QDQqTU/s1600/Imprinting_the_Divine_Saint_John.jpg" height="400" width="300" /></strike></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strike>Saint John the Baptist, Byzantium, by a painter trained in Constantinople, </strike><br />
<strike>early- to mid-15th century, tempera and gold leaf on wood</strike></td></tr>
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<strike><b>The Art of Eternity</b> is a series of 3 1-hour documentaries on Christian art presented by Andrew Graham-Dixon. </strike><br />
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<li class="MsoNormal"><strike><a href="http://www.youtube.com/watch?v=RKEU5jdJDAQ">Painting Paradise</a>: The origins of Christian art in late antiquity, Coptic Egypt and medieval <st1:country-region>France</st1:country-region>, and its transition from classical art.</strike></li>
<li class="MsoNormal"><strike><a href="http://www.youtube.com/watch?v=rBOK3u4qBXk">The Glory of Byzantium </a>: Icons and the other Christian art of the <st1:place>Byzantine Empire</st1:place>.</strike></li>
<li class="MsoNormal"><strike><a href="http://www.youtube.com/watch?v=AS06W1dBdwI">When East Meets West</a> : Early Christian art's development through the Middle Ages and Renaissance, and its influence on modern artists.</strike></li>
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<strike>2. <span style="background: white; margin-bottom: .0001pt; margin: 0cm;">Modernisms: History</span></strike></h3>
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<li class="MsoNormal"><strike><b>The Humanist Renaissance (<o:p></o:p></b><b>14th-15th century)</b></strike></li>
<li class="MsoNormal"><strike><b>The Enlightenment (<o:p></o:p></b><b>17th-18th century)</b></strike></li>
<li class="MsoNormal"><strike><b>"Modernism" (<o:p></o:p></b><b>19th-20th century)</b></strike></li>
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<strike>The impression is that almost all medieval art was religious. This is far from the case; when the church became very wealthy, it was prepared at times to spend lavishly on art, and there was also much secular art. But this secular art has suffered from a far higher rate of wear and tear, loss and destruction: the Middle Ages generally lacked the concept of preserving secular works for their artistic merit, as opposed to their association with a saint or founder religious figure. This is one the reasons why during the Renaissance, authors tended to belittle medieval art. </strike></div>
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<strike>2.1 The 14th-15th century Humanist Renaissance</strike></h3>
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<strike>Artists become part of History; they are not anymore used to illustrate their times.</strike><br />
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<strike>The notion of Art History was initiated with Renaissance Italian painter, architect, writer and historian Giorgio Vasari (1511–1574), most famous today for his 1550 "Lives of the Most Excellent Painters, Sculptors, and Architects." This book is considered as the foundation of art-historical writing ever since. Vasari initiated the genre of an encyclopedia of artistic biographies that continues today. Karel Van Mander was considered with his "Painting" book (<i>Het Schilderboeck</i>, 1604), as the "Dutch Vasari." Joachim von Sandrart, author of <i>Deutsche Akademie</i> (1675), became known as the "German Vasari" and Antonio Palomino, author of "An account of the lives and works of the most eminent Spanish painters, sculptors and architects" (1724), became the "Spanish Vasari."</strike><br />
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<strike>History entered the art world for the first time. This marked the birth of "Modernism," as I define it. </strike><br />
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<strike>The period of History before the 14th-15th century Humanist Renaissance; the medieval ages is called Dark ages by historians. This term characterized the period of “intellectual darkness” between the extinguishing "light of Rome" after the end of Late Antiquity, and the rise of the Humanist Renaissance in the 14<sup>th</sup> century. This concept of a Dark Age originated with the Humanist Italian scholar and poet Francesco Petrarca (Petrarch) who regarded the post-Roman centuries as "dark" compared to the light of classical antiquity.</strike><br />
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<strike>Petrarch (1304–1374) is considered by many to be the "father of the Humanist Renaissance." He has been credited with developing the idea of historical change. He inspired humanist philosophy which led to the intellectual flowering of the Renaissance. He believed in the immense moral and practical value of the study of ancient history and literature.</strike><br />
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<strike>During the medieval “dark ages”; History was written by God, not by men.</strike><br />
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<strike>But Christian civilization nearly disappeared during a period of approximately one hundred years; between the time of the Black Death (1348–50) in <st1:place>Europe</st1:place> and the fall of <st1:place>Constantinople</st1:place> in 1453. This was that critical period during which the idea of a Renaissance emerged. European intellectuals resourced themselves to their historical roots: it was a re-naissance (re-birth) of European Antiquity, of ancient Rome and Greek cultures, considered as the birthplaces of (not so Christian) European civilization.</strike></div>
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<li><strike>1348–50: The Black Death was one of the most devastating pandemics in human history, resulting in the deaths of an estimated 75 to 200 million people. This was during that period of time that Petrach was active.</strike></li>
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<li><strike>1453: Christianity saw <st1:city>Byzantium</st1:city> (<st1:place>Constantinople</st1:place>) taken by the Turks (<st1:place>Ottoman Muslim Empire</st1:place>). <st1:place>Constantinople</st1:place>, known as the “second <st1:city>Rome</st1:city>”, was after Rome, the second capital of Christianity at the time. Islam challenged Christianity and the <st1:place>Ottoman Empire</st1:place> also blocked the traditional medieval trade routes.</strike></li>
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<strike>Threatened by the advances of the <st1:place>Ottoman Empire</st1:place> which also blocked their access to <st1:place>North Africa</st1:place> and the <st1:place>Red Sea</st1:place> -- two very important trade routes to the <st1:place>Far East</st1:place> and <st1:place>Asia</st1:place>, the Christian monarchies (<st1:country-region>Portugal</st1:country-region>, <st1:country-region>Spain</st1:country-region> and <st1:city>Rome</st1:city>) decided to “<b>go west</b>.” On behalf of the Spanish monarchs, this “Italian” (Genoese) explorer known as Cristoforo Colombo (Spanish: Cristóbal Colón; English: Christopher Columbus) attempted to find a trade route to <st1:place>Asia</st1:place> by sailing west: to the “<st1:place>West Indies</st1:place>”. Instead, he reached <st1:country-region>America</st1:country-region> in 1492, and the rest is history. </strike></div>
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<strike>The "Age of Exploration" (or Discovery) had started changing world history forever: the voyage to the Americas by Christopher Columbus in 1492 caused an unprecedented exchange of animals, plants, culture, human populations, communicable diseases, technology and ideas between the American and Afro-Eurasian hemispheres which lasted until the 17<sup>th</sup> century. It is called by historians the “<b>Columbian Exchange</b>”.</strike><br />
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<strike>This crisis of Christian civilisation: the Italian (and European) Renaissance contributed to an emphasis on reason and humanism over faith, that is more down to earth human values and less on the “divine and eternal” purely spiritual values. It contributed to the birth of science (natural philosophy) and “classical (academic) art” which lasted half a millennium. It was the birth of "modernism," in arts, sciences, in society. </strike></div>
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<strike>In (visual) arts, Humanist Renaissance revolutionised the arts with the help of some new "scientific concepts" :</strike><br />
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<li><strike>Harmony</strike></li>
<li><strike>Anatomy </strike></li>
<li><strike>Perspective</strike></li>
<li><strike>The "Camera obscura"</strike></li>
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<span style="background: white; font-size: xx-small; margin-bottom: .0001pt; margin: 0cm;"><strike>1. Harmony </strike></span></div>
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;"><strike>Elevations and Horizontal Outlines of the Human Head | Piero della Francesca in "<i>De Prospectiva Pingendi</i>" (around 1480)</strike></td></tr>
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<strike>See "<a href="http://myartsecrets.wordpress.com/2011/06/06/human-faces-proportions/" target="_blank">Human face’s proportions</a>" from my "My Art Secrets" blog.</strike></div>
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<span style="background: white; font-size: xx-small; margin-bottom: .0001pt; margin: 0cm;"><strike>3. Perspective</strike></span></div>
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<strike>It solved this fundamental problem of representing objects (3<span style="text-align: center;">D) onto a flat (2D) surface</span></strike><br />
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<b><strike>See "<a href="http://myartsecrets.wordpress.com/2011/06/09/principles-of-perspective/" target="_blank">Principles of perspective</a>" from my "My Art Secrets" blog. </strike></b><br />
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<span style="background: white; font-size: xx-small; margin-bottom: .0001pt; margin: 0cm;"><strike>4. The "<i>Camera obscura</i>"</strike></span><br />
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<strike>It is an optical device that projects an image of its surroundings on a screen and is used in drawing or for entertainment. It was one of the inventions that led to photography and the camera. The <i>camera obscura</i> has been known since the time of Chinese scholar Mozi (470 to 390 BCE) and Greek philosopher Aristotle (384 – 322 BCE). It was used for centuries all over the world. During the Humanist Renaissance it was improved by polymath Giambattista della Porta. During the 17th century Dutch Masters, Vermeer made it central in their technique and style. It also influenced then scientists such as German astronomer Johannes Kepler. </strike></div>
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<tr><td class="tr-caption" style="text-align: center;"><strike><i>Camera obscura</i> in "Encyclopédie", enlightened <i>philosophes</i> Denis Diderot and Jean le Rond d'Alembert , 1751</strike></td></tr>
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<strike>By the 18th century, more easily portable models became available. These were extensively used by amateur artists. Such cameras were later adapted by Joseph Nicephore Niepce, Louis Daguerre and William Fox Talbot for creating the first photographs.</strike><br />
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<strike>2.2 The 17<sup>th</sup>-18<sup>th</sup> century Enlightenment</strike></h3>
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<strike>The 17<sup>th</sup>-18<sup>th</sup> century Enlightenment’s ideals were true heir of the Humanist Renaissance: the Enlightenment saw the intellectual maturation of the humanist belief in reason as the primary guiding principle in the affairs of humans.<o:p></o:p></strike></div>
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<strike>After the Enlightenment and its political consequences such as the French revolution, no religious perspective was considered in human affairs: only the march of human history. The open-minded 18<sup>th</sup>-century thinker believed that nearly everything could be submitted to reason: tradition, customs, morals, even art. The Enlightened thinker favoured a renaissance of “classicism” in arts as developed under the Humanist renaissance: neo classicism where references to ancient Greek and Roman themes were used to give a historical perspective about contemporary events. Here is a typical example: the “Oath of the Horatii” by David.</strike><br />
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<strike>The painting depicts a scene from a Roman legend about a dispute between two warring cities; <st1:city>Rome</st1:city> and <st1:city>Alba Longa</st1:city> showing three brothers expressing their loyalty and solidarity with <st1:city>Rome</st1:city> before battle, wholly supported by their father. As revolution in <st1:country-region>France</st1:country-region> loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. It became one of the defining images of the time.</strike></div>
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<strike>2.3 The 19<sup>th</sup>-20<sup>th</sup> century Modernism</strike></h3>
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<strike>Modernism is considered to have started as an art movement after Edouard Manet used such classical theme to express mundane situation... This shocked the art establishment and society. </strike></div>
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<strike>Nudes were acceptable in historical and allegorical paintings. But in 1863, he submitted his <a href="http://www.jahsonic.com/Dejeuner.html" target="_blank">Le déjeuner sur l'herbe (Luncheon on the Grass)</a>, showing them in common settings was forbidden! Manet was inspired by “The Judgment of Paris” (c.1510) after Renaissance painter Raphael but this didn’t convince the jury.</strike><br />
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<strike>In retrospect we can recognize in Renaissance humanism an expression of that modernist confidence in the potential of humans to shape their own individual destinies and the future of the world. Also present in this tradition is the optimistic confidence that humans can understand nature and the universe. </strike></div>
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<span style="color: #212121; font-family: Verdana;"><strike><span style="font-size: x-small;">2.4 When Modern Artists Discover “Motion Pictures”</span><o:p></o:p></strike></span></h3>
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<strike>But the Humanist Renaissance and Enlightenment’s scientific revolutions will have a deep impact on the arts future: invention of photography and cinema. It had already started with the use of the "<i>Camera Obscura</i>".</strike><br />
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<strike>It dramatically changed with the invention of “Motion Pictures”; the cinema. <span style="line-height: 16.2pt;">It indeed deals both with time and images and became a perfect invitation for some artists to explore that world. This new technology had particularly a deep influence on Cubist painters such as Braque and Picasso in early 20<sup>th</sup> century. They were big fans of movies! It also influenced a Marcel Duchamp.</span></strike></div>
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<strike>“Moving pictures” were known as illusion toys in very early times. The modern “zoetrope” (meaning “wheel of life“) was invented in 1833 by British mathematician William George Horner. Almost simultaneously, similar inventions were made independently. In <st1:country-region>Belgium</st1:country-region> the “Phenakistoscope” was invented by <st1:place><st1:placename>Joseph</st1:placename> <st1:placename>Plateau</st1:placename></st1:place> and in <st1:country-region>Austria</st1:country-region> the stroboscope by Simon von Stampfer: pictures were viewed through slots and appeared to move when the two were spun and viewed in a mirror. This illusion toy “zoetrope” was in fact invented much earlier in <st1:country-region>China</st1:country-region> around 180 AD by Ting Huan. </strike></div>
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<strike>But it was soon eclipsed in popularity by the photographic film projector of the Lumière Frenchmen brothers sometimes credited as the inventors of the motion picture camera in 1895. <span style="color: #333333;">The ease of use and portability of their device soon made it the rage in </span><st1:country-region><st1:place><span style="color: #333333;">France</span></st1:place></st1:country-region><span style="color: #333333;"> where most artists were residing then in </span><st1:place><span style="color: #333333;">Montmartre</span></st1:place><span style="color: #333333;">. <i>Cinematographes</i> soon were in the hands of Lumière followers all over the world, and the motion picture era began. <o:p></o:p></span></strike></div>
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<span style="color: #333333;"><strike>It is not surprising that Paris-based artists such as Cubist Picasso or Braque were “taken” by this new invention called the “Motion Pictures”.<o:p></o:p></strike></span></div>
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<strike>“The most extensive consideration of movies and Cubism was made by Natasha Staller in 2001, in her book “A Sum of Destructions: Picasso’s Cultures and the Creation of Cubism,” in which she found specific correspondences between some of Picasso’s work and the images and techniques in the films of Georges Méliès, the French moviemaker and special-effects pioneer. “Picasso appropriated Méliès’s techniques of jarring multiple perspectives, fragmented bodies and body parts, a comic self-conscious dialogue between apparent art and apparent reality,” Ms. Staller wrote.” From <a href="http://www.nytimes.com/2007/04/15/arts/design/15kenn.html?pagewanted=all&_r=0" target="_blank">WhenPicasso and Braque Went to the Movies</a></strike></div>
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<strike>A documentary was made on this story: <strong><span style="border: none windowtext 1.0pt; color: #333333; mso-border-alt: none windowtext 0cm; padding: 0cm;"><a href="http://www.imdb.com/title/tt1326252/"><span style="font-weight: normal;">Picasso & Braque Go to the Movies (2008)</span></a></span><span style="color: #333333;"> </span></strong><strong><span style="color: #333333; font-weight: normal; mso-bidi-font-weight: bold;">directed by Arne Glimcher</span><span style="color: #333333;">.<o:p></o:p></span></strong></strike><br />
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<strike>Another acquaintance of Braque and Picasso was artist Marcel Duchamp. He was possibly inspirede by English photographer Muybridge’s book “Animal Locomotion,” (1887), which included a sequence of twenty-four images of a naked woman descending a flight of stairs. It is believed to be a <strong>source</strong><b> </b>for Duchamp s landmark painting <i>Nu descendant un escalier</i> n° 2 (1912).<o:p></o:p></strike></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Va2dSmneckY/UwqSmWyUGEI/AAAAAAAADWI/-8XUg82f8Ts/s1600/duchamp_nude.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><strike><img border="0" src="http://1.bp.blogspot.com/-Va2dSmneckY/UwqSmWyUGEI/AAAAAAAADWI/-8XUg82f8Ts/s1600/duchamp_nude.jpg" height="325" width="400" /></strike></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strike>Left: Marcel Duchamp; Nu descendant un escalier n° 2 (1912).</strike></td></tr>
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<strike><span style="color: #333333;">Duchamp’s interest in plotting the static phases of a moving subject has often been compared to the work of other artists; the Italian Futurists, who were obsessed with notions of velocity and dynamism, i.e. time</span>. Futurist Boccioni wrote:</strike></div>
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<strike>"...Instead of the old-fashioned concept of sharp differentiation of bodies, instead of the modern concept of the Impressionists with their subdivision, their repetition, their rough indications of images, we would substitute a concept of dynamic continuity as unique form. And it is not by accident that I say form and not line, since dynamic form is a species of fourth dimension in painting and sculpture, which cannot exist perfectly without the complete affirmation of the three dimensions that determine volume: height, width, depth." </strike></div>
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<strike>(Boccioni, "Plastic Dynamism", 1913. in, Futurist Manifestos, ed. Apollonio, trans. Brain, Flint, Higgitt, Tisdall, p. 93)</strike></div>
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<strike>Like Duchamp’s “Nude Descending a Staircase, No. 2”, futurist works, most notably Balla's "dynamisms" show scenes over a period of time with clearly express the idea of the fourth dimension as time. <o:p></o:p></strike><br />
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<strike> <span style="font-family: Arial; font-size: 10pt;">More at </span><a href="http://bittleston.com/artists/giacomo_balla/" style="font-family: Arial; font-size: 10pt;" target="_blank">http://bittleston.com/artists/giacomo_balla/</a></strike><br />
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<strike>Around the same time as Balla's paintings, it was reported by Kahnweiler that Picasso "considered setting his pictures in motion using a clockwork mechanism or producing a series of works which could be shown in rapid <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">succession</span>."(Wolter-Abele, "How Science and technology changed art", History Today vol. 46 no.11 , November 1996, p. 64) The futurist method was so impressive that even Picasso reconsidered the possibilities of exploring the “fourth dimension.” This will be the subject of another text.</strike><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-x72RmEsFtG0/UwqQeOTGuTI/AAAAAAAADVg/O5RDXobw15o/s1600/giacomo-balla-girl-on-a-balcony.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><strike><img border="0" src="http://1.bp.blogspot.com/-x72RmEsFtG0/UwqQeOTGuTI/AAAAAAAADVg/O5RDXobw15o/s1600/giacomo-balla-girl-on-a-balcony.jpg" height="400" width="386" /></strike></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strike>Giacomo Balla, "Girl Running on a Balcony", 1912</strike></td></tr>
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<strike><span style="color: #333333; line-height: 21.600000381469727px;">More at: </span><a href="http://pavlopoulos.wordpress.com/2011/03/19/painting-and-fourth-dimension-cubism-and-futurism/" style="line-height: 21.600000381469727px;">The Fourth Dimension in Painting: Cubism and Futurism</a></strike><br />
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<span style="font-weight: normal;"><span style="font-size: x-small;"><strike>To emphasize God's "eternity", there was also an emphasis on the “briefness” of human existence: the 17<sup>th </sup>century Dutch vanities are illustrative of this. They were called “<i>Vanitas</i>” which is a Latin word meaning "vanity" and loosely translated corresponding to the meaninglessness of earthly life and the passing nature of all earthly goods and pursuits. This term comes from <i>Ecclesiastes 1:2</i> of the Vulgate Latin translation of the Bible. The verse reads “<i>Vanitas vanitatum omnia vanitas”</i> (“Vanity, vanity, all is vanity”).</strike></span></span></div>
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<span style="font-weight: normal;"><span style="font-size: x-small;"><strike>Common <i>vanitas</i> symbols include skulls, which are a reminder of the certainty of death; rotten fruit, which symbolizes decay; bubbles, which symbolize the brevity of life and suddenness of death; smoke, watches, and hourglasses, which symbolize the brevity of life.</strike></span></span><br />
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<strike><span style="font-weight: normal;"><span style="font-size: x-small;">Today, a Damien Hirst’s obsessive artistic themes indicate he is a very vain artist and has a morbid obsession with death. It started with his rotten shark (exhibited in 1991 at "</span></span><span style="font-size: x-small;"><span style="font-weight: normal;">The Physical Impossibility of Death in the Mind of Someone Living"</span></span><span style="font-size: x-small; font-weight: normal;">) and other skulls. He is also obsessed with money and fame: vanity.</span></strike></div>
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<strike><span style="font-size: x-small; font-weight: normal;">This "Zeitgeist" started at the turn of the 20<sup>th</sup> century with Dadaism (Duchamp) and broke through during the 1970s with the first post-modern artist: Andy Warhol. He contributed to the cult of the "artist" where fame, name and greed became more important than art. P</span><span style="font-size: x-small; font-weight: normal;">ost-modern “Zeitgeist” emphasises "now” and “death” over “life” and “future”. </span></strike><br />
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</span><span style="font-size: x-small; font-weight: normal;">Arts are living a nihilistic period of its history. </span><span style="font-size: x-small; font-weight: normal;">Its emphasis of the "now" means "now future". </span></strike><br />
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</span><span style="font-size: x-small; font-weight: normal;">A Damien Hirst is symptomatic of Post-modernist </span><span style="font-size: x-small; font-weight: normal;">“Zeitgeist”</span><span style="font-size: x-small; font-weight: normal;">. </span></strike></div>
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<strike>In my <a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/whats-time.html">What's the Time?</a> text, I have challenged the ideas of self-appointed “spiritual teacher” Eckhart Tolle and author of bestseller "The Power of Now". His popularity is not surprising. He is part of our “Zeitgeist”, the spirit of our time. “Zeitgeist” is German and means the intellectual dominant fashion/ school of thought that typifies our culture of a particular time. Today’s “Zeitgeist” is “post-modernism”, a modern form of nihilism which <a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/whats-time.html#link3">Eckhart Tolle</a> propagates, whether consciously or not. Nihilism comes from <i>Nihil</i>, in Latin and means “nothing”.</strike><br />
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<strike>“Every physical object or body has come out of nothing, is surrounded by nothing, and will eventually return to nothing.” (Power Of Now, p. 87) </strike></blockquote>
<strike>As I argued Tolle is wrong: "Nothing comes out of nothing" (Latin: <i>ex nihilo nihil fit</i>)... therefore himself (including the money and fame he enjoys now.) His denying of the reality of time (past and future) stems from his denying of the existence of the "present", the "instant". Tolle argues further that this "Now" is all we have... yet denies its reality! This is the same error made thousands of years ago by the Greek “monist” school of philosophy as I explained in my <a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/whats-time.html">What's the Time?</a>. They considered time as “continuous”, made of zero-instants as if time were infinite, eternal: "God's time". As a consequence, monist Zeno’s paradoxes intended to convince us that our human time does not exist. Eckhart Tolle, in his own idiosyncratic “mystic” (theosoph) way, defends the same view. This error brings us back to the "pre-modern times" when "God's time" was ruling and "human time" (History) was not. Men were then living in the "now" and left up to fate their future, their history.</strike><br />
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<strike>This postmodern nietzschean “Zeitgeist” where the sense of history has disappeared to be replaced with a postmodern emphasis on the "now" can be traced back to Friedrich Nietzsche's nihilistic philosophy. In 1874, the young Nietzsche published "<a href="http://la.utexas.edu/users/hcleaver/330T/350kPEENietzscheAbuseTableAll.pdf" target="_blank">On the Use and Abuse of History for Life</a>," a clear rejection of history. He wrote:</strike><br />
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<strike>"Observe the herd which is grazing beside you. It does not know what yesterday or today is. It springs around, eats, rests, digests, jumps up again, and so from morning to night and from day to day, with its likes and dislikes closely tied to the peg of the moment, and thus neither melancholy nor weary. To witness this is hard for man, because he boasts to himself that his human race is better than the beast and yet looks with jealousy at its happiness. [...] Thus the beast lives unhistorically, for it gets up in the present like a number without any odd fraction left over; it does not know how to play a part, hides nothing, and appears in each moment exactly and entirely what it is. Thus a beast can be nothing other than honest. [...] The person who cannot set himself down on the crest of the moment, forgetting everything from the past, who is not capable of standing on a single point, like a goddess of victory, without dizziness or fear, will never know what happiness is. "</strike></blockquote>
<strike>Nietzsche developed this notion of an "end of history" with the old concept "Eternal return" (also known as "eternal recurrence"). It is a concept that the universe has been recurring, and will continue to recur, an infinite number of times across infinite time or space. The concept is found in Indian philosophy and was subsequently taken up by the Stoics (See my rejection of Stoic philosophy <a href="http://artwithconscience.blogspot.co.uk/2014/02/are-you-indifferent-to-indifference.html" target="_blank">HERE</a>). This notion fell in decline with the spread of Christianity until Friedrich Nietzsche.</strike><br />
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<strike>Tolle is popular because he happens to be part of this trendy Postmodern Nietzschean "Zeitgeist", a form of nihilism. It denies and rejects ideas, ideals, theories, be them political, scientific or cultural. It rejects any notion of human time or history as does Tolle. Postmodernism rejects “modernism”, and by doing so it rejects an old tradition that can be traced back to the 14<sup>th</sup>-15<sup>th</sup> century Humanist Renaissance in Europe, to the 17<sup>th</sup>-18<sup>th</sup> century Enlightenment and to the 19<sup>th</sup>-20<sup>th</sup> century “modernism” as this will be further detailed in this text.</strike><br />
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<strike>This historical tradition has given us a sense of human History: men’s future was not determined by an external divinity or by chance any longer. Men took their fate and future into their own hands: humanism. The ancient, premodern “Zeitgeist” claimed that “men’s time” (history) does not really exist. History was then always allegorical, symbolic or cheer legend. What existed was “eternity” only, that is the “time“of immortal deities. Men aspired to this eternity, to some eternal afterlife. </strike></div>
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<a href="http://www.youtube.com/watch?v=8aEeIBtXsuc" target="_blank"><strike>This Is Modern Art - The Shock of the Now (BBC Documentary)</strike></a></div>
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<strike>With postmodernism : everything is being rejected. Not only religion but also what the Humanist Renaissance, the Enlightenment and of course Modernism contributed to our society. It is deeply nihilistic and it is today’s “Zeitgeist.” Tolle’s nihilism (and pessimism) is transparent. (quote <a href="http://thetwoculturesdebate.blogspot.co.uk/2014/01/whats-time.html#link3">here</a>!)</strike><br />
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<strike>Postmodernism rejects “modern ideals”. It rejects any historical perspectives (including the visual one!) which it labels as “meta-narratives”.</strike></div>
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<strike>© Yves Messer</strike></div>
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NIETZSCHE's Eternal Recurrence<br />
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y messerhttp://www.blogger.com/profile/04148765291227763442noreply@blogger.com0tag:blogger.com,1999:blog-4065559060567823823.post-35016312312303260082014-01-23T22:04:00.001+00:002023-09-07T15:40:10.515+01:00Why Two Cultures? (draft)<h3>
<b>1. The "Two Cultures" debate in perspective</b></h3>
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<strong>1.1 The Snow </strong><b>vs. </b><strong>Leavis controversy</strong><br />
<a href="http://3.bp.blogspot.com/-vjIS8B6rFZ8/UatdsewSRUI/AAAAAAAACTc/6A9pZXuFM9Y/s1600/snow_leavis.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-vjIS8B6rFZ8/UatdsewSRUI/AAAAAAAACTc/6A9pZXuFM9Y/s320/snow_leavis.jpg" height="175" width="320" /></a><br />
Soon after C.P. Snow’s “Two Cultures” controversial thesis was published, his most callous critic, the literary critic F. R. Leavis launched a particularly vicious personal attack with his <i>Two Cultures? The Significance of C. P. Snow</i> (Richmond Lecture, 1962, at Downing College), which shocked an otherwise well behaved English audience. It turned into a battle of "clans", missing completely the deeper questions raised by Snow: should science or the humanities be given precedence?<br />
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Leavis heaped derision on Snow's “embarrassing vulgarity of style,” his “complete ignorance” of history, literature, the history of civilization, and the human significance of the Industrial Revolution. Leavis wrote:<br />
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“Snow is, of course, a — no, I can’t say that; he isn’t: Snow thinks of himself as a novelist,” but in fact “his incapacity as a novelist is… total [...] as a novelist he doesn’t exist; he doesn’t begin to exist.” Leavis concluded: “not only is he not a genius [...] he is intellectually as undistinguished as it is possible to be.”</blockquote>
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Leavis lost his legendary English-refrained temper. But why such rage?<br />
<strong><br /></strong><b>1.2 The T. H. Huxley vs. Matthew Arnold </b><strong>controversy</strong><br />
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<a href="http://3.bp.blogspot.com/-OAX4xmrRDGY/UateD7vR5rI/AAAAAAAACTk/7hLwTlbwS4s/s1600/00001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-OAX4xmrRDGY/UateD7vR5rI/AAAAAAAACTk/7hLwTlbwS4s/s320/00001.jpg" height="187" width="320" /></a></div>
The Snow-Leavis controversy was just a repeat of a very <strong>similar debate</strong> that took place some 80 years earlier between an English biologist; Thomas Henry Huxley after he published his <a href="http://homes.chass.utoronto.ca/~ian/huxley1.htm">'Science and Culture'</a> (1880) and an English poet and cultural critic; Matthew Arnold who replied in his own Rede lecture in 1882 with <a href="http://homes.chass.utoronto.ca/~ian/arnold.htm">'Literature and Science'</a>.<br />
Such controversies also took place earlier during that century in America as this was documented by William Todd Timmons in his essay <i>Older Than Snow: The Two Cultures And The Yale Report Of 1828.</i> Timmons noted:<br />
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He (Snow, note) maintained that Western intellectuals, outside of scientists, had not understood—even rejected—the <b>Industrial Revolution</b>. Calling the literary intellectuals “natural Luddites,” (1) Snow went so far as to accuse the establishment of using the wealth produced by the Industrial Revolution to train young men for the purpose of perpetuating the culture.</blockquote>
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From <a href="http://www.newcriterion.com/articles.cfm/-The-Two-Cultures--today-4882">http://www.newcriterion.com/articles.cfm/-The-Two-Cultures--today-4882</a>)<br />
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2. Sciences vs. Humanities?</h3>
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<a href="http://1.bp.blogspot.com/-xSqFKtufbRU/UtujZbEuvFI/AAAAAAAAC2o/N0SnEfC5MJY/s1600/scienceshumanities.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" src="http://1.bp.blogspot.com/-xSqFKtufbRU/UtujZbEuvFI/AAAAAAAAC2o/N0SnEfC5MJY/s1600/scienceshumanities.jpg" height="400" width="400" /></a><b>C.P. Snow's Rede Lecture was entitled “The Two Cultures and the Scientific Revolution”. Indeed the Scientific Revolution (and the Enlightenment ideas) are central in this "Two Cultures" question.</b></div>
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This chasm between scientists and non-scientists (the Humanities, “literary intellectuals”, artists, etc.) was not new. In fact it is recurring. This gulf of reciprocal distrust has existed at least since Science and its effects revolutionized our Western society. It coincided with the so-called "Age of Enlightenment" (or "Age of Reason",) a cultural movement of intellectuals beginning in the late 17th- and 18th-century. Much of he "Enlightenment philosophy" was premised on the successes of scientific method after Galileo Galilei and Isaac Newton. “Natural philosophy” as it was then called ceased to be a curiosity confined to an “intellectual elite” but impacted upon our society socially and culturally during and after the "Industrial revolution”.<br />
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Typically, the education curriculum in Britain today presents the "Industrial revolution” to an entire generation in its History classes very darkly. Focusing on the children's and women's labor conditions in factories, or pollution... (as if their conditons were much better when they were starved in their original "idyllic" countryside), english History teachers "forget" or simply "dismiss" all the benefits of the "Industrial revolution”: higher pays, sanitation or even compulsory education system for children! (2)<br />
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Eric Schmidt, the executive chairman of one of the world's biggest technology companies (Google) said Britain needed to look back to its Victorian age when it held the sciences and the arts in equally high esteem. He said:<br />
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You need to bring art and science back together, [...] Think back to the glory days of the Victorian era. It was a time when the same people wrote poetry and built bridges. Lewis Carroll didn't just write one of the classic fairytales of all time, he was also a mathematics tutor at Oxford.</blockquote>
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See <a href="http://www.theguardian.com/technology/2011/aug/26/eric-schmidt-chairman-google-education" target="_blank">Eric Schmidt, chairman of Google, condemns British education system</a>. Schmidt criticises division between science and arts and says UK 'should look back to glory days of Victorian era'; The Guardian, Friday 26 August 2011.</blockquote>
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Quite indeed.<br />
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3. The Enlightenment and the idea of Progress: "Dare to Know!"</h3>
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Originating about 1650 to 1700, the Enlightenment (<i>Lumières</i> in French, <i>Aufklärung </i>in German) was a revolutionary intellectual movement which saw the maturation of the humanist belief in Reason rather than Faith as the supreme guiding principle in the affairs of mankind. For the enlightened mind, freed from the restraints of ignorance, a whole new exciting world opened up. Enlightenment opposed superstition and intolerance. It was called the "Age of Reason".<br />
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It is a period in the History of western thought and culture, characterized by dramatic revolutions in science, arts, philosophy, society and politics. These revolutions swept away the medieval world-view and ushered in our modern western world. <span style="background-color: white;">This had all been set in motion by the 15th and 16th century Renaissance, a time when Humanists like Leonardo da Vinci flourihed.. </span><br />
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In honor of the Enlightenment the eighteenth century was commonly known as the century of <strong>lumière</strong>, or light. Its advocates viewed themselves as the “party of humanity”: they sought to represent the “general will” rather than the standpoint of particular interests, estates, or castes. The champions of Enlightenment counterposed reason as an analytical solvent to dogma, superstition, and unwarranted social authority. (3)</blockquote>
Enlightened individual thinkers were active in many countries. In Scotland:, there were Francis Hutcheson, Adam Smith, David Hume. In England: Thomas Hobbes, John Locke. In Prussia and the German States, writers and philosophers such as Christian Wolff, Johann Wolfgang von Goethe, Friedrich Schiller or Immanuel Kant. Even in America (Thirteen Colonies), there were Thomas Paine, Thomas Jefferson, Benjamin Franklin. In France, it was more "organized" around "<i>salons</i>" where French <em>philosophes </em>like Voltaire, Montesquieu, Diderot or Rousseau were invited to "educate" the upper-class<em>.</em> They primarily critiqued the Roman Catholic Church and its power, the political system in place, and social inequalities.<br />
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In 1784, enlightened German philosopher Immanuel Kant published a brief essay : <i>Was ist Äufklarung? </i>(What is Enlightenment?) Kant began the essay in the following way:<br />
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Enlightenment is man's emergence from his self-imposed nonage. Nonage is the inability to use one's understanding without another's guidance. This nonage is self-imposed if its cause lies not in lack of understanding but in indecision and lack of courage to use one's mind without another's guidance. Sapere Aude! Dare to Know! Have the courage to use your own understanding is therefore the motto of the Enlightenment.</blockquote>
<span style="background-color: white;">A</span> new <b>optimism</b> pervaded the age.</div>
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4. The Scientific revolution</h3>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-D-JGCXYTHE8/UtsJhkv5FKI/AAAAAAAAC2Q/8OJ_cBk8Kzc/s1600/leonardo-da-vinci-anatomy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-D-JGCXYTHE8/UtsJhkv5FKI/AAAAAAAAC2Q/8OJ_cBk8Kzc/s1600/leonardo-da-vinci-anatomy.jpg" height="266" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Leonardo da Vinci: Arm and Shoulder, 1515</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ak0PFod3w70/UtsJhp3fRtI/AAAAAAAAC2U/19Al5rkMPg0/s1600/Portrait-Of-Andreas-Vesalius-From-His-Book-Humani-Corporis-Fabrica,1543.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-ak0PFod3w70/UtsJhp3fRtI/AAAAAAAAC2U/19Al5rkMPg0/s1600/Portrait-Of-Andreas-Vesalius-From-His-Book-Humani-Corporis-Fabrica,1543.jpg" height="320" width="237" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Andreas Vesalius from his<br />
<i>Humani Corporis Fabrica</i>,1543</td></tr>
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<tr><td><a href="http://4.bp.blogspot.com/-dvV_FKgee6E/UaoXddoaawI/AAAAAAAACSc/OpR1qiFMamM/s1600/galileo_facing_the_roman_inquisition.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-dvV_FKgee6E/UaoXddoaawI/AAAAAAAACSc/OpR1qiFMamM/s320/galileo_facing_the_roman_inquisition.jpg" height="244" width="320" /></a></td></tr>
<tr><td class="tr-caption"><span style="text-align: start;"><span style="font-size: x-small;">Galileo tried by the Italian Inquisition</span></span></td></tr>
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The Enlightenment's<b> </b> immediate stimulus came from the Scientific Revolution of the 16th and 17th centuries when men like Galileo Galilei or Isaac Newton, through their successfull application of reason to the study of Nature, had made spectacular discoveries revealing truths which were not written in the sacred books of Aristotle or in the Bible. These new discoveries therefore challenged the authority of the Church as the "Trial of Galileo Galilei" in 1633 illustrates this.<br />
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Two worlds came into ideological conflict. By proving Copernicus theory of heliocentrism (i.e. planets like Earth and Jerusalem are orbiting the Sun, not the other way around) Galileo's new world of science and humanism collided with the old world of scholasticism, dogmatism and absolutism of the Catholic Church. The result was a tragedy that marked the end of the Italian Renaissance.</div>
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Isaac Newton (<span style="font-size: small;">1643 - </span><span style="font-size: small;">1727</span>) also had a huge impact on the Enlightenment. His theory on universal gravitation helped to prove Copernicus' and Galileo's theory heliocentrism. This success of Reason over Faith became an inspiration and basis for Enlightenment ideals.<br />
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<b>4.1 Birth of the scientific method: t</b><b>he "Plato-Aristotle Controversy"</b></h4>
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Newton's scientific method originated during the 15th and 16th centuries Italian and Northern Renaissances. It was the result of a deep philosophical debate (and controversy) regarding our understanding of the world. A debate between the partisans of Aristotle and those of Plato, two ancient Greek philosophers. The question was: are the spritual ideas we have about our world the only reality (Plato) or is our tangible world the only reality (Aristotle)? The two philosophers's stances could be summed up as "Top-down" in the case of Plato's who considered that knowing the (mathematical) truths or "ideas" doesn't require knowing tangible facts which he considered as mere projections on our senses (illusions). On the other hand, his student Aristotle considered the only way to access to truth was (empirical) obervation ("Bottom-Up") which is exactly what Galileo did with his telescope.... to validate (or not) the theory of Copernicus ("Top-down")!<br />
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In fact, this quarrel began some two centuries before Galileo's trial, when one Gemistus Pletho, a Greek Byzantine who had access to Plato's (barely known in Europe then) visited Florence in 1438. He wrote, at the command of Cosimo de Medici a small book defending Plato in which he reproached Aristotle with holding the notion of an inactive and impersonal God, and with being too attached to "terrestrial things." In other words; Aristotle was not consistent with Christianity! Bear in mind that Aristotle was then Vatican's absolute authority regarding "terrestrial things" the Bible didn't cover. This called forth a swift and strong reply from one Georgius Scholarius, a countryman of Pletho's, and this started an international controversy in the academic world. In 1450, an important established theologian Nicholas of Cusa who was known for his "Union of the Opposites" stance, tried to find an agreement between both parties in his <i>Idiota De Mente</i> where he wrote that:<br />
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"...there seems no difference between them (<i>Plato and Aristotle, note</i>) except in the way they considered the matter". </blockquote>
A "battle of the books" raged on however. </div>
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<b><br /></b><b>4.2 Solution</b><br />
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Neo-Platonist Pico della Mirandola, a member of the "Platonic Academy", wrote in his <i>Of Being and Unity</i> (1491) a defense in reconciling Plato and Aristotle's philosophies.<br />
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This reconciliation between the two philosophers was celebrated by Raffaello Sanzio's "School Of Athens" fresco painted between 1509 and 1510. This fresco seems to settle the so-called controversy, very much along the lines of "Neo-Platonists" like Pico della Mirandola, Bessarion or Nicholas of Cusa.</div>
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<a href="http://1.bp.blogspot.com/-QEkbW67X81w/TQui6UDvYVI/AAAAAAAAAPA/mu0Zp_Yxl90/s1600/2C-Raphael_School_of_Athens.gif" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-QEkbW67X81w/TQui6UDvYVI/AAAAAAAAAPA/mu0Zp_Yxl90/s1600/2C-Raphael_School_of_Athens.gif" height="318" width="320" /></a></div>
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<span style="font-size: x-small;">The School of Athens, is one of the most famous paintings </span></div>
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<span style="font-size: x-small;">by the Italian Renaissance artist Raffaello Sanzio (</span><span style="font-size: x-small;">1509 -1510.) </span></div>
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<span style="font-size: x-small;">Plato (as Leonardio da Vinci) is pointing "up" to the world of "Ideas".</span></div>
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Indeed, both Plato and his student Aristotle are walking while discussing philosophical matters. This was the typical method of the peripatetics (aka Aristotelians)! Rapahel's "message" was that there was no contradiction between the two philosophers.<br />
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<b>Top-down (Plato): </b><br />
Starting from a hypothesis (a theory, a belief, an "idea") the scientific method demands objective experiments (facts) to predict, verify the theory.<br />
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<b>Bottom-up (Aristotle):</b><br />
Theory is based on observations (experiments, facts) which require an explanation.<br />
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<a href="http://1.bp.blogspot.com/-xPLgCELtmU4/UtwAYgWQhDI/AAAAAAAAC38/lmpirFRdIZE/s1600/scientific-method.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-xPLgCELtmU4/UtwAYgWQhDI/AAAAAAAAC38/lmpirFRdIZE/s1600/scientific-method.jpg" /></a></div>
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If the experiments (facts) refute, contradict the theory then the new results of the experiment(s) force the theory to be modified. This process involving hypothesis, prediction, observation, verification (or refuting) is repeated, continually testing and modifying the theory until it fits all possible experimental observations. Only then the theory is considered a scientific law until challenged by newer facts...<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-qz8d1jqWMOs/UtviKdW5MKI/AAAAAAAAC3s/PWRPZe04GVE/s1600/newton3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-qz8d1jqWMOs/UtviKdW5MKI/AAAAAAAAC3s/PWRPZe04GVE/s1600/newton3.jpg" height="200" width="190" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="font-size: xx-small;">Sir Isaac Newton, 1710 </span><br />
<span style="font-size: xx-small;">b</span><span style="font-size: xx-small;">y Sir James Thornhill</span><br />
<span style="background-color: #f3f3f3; color: #222222; font-family: Verdana, Arial, Helvetica, sans-serif; font-size: xx-small; line-height: 17px;">Trinity College, Cambridge</span></td></tr>
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<span style="font-size: small;">Newton </span><span style="font-size: small;">merged these two opposing aspects of "natural philosophy": the empirical inductive (bottom-up) method and the rational deductive (top-down) method. Through the proper dynamic between the two, Newton created a basis for scientific methodology which exists in all sciences to this day. In doing so he uncovered many such laws regarding gravity or motion still valid and taught in schools today.</span><b> </b><br />
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Newton's synthesis of previous scientific knowledge and work into a consistent mathematical theory of the world was the crown jewel of the Scientific Revolution and a key argument for the </div>
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<span style="font-size: small; font-weight: normal;">Enlightenment</span>.<br />
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5. Political revolutions</h3>
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Among Enlightenment proponents, there was a great emphasis upon liberty, democracy, republicanism and religious tolerance. Enlightenment thought culminated historically in the political upheaval of the 1789 French Revolution, in which the traditional hierarchical political and social orders (the French monarchy, the privileges of the French nobility, the political power and authority of the Catholic Church) were violently destroyed and replaced by a political and social Republican (4) order informed by the Enlightenment ideals of freedom and equality for all, founded, ostensibly, upon principles of human reason. They were similar to a Florentine humanist Pico della Mirandola's defense of the dignity and liberty of the human being, set forth in his <i>Oration on the Dignity of Man</i> (1486), which has been called the "Manifesto of the Italian Renaissance", now known as "Humanism". </div>
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These new ideas spread to cities across Europe, notably England, Scotland, the German states, the Netherlands, Poland, Russia, Italy, Austria, and Spain, then jumped the Atlantic into the European colonies, where it influenced Benjamin Franklin and Thomas Jefferson, among many others, and played a major role in the American Revolution. The political ideals of the Enlightenment inspired the 1776 American "Declaration of Independence," the 1789 French "Declaration of the Rights of Man and of the Citizen," or the 1789-91 United States "Bill of Rights."<br />
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The Enlightenment idea of Liberty (as "Enlightening the World") is universal.<br />
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<a href="http://3.bp.blogspot.com/-A8LsARrMFuA/UuD6n0HR1uI/AAAAAAAAC64/0mlGUNr6-II/s1600/statueofliberty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-A8LsARrMFuA/UuD6n0HR1uI/AAAAAAAAC64/0mlGUNr6-II/s1600/statueofliberty.jpg" height="413" width="640" /></a></div>
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<strong>6. Enlightenment in the Arts</strong></h3>
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The Age of Enlightenment is reflected not only in science or the philosophy of the era but also in the arts, music, architecture, and literature. Art style deviated from the beginning of the century when baroque and rococo were the dominant artistic expression of the "ancien regime" (absolutist monarchies).<br />
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In those pre-revolutionary times, there was a return to Neoclassicism, to the Greco-Roman traditions as developped during the 15th century Italian Renaissance. It exhibited order, beauty, balance, harmony, and realism. Also, a number of women painters emerged at this time.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-bn2mornx4qg/Utkm75Pf8jI/AAAAAAAAC1c/EcEv3jo985o/s1600/Wright+An+Experiment+on+a+Bird+in+an+Air+Pump+1768.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-bn2mornx4qg/Utkm75Pf8jI/AAAAAAAAC1c/EcEv3jo985o/s1600/Wright+An+Experiment+on+a+Bird+in+an+Air+Pump+1768.jpg" height="468" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i style="text-align: start;">Experiment on a bird in the Air Pump</i><span style="text-align: start;"> (1768) by Joseph Wright of Derby.</span></span></td></tr>
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This painting by Joseph Wright shows a family group gathered round one of Robert Boyle's scientific experiments: a pump is extracting air from a bubble which contains a cockatoo. As the air is pumped out the bird will eventually pass away. Around the presenter we see various members of the household: the father of the family comforts, and explains the experiment to his two young daughters, who are dismayed and upset... The painting departed from convention of the time by depicting a scientific subject in the respectful manner formerly reserved for scenes of historical or religious significance. The picture's features reflect some ideals of the Enlightenment:</div>
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<li>Science enlightens - almost literally! Wright's use of light is also symbolic: it seems to radiate from the scientific apparatus itself, illuminating the people who are otherwise living in the shades. </li>
<li>The fact that the family are gathered for an evening's entertainment watching a scientific experiment reflects the Enlightnment preoccupation with increasing human knowledge. It was thought that by understanding the natural world and ourselves we could come closer to controlling them. </li>
<li>It is not class-bound: knowledge, understanding and education were political social weapons.</li>
<li>People are still people: the young man and woman on the left of the picture are utterly absorbed in each other - to them the emotional world is more significant than the scientific.</li>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-I_3UleNovWI/Utw5a7ftjeI/AAAAAAAAC4M/h0T3I-_Bszc/s1600/goya2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-I_3UleNovWI/Utw5a7ftjeI/AAAAAAAAC4M/h0T3I-_Bszc/s1600/goya2.jpg" height="368" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Francisco Goya (1746 - 1828)</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-0bmUlnn36Ao/UtcGxoXeoOI/AAAAAAAAC04/_8pxaQIW_uc/s1600/goya_sleep_of_reason.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-0bmUlnn36Ao/UtcGxoXeoOI/AAAAAAAAC04/_8pxaQIW_uc/s1600/goya_sleep_of_reason.jpg" height="320" width="212" /></a></td></tr>
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<tr><td class="tr-caption" style="font-size: 13px;"><span style="font-size: xx-small;">"The sleep of reason produces monsters" (1797-98)</span></td></tr>
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Republican Francisco Goya (1746 - 1828) came to artistic maturity during this age of Enlightenment. His first series of etchings, <i>Los Caprichos</i> ('The Caprices,' 1796-99), were a satirical critique of the vices, superstitions, and injustices of the society of his time, in which he presents his liberal Enlightenment ideology.<br />
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Goya's <i>The Sleep of Reason Produces Monsters</i> etching (see picture on the right) was a proclamation of his adherence to the values of the Enlightenment. Without Reason; evil and corruption prevail. Goya added a caption for the print:<br />
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“Imagination abandoned by reason produces impossible monsters; united with her, she is the mother of the arts and source of their wonders.”</blockquote>
This message is still relevant in today's arts world!<br />
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<strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">7. Napoléon : "All animals are equal, but some animals are more equal than others" </strong><strong style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">(*)</strong></h3>
Because of this comment, Goya is often defined by art historians as a transitional figure between the end of the Enlightenment and the emergence of Romanticism which values emotion above and against reason. This is because most art historians don't know much about the political History of society.<br />
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Another example to illustrate this point: Ludwig van Beethoven is often classified by these art historians as "romantic", i.e. opposed to the ideals of Enlightenment. The fact is Beethoven first dedicated his 1803-04 Symphony No. 3 to Napoléon Bonaparte as he admired the ideals of the French Revolution. Indeed, during the 1789 revolution in France one general in particular began to outshine all the others. This general was Napoléon Bonaparte, considered one of the geniuses in military history. His skillful leadership helped to crush rebellions within France, and also greatly expand the territories of France, including a surprising victory over the more powerful Austrian army. He then negotiated a general European peace which established French power on the continent.<br />
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In 1802, Napoléon victoriously brought to an end the "Revolutionary Wars" started ten years earlier when France declared war on Austria, with only Great-Britain remaining formally at war. Two years later Napoléon used a plebiscite to name himself Emperor of France.<br />
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So when in 1804 Napoléon crowned himself Emperor, Beethoven turned angry and according to the legend went to the table where the completed score of his Symphony No. 3 lay to change its original deication to "Bonaparte" out of admiration for Napoléon, to give the piece its current name <i>Eroica</i>.<br />
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The fact is Beethoven, like Goya and many other artists were fervent supporters of the French revolution's and the Enlightenment's ideals. No "counterenlightenment Romanticism" here as yet.<br />
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8. The "Empire Strikes Back" </h3>
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Newton's 3rd Law of motion says: "To every action there is always an equal and opposite reaction"... and yes, to the revolutions and the Enlightenment ideas, there was a (bloody) reaction! Europe was at war for a decade.</div>
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The Napoleonic Wars were a series of wars declared against the French Empire by four different opposing coalitions that ran from 1803 to 1814 and led by Britain.Isolated, Britain reluctantly agreed to end hostilities under the Treaty of Amiens, but unlike its many partners in the preceding Coalitions and protected by naval supremacy, Britain remained at war.<br />
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In 1805 Britain inflicted a naval defeat on the French and Spanish Navies at Trafalgar. Nelson‘s victory established Britain as the dominant world naval power for a century.<br />
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Here is Nelson's column at Trafalgar square, London:<br />
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<tr><td style="text-align: center;"><a href="http://terrystravelandthoughts.blogspot.co.uk/2013/07/4th-plinth-on-trafalgar-square.html" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" src="http://1.bp.blogspot.com/-q49X4RGTncw/Utu499nUv8I/AAAAAAAAC24/i7_Diof2FMM/s1600/crowatnelson.jpg" height="273" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;"><span style="font-size: x-small;">This bright blue symbol of France is staring at Nelson's column <br />on the square commemorating the thrashing of Napoléon's navy.</span></span></td></tr>
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<span style="background-color: transparent; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">In 1812 Napoléon and his 600,000-strong “Grand Army” marched into Russia, where he expected an easy victory. Yet every time that a battle would begin, the Russians simple retreated. Napoléon took Moscow, yet Moscow was a city in ruins when the city was set on fire by the army of the Czar. Napoléon decided to withdraw his army in one of the most famous retreats in military history.</span></div>
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This retreat/defeat sparked the War of the Sixth Coalition (Austria, Prussia, Russia, the United Kingdom, Portugal, Sweden, Spain and a number of German States). It was the largest coalition in Western history before the First World War!</div>
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They finally defeated France, and the Allies entered Paris, forcing Napoléon’s abdication who went in exile.<br />
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Here is my video on this:<br />
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<span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">9. Congress of <st1:city>Vienna</st1:city>: Restoration of the 'Old Order'<o:p></o:p></span></h3>
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The French Revolutionary Wars started with a war against Austria. So Vienna, the capital of Austria, seemed an obvious choice to put an end to… The 1815 Congress of Vienna was one of the most important international conferences in European history. It reorganized Europe after Napoléon’s defeat. European monarchs were determined to create a lasting peace based on the restoration of the “old order”: to erase the legacy of the French Revolution, of the Enlightenment ideas and all of the revolutionary fervor that had spread throughout Europe, to make sure that democratic, egalitarian and liberal ideals or nationalism, be totally erased. It brought about the restoration of an ultra conservative and reactionary order in Europe trying to turn back the clock to before 1789.
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<u>Objectives of the Congress:</u> restoring the interests of the old absolutistic monarchies in Europe before the French Revolution and in doing so legitimising the ruling monarchies and fiefdoms.<br />
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To make sure it wouldn't ever happen again, another goal was to weaken and contain France. The Allies therefore restored the Bourbon Monarchy in France. A last goal was re-structuring German-speaking fiefs which will contribute to the rise of German nationalism.
Having started and won the “Napoleonic Wars”, the British Empire became the foremost world power for the rest of the 19th century, thus beginning the<i> Pax Britannica</i> of the Victorian era.<br />
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10. Counter-Enlightenment Reaction in Culture</h3>
Counter-Revolutionary writers Edmund Burke, Joseph de Maistre and Augustin Barruel all asserted a close link between the Enlightenment and the Revolution, as did many of the revolutionary leaders themselves, so that the Enlightenment became increasingly discredited when the Revolution became bloody and Napoléon crowned himself Emperor.<br />
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Unsurprisingly the restored (Counter-Enlightenment) French Bourbon monarchy favored pre-revolutionary Neoclassicism, a return to the old Greco-Roman tradition, which exhibited order, stability and harmony.<br />
The linear simplicity of the Neoclassic movement lasted well into the 19th century until new revolutions took place in France.<br />
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10.1 William Blake vs. Isaac Newton</h4>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Wu00862Lp_E/UtcHqr05GjI/AAAAAAAAC1I/muIbqg7m5dM/s1600/blake_newton.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-Wu00862Lp_E/UtcHqr05GjI/AAAAAAAAC1I/muIbqg7m5dM/s1600/blake_newton.jpg" height="244" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Newton (1795-1805) by William Blake</td></tr>
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This picture shows Isaac Newton, painted by William Blake in 1795.<br />
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Blake’s painting is a criticism of Newton’s world-view; he is shown turning his back upon the beauty of the natural world (brightly colored flora and fauna). His sole interest being in his scroll and compasses. To the left of the picture is , the complexity of the natural world. To the right is order, the precision of geometry and the compasses which Blake abhorred.<br />
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Blake is considered part of what art historians labeled as "Romanticism", an artistic, literary and intellectual reaction to the Enlightenment.<br />
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"Romantics" such as Blake feared the coming of a godless world and the loss of natural idyll, the rural and the picturesque. The deistic view of God as a distant creator who played no role in daily affairs was anathema to Blake. He opposed his "four-fold vision" to the "single vision" of Newton, whose "natural religion" of scientific materialism he characterized as sterile. Newton was incorporated into Blake's infernal trinity along with philosophers Francis Bacon and John Locke.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-CUB4q1-BEek/UtcGgKknJGI/AAAAAAAAC00/qb5DdXlUWdc/s1600/william-blake.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-CUB4q1-BEek/UtcGgKknJGI/AAAAAAAAC00/qb5DdXlUWdc/s1600/william-blake.jpg" height="130" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="text-align: start;"><span style="font-size: x-small;">William Blake</span></span></td></tr>
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From a young age, William Blake claimed to have seen <strong>visions</strong>. Blake believed that he was personally instructed and encouraged by Archangels to create his artistic works, which he claimed were actively read and enjoyed by those same Archangels.<br />
Aware of Blake's allucination, Romantic poet William Wordsworth commented, "There was no doubt that this poor man was <strong>mad</strong>, but there is something in the madness of this man which interests me more than the sanity of Lord Byron and Walter Scott."<br />
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Blake's opposition to the Enlightenment was deeply rooted. He wrote in his annotations to the <i>Laocoon</i>: "Art is the 'Tree of Life.' Science is the 'Tree of Death.'"<br />
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In essence William Blake shows the early signs of what C.P. Snow will later call the "Two cultures".</div>
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11. Towards an Age of Unreason ? </h3>
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Romantic poet William Wordsworth considered William Blake was "mad". So turned German philologist, philosopher and cultural "romantic" critic Friedrich Nietzsche (1844 – 1900) at the end of his life: w<span style="background-color: #f9f9f9; color: #222222; font-family: adobe-text-pro, 'Times New Roman', Times, serif; font-size: 15px; line-height: 22px;">hile staying with a friend in Turin, Italy Nietzsche suffered a mental collapse. </span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-NIebUGzL0co/Ut2iy5pBO0I/AAAAAAAAC5U/4Ui6djwmawE/s1600/Nietzsche_hermana.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-NIebUGzL0co/Ut2iy5pBO0I/AAAAAAAAC5U/4Ui6djwmawE/s1600/Nietzsche_hermana.jpg" height="241" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nietzsche in a madhouse</td></tr>
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After an initial defence of the Enlightenment during his so-called 'middle period', Nietzsche turned vehemently against it and subscribed to the earlier view of conservative Counter-Revolutionaries like Burke and Maistre, who blamed the French Revolution (which Nietzsche always hated) on the Enlightenment. Nietzsche used the term <em>Gegenaufklärung</em> ('Counter-Enlightenment' in English). He has become the major intellectual reference for Counter-Enlightenment since his death.<br />
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Nietzsche defined his theoretical position in relation to one of the most important intellectual figures of the Enlightenment, namely Immanuel Kant. This German reaction to the imperialistic universalism of the French Enlightenment and Revolution, which had been forced on them first by the Francophile Frederick II of Prussia, then by the armies of Revolutionary France, and finally by Napoléon, was crucial to the epochal shift of consciousness that occurred in Europe at this time, leading eventually to German Romanticism and nationalism.<br />
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<span style="background-color: #f9f9f9; color: #222222; font-family: adobe-text-pro, 'Times New Roman', Times, serif; font-size: 15px; line-height: 22px;">During the few days after </span>Nietzsche's mental <span style="background-color: #f9f9f9; color: #222222; font-family: adobe-text-pro, 'Times New Roman', Times, serif; font-size: 15px; line-height: 22px;">breakdown, he wrote seemingly psychotic letters to a number of friends and various figures of European royalty. These letters are called the <i>Wahnbriefe </i>('Madness Letters'). He signed them alternatively as “Dionysus” or “The Crucified.”</span><span style="background-color: #f9f9f9; color: #222222; font-family: adobe-text-pro, 'Times New Roman', Times, serif; font-size: 15px; line-height: 22px;"> </span></div>
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<span style="background-color: #f9f9f9; color: #222222; font-family: adobe-text-pro, 'Times New Roman', Times, serif; font-size: 15px; font-weight: normal; line-height: 22px;">This plunge into madness impressed some Counterenlightenment intellectuals in France. Such was the case of </span><span style="font-size: small; font-weight: normal;">French writer </span><span style="color: #222222; font-family: adobe-text-pro, Times New Roman, Times, serif;"><span style="font-size: 15.454545021057129px; font-weight: normal; line-height: 22px;">Georges Bataille and his circle who launched </span></span><span style="background-color: #f9f9f9; color: #222222; font-family: adobe-text-pro, 'Times New Roman', Times, serif; font-size: 15px; font-weight: normal; line-height: 22px;">the </span><i style="font-family: Euclid; font-size: 13.63636302947998px; font-weight: normal; line-height: 21.006000518798828px;">Acéphale </i><span style="color: #222222; font-family: adobe-text-pro, Times New Roman, Times, serif;"><span style="font-size: 15.454545021057129px; font-weight: normal; line-height: 22px;">review </span></span><span style="font-size: small; font-weight: normal;">before the Nazis' invasion of France.</span><br />
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11. Nietzsche's "eternal return"?</h3>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-UVXMywFXW4o/UuE6wFMvxRI/AAAAAAAAC7o/97-jEEcEskc/s1600/acephale_leonardo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-UVXMywFXW4o/UuE6wFMvxRI/AAAAAAAAC7o/97-jEEcEskc/s1600/acephale_leonardo.jpg" height="380" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-family: Euclid; font-size: 13.63636302947998px; line-height: 21.006000518798828px; text-align: start;">This cover of Acéphale is a clear attack on Leonardo da Vinci's humanism which was marrying art and science.</i></td></tr>
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The name <i>Acéphale </i>is derived from the Greek <i>akephalos</i>, literally meaning "headless." It is a documented fact thios review was yet another French 'secret society' whose members had sworn to keep silent.<br />
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This review and Bataille's literary work had a great influence on a revival of Nietzsche's in France and postmodern intellectuals after the Second World War despite the appropriation of Nietzsche's work by the Nazis.<br />
<span style="font-size: 19.09090805053711px;"> </span><a href="http://2.bp.blogspot.com/-qVnBG8kHso0/Ut2ha9b0kRI/AAAAAAAAC5I/yKPvUkmHaPA/s1600/hitler-next-to-a-bust-of-nietzsche.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://2.bp.blogspot.com/-qVnBG8kHso0/Ut2ha9b0kRI/AAAAAAAAC5I/yKPvUkmHaPA/s1600/hitler-next-to-a-bust-of-nietzsche.jpg" height="304" width="400" /></a><br />
As an important Counterenlightenment and anti-French intellectual figure, Nietzsche became the </div>
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<span style="font-weight: normal;">quasi </span> offical philosopher of the Nazi regime.
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One shouldn't be then surprised by this quote from this leading Nazi leader Joseph Goebbels:<br />
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<span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">For one of fascism’s avowed goals was to put an end to the Enlightenment-derived nineteenth century worldview: the predominance of science, reason, democracy, socialism, individualism, and the like. As Goebbels pithily observed a few months after Hitler’s rise to power, “The year 1789 is hereby erased from history.” (3)</span></blockquote>
The era of Nazi rule saw Nietzsche's writings widely studied in German schools and universities and especially his <span style="font-weight: normal;">"Will to Power" d</span><span style="font-weight: normal;">espite Nietzsche's disgust with plebeian-volkist anti-Semitism and German nationalism! Phrases like "the will to power" became common in Nazi circles.</span>
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One will have to wait until the early 1960s when some Bataille's adepts returned. Such was the case of postmodern philosopher Gilles Deleuze whose most significant work was his 1962 highly influential study "Nietzsche and Philosophy", the first book in France to systematically defend and explicate Nietzsche’s work, still suspected of fascism. Other Postmodern intellectuals such as Michel Foucault, Pierre Klossowski, Jean-François Lyotard, among others, were involved in rehabiltating Nietzsche in their postwar writings in France. This "trend" is sometimes described as the "French construction of Nietzsche". Regarding "unreason", postmodern intellectual Michel Foucault denied, through madness, the existence of a conscious, knowing subject, thereby pulverizing concepts of power, oppression or ideology. For him, there is only relativism. Madness is the way of the world...
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<div>
Consequentially Nietzsche's influence on continental philosophy increased dramatically after the Second World War, especially amongst the French intellectual Left and postmodernists.<br />
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Ironically, in the 18th century French <i>philosophes</i> were amomgst the first in the world promoting Enlightenement ideals whereas these contemporary <i>philosophes</i> (aka "<i>intellectuels</i>") started to destroy these very same ideals!<br />
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<h3>
12. Contemporary Counter-Enlightenment: the "literary intellectuals" </h3>
<div>
<div>
<div>
<blockquote class="tr_bq">
Two polar groups: at one pole we have the literary intellectuals, who incidentally while no one was looking took to referring to themselves as 'intellectuals' as though there were no others. (6)</blockquote>
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<h3>
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Although C.P. Snow never explicitely refers to them, this new brand of "literary intellectuals" were then in the 1950s a social phenomenon associated to postmodern "philosophers".</div>
</h3>
<h3>
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<div style="font-weight: normal;">
<span style="font-size: small;">The Enlightenment, of course, always had its critics. </span><span style="font-size: small;">The Enlightenment has enemies on all points of the ideological compass, from the far left to the far right, and all points in between. </span><span style="font-size: small;">Beginning with the Restoration of 1815 and the new philosophical reaction to the French Revolution, however, they were almost exclusively</span>conservatives right wing like Edmund Burke, elitists like Joseph de Maistre, or racists intent on viewing world history as a battle between aryans and Jews like Houston Stewart Chamberlain.</div>
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</h3>
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Interestingly enough, however, a critique of the Enlightenment has now become part of the philosophical and polemical stock in trade of many on the left such as Marxist critiques Max Horkheimer and Theodor Adorno with their "Dialectic of Enlightenment" (1947), a marxist view trying to associate Enlightenment to... bourgeois and capitalism... hence to fascism. Indeed Marx considered the French revolution as "bourgeois". But on the left, most of the Counter-Enlightenment comes in guises such as "Postmodernism," i.e. as "Left Nietzcheans."</div>
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<div>
The term "postmodernism" comes from its critique of the "modernist" scientific mentality of objectivity and the progress associated with the<b> </b>Enlightenment (or "positivism"). Lyotard characterises postmodernity as a severe '<i>réexamen</i>' (re-examination) which is imposed on '<i>la pensée des Lumières' </i> (Enlightenment) (8). Postmodernism (Post-structuralism), particularly as an academic movement, can be understood as a reaction to "modernism" within the Humanities. It is a philosophical movement in reaction to the tendency to accept any "objective truth", much inspired by Nietzsche's philosophy of "perspectivism" (subjectivity, relativism, etc.). <span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">It claims that there is</span><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"> no such truth</span><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"> and that the way people understand the world is always </span><strong style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">subjective </strong><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">and </span><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">plural. </span>Everyting becomes subjective and relative... even "postmodernism"! <span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">(7)</span></div>
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<b>13. Postmodernism:</b></div>
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<b></b><br />
<ul><b>
<li><b>Anti-science</b></li>
<li><b>Anti-art</b></li>
<li><b>Anti-humanism</b></li>
</b></ul>
<b>
</b>
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13.1 Anti-science</h4>
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As part of the Humanities, Postmodernism grew out of literary criticism and the focus on the uncertainties of language. <span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; font-weight: normal; line-height: 21px;">Postmodern "</span><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">deconstructionism</span><strong style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; font-weight: normal; line-height: 21px;">" </strong><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; font-weight: normal; line-height: 21px;">and its turn to </span><strong style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; font-weight: normal; line-height: 21px;">rhetoric</strong><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; font-weight: normal; line-height: 21px;"> and </span><strong style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; font-weight: normal; line-height: 21px;">textualism</strong><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; font-weight: normal; line-height: 21px;"> is now being employed as a strategy to counter the political and intellectual dominance gained by the </span><strong style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; font-weight: normal; line-height: 21px;">sciences</strong><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; font-weight: normal; line-height: 21px;"> over the last few centuries." </span>As far as "language" is concerned (eg literature, advertising, propaganda, sociology, psychology, politics or education, etc) it is a useful analysis. But Postmodernists try to apply their semantic? method to Science, considering it is a mere "language". For postmodernists, science is just a "discourse", one system among many, maintained by a closed community as a means of holding onto power. Science is considered just as a tool invented by the current elite to maintain power.</div>
<h4>
13.2 Anti-art</h4>
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<div>
Postmodernist philosophy not only expresses hostilities against objective truth as known in science but has also inspired "anti-art" since Nietzsche has become a very fashionable philosopher among artists as early the times of Braque, Picasso and their mentor poet Guillaume Appollinaire (who coined the name "cubist"). Indeed Nietzsche’s views on art had significant influence on artists in the years following his death in 1900, a crucial period of development in the visual arts. Already, the anti-art movement Dada (<span style="background-color: white; color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">1916-22</span>) was also inspired by Nietzsche's dark nihilism. Even artist Picabia, buddy of Marcel Duchamp (whose anti-art "ready mades" are still inspiring today's art scene) claimed that he had met Nietzsche. (Picabia was also a fantaisist.) </div>
<div>
<strike><br /></strike>
Pierre Klossowski (1905 – 2001), an important member of the "Acephale" Nietzschean <span style="font-family: Euclid; font-size: 14px; line-height: 21.006000518798828px;">review. He </span>exerted a strong influence on French postmodernism, particularly in the late 1960s and early 1970s,<br />
<blockquote class="tr_bq">
“The criminal fight against culture is only the reverse side of a criminal culture” (9)<span style="font-family: Euclid; font-size: 14px; line-height: 21.006000518798828px;"> </span></blockquote>
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</h3>
<h4>
13.3 Anti-humanism</h4>
C. P. Snow wrote:<br />
<blockquote class="tr_bq">
"Yeats, Pound (10), Wyndham Lewis, nine out of ten of those who have dominated literary sensibility in our time-weren't they not only politically silly, but politically wicked? Didn't the influence of all they represent bring Auschwitz that much nearer?"</blockquote>
In the 20th century, this "humanist view" of Humanities was challenged by the "postmodernist movement," which sought to redefine them. Under the influence of "literary intellectuals" adept of Postmodernist philosophy; the Humantities became... "anti-humanist" with dangerous political consequences.
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<br />
Israeli historian, political scientist, one of the world's leading experts on Fascism Prof. Zeev Sternhell also wrote on the connection between the Counter-Enlightenment tradition and fascism:
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<div>
<blockquote>
It is often said that nationalism grew out of the French Revolution, but the opposite is true. The Revolution was possible because the nation was already a reality and the transference of sovereignty could take place in a natural way. But the writers of the <i>Encyclopédie </i>wanted the nation to be conceived as a collection of individuals: they did not wish history and culture to make man prisoner of any kind of determinism. This was the birth of rationalist modernity. </blockquote>
<blockquote>
Let us turn now to the answer provided by the anti – Enlightenment tradition. Since Edmund Burke in England and Johan Gottfried Herder in Germany at the end of the 18th century, to the 1920's and 1930's, society, which means the nation, was considered as a living organism, not a collection of individuals, it had a soul, and this soul was both a natural phenomenon and entirely individual. All cultures were organic and unique totalities, with unique and inimitable languages, values, traditions, institutions, customs. All values, therefore, were individual and historical: as such they were <b>relative values.</b>
It follows that people who are the product of the same historical and cultural heritage possess a mentality which is unique of its kind. They have a "character" – and this notion of a variety of national characters inevitably <strong>destroyed the idea of a universal human nature based on reason.</strong> (11)</blockquote>
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<div style="font-size: medium;">
In his <a href="http://www.amazon.com/The-Seduction-Unreason-Intellectual-Postmodernism/dp/0691125996" target="_blank">The Seduction of Unreason, the Intellectual Romance with Fascism: From Nietzsche to Postmodernism</a> (2006) Richard Wolin reached the same conclusion as Ternhell's. He has traced the modern descendants of the Counter-Enlightenment in nietzchean postmodernism’s deep suspicion of “universalism,” (e.g. Human Rights). Postmodernists endorse “identity politics” rather than universal rights.</div>
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<u>Note</u>: it shouldn't be surprising that the most recent anti-art offensive in Britain was led by thatcherite British advertising executive Charles Saatchi via his YBA (Young British Artists) operation.<br />
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<a href="http://1.bp.blogspot.com/-AoBQsynQfk4/UuFf4LpHMwI/AAAAAAAAC74/QFYz64F6pHM/s1600/Charles+Saatchi+waxwork+Observer+10-07-11.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-AoBQsynQfk4/UuFf4LpHMwI/AAAAAAAAC74/QFYz64F6pHM/s1600/Charles+Saatchi+waxwork+Observer+10-07-11.jpeg" height="320" width="241" /></a></div>
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<span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 13.63636302947998px; line-height: 21px;"><b>As Goya had warned us: the sleep of Reason produces monsters...</b></span></div>
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<h3>
14. Humanities or Humanism?</h3>
<div>
This reciprocal distrust of the "Two Cultures" can be traced way back in Western history. From Roman to Medieval times, the education comprised two groups called <i>Trivium </i>and <i>Quadrivium.</i> The first group <i>Trivium</i> focused essentiallly on "language studies "; grammar, rhetoric, dialectic and of logic. The second group <i>Quadrivium</i> focused essentiallly on "sciences"; arithmetic, geometry, astronomy, and music, i.e. the mathematico-physical disciplines, known as <i>physicae</i>. Together they constituted the "Seven Liberal Arts" of the medieval university curriculum.<br />
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<div>
This medieval divide between <i>Trivium</i> (Language) and <i>Quadrivium</i> (Sciences) is comparable to the divide between C.P. Snow's "Two Cultures" today.<br />
<br /></div>
But in the 15th century Renaissance, the Italian humanists renamed the old <i>Trivium</i> with a more ambitious curriculum and name: <i>Studia humanitatis,</i> which gave us the term "Humanities". They excluded logic and added not only history, Greek, and moral philosophy (ethics), but made poetry, once a sequel of grammar and rhetoric, the most important member of the whole group. The educational curriculum of humanism spread throughout Europe during the sixteenth century and became the educational foundation for the schooling of European elitespaving the way for the Enlightenment.<br />
<br />
Scholars working in the humanities are sometimes described as "humanists" but some refuse this "label" as they consider themselves as "antihumanists". What happened?.<br />
<br />
The Postmodernist's criticism of Science is an attempt to "de-construct" it from a literary (linguistic) point-of-view, that of <i>Trivium </i>over the <i>Quadrivium</i>.<br />
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<h3>
15. Two Cultures?... Two diverging histories: Relativity or relativism?</h3>
</div>
<div>
Our story starts at the turn of the previous century in a very quiet place in Switzerland witnessing two separate events that will deeply affect both the artistic and the scientific worlds, and our society...<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-3eyWl-HcREY/UuFlT1SQgEI/AAAAAAAAC8I/g6rkYAPB_sA/s1600/zurich-skyline-tower-clock.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-3eyWl-HcREY/UuFlT1SQgEI/AAAAAAAAC8I/g6rkYAPB_sA/s1600/zurich-skyline-tower-clock.jpg" height="246" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zürich</td></tr>
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<a href="http://2.bp.blogspot.com/-0OhiyNGnvQU/UuBZrzx7GjI/AAAAAAAAC6c/IPnrI7TzR70/s1600/einstein-smile-small.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-0OhiyNGnvQU/UuBZrzx7GjI/AAAAAAAAC6c/IPnrI7TzR70/s1600/einstein-smile-small.jpg" height="320" width="231" /></a></div>
On one hand, we have this then young and (yet) unknown German scientist Albert Einstein who worked from 1902 through 1909 in the patent office in where he was appointed technical expert. Einstein's 1905 was his<br />
<i>Annus Mirabilis</i> ("miracle year" in English or <i>Wunderjahr </i>in German). While still in this office he completed four articles contributing substantially to the foundation of modern physics and changed views on space, time, mass, and energy.<br />
<br />
Einstein’s 1905 paper on "Brownian motion" was an essential contribution to the foundation of modern "atomism" by demonstrating the existence of atoms (a theory defended by <b>Democritus</b> nearly 2,500 years earlier). No wonder Democritus was laughing! One of Einstein's papers announced his special theory of relativity, superseding the traditionally held Newtonian views of space and time. In 1909, having resigned his lectureship and his job in the patent office, he became professor of physics at the University of Zürich, Switzerland before leaving Switzerland in 1914 to move to Germany and then to the USA.</div>
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<a href="http://4.bp.blogspot.com/-SgNnWsz3nzA/UuBarbonkvI/AAAAAAAAC6o/AMy97g9igrI/s1600/dada.lhooq.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-SgNnWsz3nzA/UuBarbonkvI/AAAAAAAAC6o/AMy97g9igrI/s1600/dada.lhooq.jpg" height="320" width="202" /></a></div>
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On the other hand, two years after Einstein's departure from Switzerland , the nihilist Dada anti-art movement started in the same city <b>Zürich </b>in a place called the <i>Café Voltaire</i>. The Dadaists sometimes used "found objects" as Duchamp will use with some success a few years later in the USA. This "anti-art" drive was an expression of the so-called "lost generation" during this tragedy called the "Great War" (World War One). This attitude towards society (and art or science) was essentially nihilistic. (<b>Heraclitus</b>) Dada defended a form of relativism: "everything is art" (a concept still very popular in today's art schools).<br />
<br />
Hostility towards Enlightenment reason is a theme which again links many of the Dadaists, both those who opt for non-rational alternative paradigms, as well as those who reject all structures. Dadaists also said "Dada is never right!" Here again the "Liar paradox" revisited: "There is no truth". Not only is opposition to reason one of the major defining features of the work of many Dadaists, but it is also an important factor linking them with the poststructuralists.<br />
<br /></div>
<u>Anecdote</u>: At the same time (<strong>1916</strong>) Vladimir <b>Lenin </b>wrote his revolutionary plans for Russia in a nearby apartment near the Cabaret Voltaire where the Zurich <strong>Dadaists</strong> made noise. Tom Stoppard used this coincidence as a premise for his play <i>Travesties </i>(1974), which includes Tzara, Lenin, and James Joyce as characters.
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So we have two stories, two roads heading to different directions yet "revolutionizing" both science and art...The "heraclitean / nietzschean" anti-art (and anti-science) Dada movement. In contrast, a "democritean" Albert Einstein who revolutionized science not by rejecting it but by superseding Newton.<br />
<br />
These two stories started in Switzerland. They drifted apart ever since.<br />
<br />
They are C.P. Snow's Two Cultures." the same time (1916) Vladimir Lenin wrote his revolutionary plans for Russia in a nearby apartment near the Cabaret Voltaire where the Zurich Dadaists made noise. Tom Stoppard used this coincidence as a premise for his play Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters. </div>
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<h3>
16. To laugh or to cry? Is this a Comedy or a Tragedy?</h3>
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<span style="background-color: white; color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"><span style="background-color: transparent;"><span style="color: black; font-family: 'Times New Roman'; font-size: small; line-height: normal;">See </span></span></span><a href="http://ymesser.blogspot.co.uk/2009/11/to-laugh-or-to-cry-that-is-question.html" target="_blank">To laugh or to cry? That is my question... </a>from my blog.
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<tr><td><a href="http://4.bp.blogspot.com/-B8ox0bmXc_c/UtmgF9KaMMI/AAAAAAAAC18/SmV4sHziyVs/s1600/donato-bramante-heraclitus-and-democritus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-B8ox0bmXc_c/UtmgF9KaMMI/AAAAAAAAC18/SmV4sHziyVs/s1600/donato-bramante-heraclitus-and-democritus.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;"><span style="font-size: x-small;"> Pessimistic Heraclitus and optimistic Democritus by Donato Bramante (</span><span style="background-color: #f0f6ff; font-family: Arial, Helvetica, sans-serif; font-size: 11px; line-height: 13.199999809265137px; text-align: left;">1477</span><span style="font-size: x-small;">)</span></td></tr>
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On the left: Heraclitus of Ephesus, who was known as the ‘Dark’ or ‘Obscure’ and was reputed to be melancholic or the "weeping philosopher". Heraclitus is famous for his insistence on ever-present change in the universe, as stated in his famous saying, "You cannot step twice into the same stream" or "everything flows". To contrast with his melancholy is often flanked next to Democritus (Greek: "chosen of the people") , a pre-socratic Greek philosopher, also known as the "laughing philosopher" because he found amusement in the folly of mankind. He is renowned for formulating what is considered to be the first atomic theory. Some people consider him to be the father of modern science. The two philosophers are widely represented in European painting of the Renaissance and Baroque period. Humanist Bramante painted himself as Democritus. He was also portrayed by Raphael in his "The School of Athens" fresco as Euclid.<br />
<br />
C.P. Snow wrote:<br />
<blockquote>
The non-scientists have a rooted impression that the scientists are shallowly <b>optimistic</b>, unaware of man's condition. On the other hand, the scientists believe that the literary intellectuals are totally lacking in foresight, peculiarly unconcerned with their brother men, in a deep sense anti-intellectual, anxious to restrict both art and thought to the existential moment. As a group, the scientists fall into that trap less than others. They are inclined to be impatient to see if something can be done: and inclined to think that it can be done, until it's proved otherwise. That is their real optimism, and it's an optimism that the rest of us badly need. (6)</blockquote>
This optimism, this belief in Progress is an echo of Enlightenment's and Renaissance's optimisms, still alive in the scientific community today.<br />
<br />
In contrast, as we will see, Heraclitus' pessimism was conveyed in the arts world, and the Humanities in general via Nietzsche's and Postmodernist philosophy.<br />
<h4>
16.1 Pessimism (Nihilism) in Contemporary Arts</h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MSLd7AuCKG8/UuFuE8EdKMI/AAAAAAAAC8Y/pf_AwUUDh-k/s1600/1-damien-hirst.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-MSLd7AuCKG8/UuFuE8EdKMI/AAAAAAAAC8Y/pf_AwUUDh-k/s1600/1-damien-hirst.jpg" height="320" width="223" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.727272033691406px; text-align: center;"><span style="text-align: start;"><span style="font-size: x-small;">Saatchi's creature; conceptual YBA artist<br />Damien Hirst has banked on his "death theme."</span></span></td></tr>
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Heraclitus believed everything was formed of fire, one of the four "elements" (Earth, Water, Air, and Fire ) ancient Greeks believed formed all matter. As it might be expected, Heraclitus believed in war. He said: "We must realize that war is universal, and strife is justice, and that all things come into being and pass away through strife." Now, if this sounds like Nietzsche, it doesn't come as a surprise, in fact Nietzsche had been a great admirer of Heraclitean philosophy!<br />
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Nihilism is often and rightly associated with Nietzsche, who provided a detailed diagnosis of nihilism as a widespread phenomenon of Western culture. Nietzsche characterized nihilism as emptying the world and especially human existence of any meaning, purpose, comprehensible truth. This observation stems in part from his "perspectivism," (i.e. "everything is relative, subjective"). There are no "objective facts or truths".<br />
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<blockquote class="tr_bq">
"What has happened, at bottom? The feeling of valuelessness was reached with the realization that the overall character of existence may not be interpreted by means of the concept of “aim,” the concept of “unity,” or the concept of “truth.” Existence has no goal or end; any comprehensive unity in the plurality of events is lacking: the character of existence is not “true,” is false. One simply lacks any reason for convincing oneself that there is a true world. Briefly: the categories “aim,” “unity,” “being” which we used to project some value into the world—we pull out again; so the world looks valueless. " (12)</blockquote>
In his <i>Ecce Homo</i>, Nietzsche defends Heraclitus:<br />
<blockquote class="tr_bq">
I still had some doubt about Heraclitus, in whose presence I feel warmer and happier in general than anywhere else. The affirmation of flux and destruction, the decisive element in a Dionysian philosophy, the yea-saying to contradiction and strife, the notion of Becoming, along with the radical rejection ofeven the concept, “Being” — therein I am forced to recognize in any event that which is closest to me of all that has previously been thought. The doctrine of the “Eternal Recurrence,” that is, of theunconditional and endlessly repeating circulation of all things — thisdoctrine of Zarathustra’s could possibly in the end also have been taught by Heraclitus. At least the Stoics (13), who derived all their fundamental ideas from Heraclitus, possessed traces of it. (14)</blockquote>
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Likewise Postmodernism is "nihilist" as it emphasises that there is no objective ruth. Only subjective (personal) truths. But if this statement is true, then, Postmodernism (or nihilism) is ultimately self-defeating because it cannot be true that there is no truth. Thus, Postmodernism (or nihilism) is neither true nor false. This pertains to the "liar paradox." ;)<br />
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Yes, like Heraclitus, nihilists or postmodernists are weeping. Their "perspective" is very bleak, very depressing and sad. Pessimism. :(<br />
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<h3>
17. Eidetic Art as a Solution?</h3>
<i>Eidos </i>(εἶδος) is a Greek term meaning "form," "shape", "essence," "type," or "species".<br />
It was the basis for Plato's theory of Forms ("ideas") and Aristotle's theory of universals. Ultimately it comes from the Indo-European root *weid- meaning “to see”. This is the reason why we can ask: "Do you see what I mean ?"<br />
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Eidetic art is therefore not a new style, it is a new point of view using artistic metaphors which contain many apparently contradicting views. It is a complex "idea" (<i>Eidos).</i> In practice, it is creative by combining reason and imagination as Goya suggested. This art aspires to inspire and doing so hopefully bridging the gap between C.P. Snow's "Two Cultures."<br />
<blockquote class="tr_bq">
“Imagination abandoned by reason produces impossible monsters; united with her, she is the mother of the arts and source of their wonders.” (Goya)</blockquote>
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I will write more on this.<br />
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<a href="http://1.bp.blogspot.com/--yWu0yNCPeg/UanxRMDFlQI/AAAAAAAACSE/JZFd9WIXoko/s1600/badcock-405x355.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://1.bp.blogspot.com/--yWu0yNCPeg/UanxRMDFlQI/AAAAAAAACSE/JZFd9WIXoko/s320/badcock-405x355.jpg" height="280" width="320" /></a><br />
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</u><br />
<u>Notes and references</u>:<br />
<br />
1.The Luddites were a social movement of British textile artisans in the nineteenth century who protested – often by destroying mechanised looms – against the changes produced by the Industrial Revolution, which they felt were leaving them without work and changing their way of life. It took its name from Ned Ludd. <a href="http://en.wikipedia.org/wiki/Luddite" target="_blank">Source Wikipedia</a>.<br />
2. This was one of the reasons I home-educated my daughter.<br />
3. <a href="http://www.amazon.com/The-Seduction-Unreason-Intellectual-Postmodernism/dp/0691125996" target="_blank">The Seduction of Unreason, the Intellectual Romance with Fascism: From Nietzsche to Postmodernism by Richard Wolin</a> (2006)<br />
4. On "Republicanism," read <a href="http://en.wikipedia.org/wiki/Republicanism" target="_blank">Stanford Encyclopedia of Philosophy.</a><br />
5. This famous quote was shouted by Napoleon character in Orwell's "Animal Farm" .<br />
6. “The Two Cultures and the Scientific Revolution” (1959) by Charles Percy Snow<br />
7. This is the fundamental intellectual fallacy of postmodernism. Question: Is saying "There is no objective truth" an objective truth ? This pertains to the "liar paradox." ;)<br />
8. "Le postmodernisme expliqué aux enfants : Correspondance, 1982–1985".<br />
9. "Nietzsche and the Vicious Circle" by Pierre Klossowski (1969).<br />
10. On Ezra Pound, read the excellent research by Dr. Matthew Feldman "Ezra Pound's Fascist Propaganda, 1935-45" (2013)<br />
<span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 13.63636302947998px; line-height: 21px;">11. <a data-mce-href="http://eyeinside.files.wordpress.com/2012/01/pdtfile_673.pdf" href="http://eyeinside.files.wordpress.com/2012/01/pdtfile_673.pdf" target="_blank">Anti-Enlightenment to Fascism and Nazism: Reflections on the Road to Genocide</a> by </span><br />
Prof. Zeev Sternhell<br />
12. Friedrich Nietzsche, The Will to Power<br />
13 On the "Stoics" read my <a href="http://ymesser.blogspot.co.uk/2013/10/are-you-indifferent-to-indifference.html" target="_blank">ARE YOU INDIFFERENT TO “INDIFFERENCE”?</a><br />
14. Ecce Homo, pp. 3-4, F. Nietzsche, 1888.<br />
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<u>More to read:</u><br />
<div>
<ul>
<li><a href="http://www.erudiontnu.org/wordpress/wp-content/uploads/2010/05/1578601.pdf">The Two Cultures</a> (PDF) By C. P. Snow (Source: Leonardo, Vol. 23, No. 2/3)</li>
<li><a href="http://en.wikipedia.org/wiki/The_Two_Cultures">The Two Cultures</a> (From Wikipedia, the free encyclopedia)</li>
<li><a href="https://www.facebook.com/groups/323237787334/" target="_blank">C.P. SNOW'S "THE TWO CULTURES" DEBATE</a> (my Facebook page)</li>
<li><a href="http://www.npr.org/blogs/13.7/2010/10/04/130324199/science-and-poetry">Science And Poetry</a> by STUART KAUFFMAN</li>
<ul>
<li>Comments: <a href="http://www.npr.org/blogs/13.7/2010/10/07/130398354/the-ur-denizens-of-shakespeare-and-the-second-law">Of Shakespeare And The Second Law</a> by URSULA GOODENOUGH</li>
</ul>
<li><a href="http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2010/feb/03/jonathan-jones-art-science-missing-link">Art v science – at last, the missing link</a> by <a href="http://www.guardian.co.uk/profile/jonathanjones">Jonathan Jones</a></li>
<li><a href="http://www.guardian.co.uk/profile/jonathanjones"></a><a href="http://www.alanbeangallery.com/essay1.html">Alan Bean - Artist and Moonwalker</a> by Ulrich Lotzmann</li>
<li><a href="http://www.root2art.co.uk/">Contemporary Art And Digital Design</a> By Harvey Rayner</li>
<li><a href="http://www.zimbio.com/member/galleryworld/articles/5nuQ9iFdXYy/Sketches+Paintings+Richard+Feynman">Sketches and Paintings by Richard Feynman</a></li>
<li><a href="http://www.youtube.com/watch?v=e1p8Vh6_y1c&feature=player_embedded">Richard Feynman as an artist</a> (video)</li>
<li><a href="http://www.holarium.de/">Holarium 3D Museum Esens</a> (in German)</li>
<li><a href="http://astroart.cfa.harvard.edu/">Aesthetics & Astronomy</a> (Harvard-Smithsonian Center for Astrophysics)</li>
<li><a href="http://www.math.uconn.edu/~glaz/My_Articles/PoetryInspiredByMathematics.Bridges10.pdf">Poetry Inspired by Mathematics</a> (PDF) By <a href="http://www.math.uconn.edu/~glaz/">Sarah Glaz</a> (Department of Mathematics - University of Connecticut, USA)</li>
<li><a href="http://www.timesunion.com/news/article/Three-Theories-describes-a-beautiful-universe-578772.php">'Three Theories' describes a beautiful universe in dance</a> By Tresca Weinstein Special To The Times Union (July 16, 2010)</li>
<li><a href="http://greatmap.blogspot.com/">Great Map</a></li>
<li>"Art" at <a href="http://plus.maths.org/content/search/node/art">plus.maths.org</a></li>
<li><a href="http://bridgesmathart.org/">The Bridges Organization: art and mathematics</a></li>
<li><a href="http://www.bugman123.com/index.html">Paul Nylanders</a>' <a href="http://www.bugman123.com/Math/index.html">Math Artwork</a> </li>
<li><a href="http://www.constructingtheuniverse.com/">Constructing The Universe</a> By Michael S. Schneider</li>
<li><a href="http://www.princeton.edu/artofscience/gallery2010/">Art of Science</a> (Princeton University) The Art of Science exhibition explores the interplay between science and art. </li>
<li><a href="http://www.seefurtherfestival.org/home">See Further: The Festival of Science + Arts</a> (<a href="http://www.southbankcentre.co.uk/">Southbank </a>Centre and the <a href="http://royalsociety.org/">Royal Society</a>)</li>
<li><a href="http://www.math.nus.edu.sg/aslaksen/teaching/math-art-arch.shtml">Mathematics in Art and Architecture</a> (National University of Singapore)</li>
<li><a href="http://www.nytimes.com/2010/05/31/arts/31science.html?_r=1">The Cosmos and the Culture Converge at a Science Festival</a> By DENNIS OVERBYE (New York Times - May 30, 2010)</li>
<li><a href="http://sharp.bu.edu/~slehar/webstuff/hr1/hr2.html">Harmonic Resonance Theory: An Alternative to the "Neuron Doctrine" Paradigm of Neurocomputation to Address Gestalt Properties of Perception</a> By Steven Lehar</li>
<li><a href="http://www.pbs.org/wnet/musicinstinct/about/">The Music Instinct: Science and Song</a> </li>
<li><a href="http://www.flickr.com/photos/aroberts/3687634/in/pool-45622717@N00/">"Quantum Cloud"</a> Millenium Man - by Antony Gormly</li>
<li><a href="http://queen%27s%20guitarist%20publishes%20astrophysics%20thesis/">Queen's Guitarist Publishes Astrophysics Thesis</a> (01 August 2008)</li>
<li>"Art" at <a href="http://eskesthai.blogspot.com/search/label/Art">Dialogos of Eide</a>.</li>
<li><a href="http://www.podcastdirectory.com/podshows/993144">Astronomy and poetry</a> - Public Lecture Podcast By Jocelyn Bell Burnell - 18/10/06 (University of Bath)</li>
<li><a href="http://entertainment.caledonianmercury.com/2010/04/03/art-and-science-in-harmony-at-edinburghs-spring-time-festival/00409">Art and science in harmony at Edinburgh’s spring-time festival</a> (April 3, 2010) </li>
<li><a href="http://www.etereaestudios.com/docs_html/nbyn_htm/intro.htm">Nature by Numbers </a> a <a href="http://www.youtube.com/watch?v=kkGeOWYOFoA&feature=player_embedded">Movie </a> by Artist Cristóbal Vila.</li>
<li><a href="http://www.youtube.com/watch?v=jeCnWWH5AvM&feature=PlayList&p=58D59B47B93E668C&index=0&playnext=1">The Secret Life of Chaos</a>, a documentary by Professor Al-Khalili on Chaos and Order.</li>
<li><a href="http://www.cs.sjsu.edu/faculty/rucker/">Rudy Rucker</a>, an American mathematician, computer scientist and science fiction author.</li>
<li><a href="http://bathsheba.com/">Bathsheba Grossman</a>, a sculptor with scientific inspiration who uses 3D printing.</li>
<li><a href="http://holyholo.com/index.htm">Golden Mean Caliper</a> By Artist Javier Holodvsky.</li>
<li><u><a href="http://www.youtube.com/watch?v=y1IfE4t5AuA">Jacob Bronowski on Science and Ar</a>t</u> (Video)</li>
<ul>
<li><a href="http://www.public.iastate.edu/~bccorey/105%20Folder/The%20Nature%20of%20Sci.pdf">The Nature of Scientific Reasoning</a> - Jacob Bronowski </li>
</ul>
<li><a href="http://mathdl.maa.org/images/upload_library/4/vol6/Growney/MathPoetry.html">Mathematics in Poetry</a> By JoAnne Growney (Journal of Online Mathematics and its Applications).</li>
<li><a href="http://www.techtower.de/subcontent/sky_nanoart_6.php?zu=3&von=3#ziel">Art in science</a> "Nano Grand Canyon" from Monika Johanna Lelone; Nano & Art (in German)</li>
<li><a href="http://im-possible.info/english/art/index.html">Impossible world</a> (Art)</li>
<li><a href="https://docs.google.com/viewer?url=https%3A%2F%2Fsites.google.com%2Fsite%2Fthetwoculturesdebate%2Fgupea_2077_20529_1.pdf%3Fattredirects%3D0%26d%3D1">An Attempt to Combine Mathematics and Visual Arts</a> (pdf) By UTKU ILKTÜRK (IT University of Göteborg)</li>
<li><a href="http://www.asu.edu/pipercwcenter/how2journal/vol_3_no_2/ecopoetics/watts.html">"Zeta Landscape"</a>, a poem By <a href="http://www.ucl.ac.uk/slade/slade09/research/wordImage/watts.php">Carol Watts</a></li>
<li><a href="http://www.erudiontnu.org/wordpress/wp-content/uploads/2010/05/1578601.pdf">The Two Cultures</a> (PDF) By C. P. Snow (Source: Leonardo, Vol. 23, No. 2/3)</li>
<li><a href="http://www.dna.caltech.edu/courses/cs191/paperscs191/turing.pdf">The chemical basis of morphogenesis</a> (PDF) By A. M. Turing (1951)</li>
<li><a href="https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnx0aGV0d29jdWx0dXJlc2RlYmF0ZXxneDoxYzE2ODQwNTBiNjI3MmJi">“The Seduction of Unreason: The Intellectual Romance with Fascism from Nietzsche to Postmodernism” </a>(PDF) By Richard Wolin (Princeton University Press, Princeton and Oxford, 2004 ) - Introduction.</li>
<li><div class="MsoNormal">
<a href="http://www.forumonpublicpolicy.com/archive07/timmons.pdf">Older Than Snow: The Two Cultures And The Yale Report Of 1828</a> (PDF) By <span class="Apple-style-span" style="font-size: 16px;">William Todd Timmons.</span></div>
</li>
<li><a href="http://eyeinside.files.wordpress.com/2011/08/the-two-cultures-of-mathematics.pdf">The Two Cultures of Mathematics</a> (PDF)</li>
<li><a href="http://eyeinside.files.wordpress.com/2011/08/twocultures.pdf" target="_blank">The Two Cultures by C. P. Snow</a> (PDF)</li>
<li><a href="http://thetwoculturesdebate.blogspot.com/" target="_blank">http://thetwoculturesdebate.blogspot.com/</a></li>
<li><a href="http://www.edge.org/3rd_culture/" target="_blank">The third culture</a></li>
<li><a href="http://eyeinside.files.wordpress.com/2011/08/poetryinspiredbymathematics-bridges10.pdf">Poetry Inspired by Mathematics</a> (PDF)</li>
<li><a href="http://www.physorg.com/news/2011-06-jackson-pollock-artist-physicist.html" target="_blank">Jackson Pollock, artist and physicist?</a> or <a href="http://news.harvard.edu/gazette/story/2011/06/pollock-artist-and-physicist/" target="_blank">Pollock: Artist and physicist?</a></li>
<li><a href="http://eyeinside.files.wordpress.com/2011/08/the-two-cultures-controversy.pdf">The Two Cultures Controversy (PDF)</a></li>
<li><a href="http://eyeinside.files.wordpress.com/2011/08/timmons.pdf">Older Than Snow: The Two Cultures And The Yale Report Of 1828</a></li>
<li><a href="http://eyeinside.files.wordpress.com/2011/08/asher-revis.pdf">Bridging “The Two Cultures” through Aesthetic Education: Considering Visual Art, Science, and Imagination</a></li>
<li><a href="http://www.guardian.co.uk/uk/2002/mar/13/arts.health" target="_blank">Brain scans show art and science in true colours</a></li>
<li><strong>The Two Cultures </strong>C. P. Snow, in <em>Leonardo (currently published by The MIT Press)</em>, Vol. 23, No. 2/3, New Foundations: the 1990s. (1990), pp. 169-173. <a href="http://links.jstor.org/sici?sici=0024-094X%281990%2923%" target="_blank">Stable URL </a> <a href="http://www.historyguide.org/intellect/intellect.html#tablehttp://www.historyguide.org/index.html" target="_blank">History</a></li>
<li><a href="http://www.amazon.co.uk/Ideology-Tyranny-Postmodern-Corruption-Political/dp/1403982775" target="_blank">The Ideology of Tyranny: Bataille, Foucault, and the Postmodern Corruption of Political Dissent</a> (2007): In this profound analysis of the postmodern movement G.G. Preparata unveils the hidden reasons why this (in the words of the great French economist Jean Fourastié) conceptual delirium had such a success in the US. It fragmented dissent, enhanced corporate power and prevented the formation of a united political force between the middle and the working class against the ruling elite. Its main `theorizer', Michel Foucault, had a liberal aura, because he sided with the madmen and the poor who suffered abuse in asylums, hospitals and prisons. <a data-mce-href="http://eyeinside.files.wordpress.com/2011/08/unreason-grieve-carlson.pdf" href="http://eyeinside.files.wordpress.com/2011/08/unreason-grieve-carlson.pdf" style="font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;" target="_blank">Review by Grieve-Carlson</a></li>
<li><a data-mce-href="http://eyeinside.files.wordpress.com/2011/08/fascismprecursortopostmodernism.pdf" href="http://eyeinside.files.wordpress.com/2011/08/fascismprecursortopostmodernism.pdf" style="font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;" target="_blank">Fascism: A Precursor to Postmodernism</a><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"> by Bill Crouse, President of Christian Information Ministrie</span></li>
<li><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">"</span><strong style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">The Revenge of the Humanities: Reality, Rhetoric, and the Politics of Postmodernism</strong><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">" by Steven Ward in Sociological Perspectives - Vol. 38, No. 2 (Summer, 1995), pp. 109-128. </span></li>
<li><a href="http://www.independent.co.uk/life-style/gadgets-and-tech/news/google-chief-lambasts-the-uk-for-its-technophobic-luvvie-culture-2344672.html" target="_blank">Google chief lambasts the UK for its technophobic 'luvvie' culture</a></li>
</ul>
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<span class="Apple-style-span" style="font-family: inherit; font-size: 15px; line-height: 22px;"><span style="font-style: inherit;">The Arts Catalyst commissions contemporary art that experimentally and critically engages with science.</span><strong style="font-style: inherit;"> </strong></span><br />
<br />
<a href="http://www.symphonyofscience.com/"><span class="Apple-style-span" style="font-size: large;">Symphony of Science</span></a><br />
<div>
<span class="Apple-style-span" style="font-family: inherit;"> is a musical project headed by John Boswell, designed to deliver scientific knowledge and philosophy in musical form. </span><br />
<span class="Apple-style-span" style="font-family: inherit;"><br /></span><span class="Apple-style-span" style="font-family: inherit;"><a href="http://www.perimeterinstitute.ca/en/Events/Event_Horizons/Art_Talks/"><img border="0" src="http://1.bp.blogspot.com/_WUP8y7MDEnE/TQu9Lniw2aI/AAAAAAAAAPc/TgyGEQ8puPQ/s320/PI_Logo2.gif" height="60" width="320" /></a></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Art meets science (in German)</span></div>
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+++++++++++++++++THE END<br />
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<h3>
<a href="http://eyeinside.wordpress.com/2012/12/30/fourth-blind-neo-conceptual-art/" target="_blank">MORE HERE (4. Post-Modernism : relativism (perspectivism))</a></h3>
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<ul>
<li><em>On the Shoulders of Giants</em> is a collection of works by the major scientists <a href="http://en.wikipedia.org/wiki/Nicolaus_Copernicus" title="Nicolaus Copernicus">Nicolaus Copernicus</a>, <a href="http://en.wikipedia.org/wiki/Galileo_Galilei" title="Galileo Galilei">Galileo Galilei</a>, <a href="http://en.wikipedia.org/wiki/Johannes_Kepler" title="Johannes Kepler">Johannes Kepler</a>, <a href="http://en.wikipedia.org/wiki/Isaac_Newton" title="Isaac Newton">Isaac Newton</a> and <a href="http://en.wikipedia.org/wiki/Albert_Einstein" title="Albert Einstein">Albert Einstein</a>, all compiled by Stephen Hawking. In his introduction, Hawking addressesNewton's famous version of the quotation above.</li>
</ul>
<strong>Georges Bataille (<strike>Foucault's main inspirational source</strike>)</strong> G. Bataille assailed the modern conviction that people function for the most part as rational beings, while in fact the whole realm of our existence is <strong>violence</strong>. He wanted to restore the `Dionysian frenzy' even in its extreme form (like Aztec sacred sacrifices) by breaking the power of the `authoritarian nightmare', the modern State with its thrift and capitalistic accumulation. His means were intellectual destabilization, eroticism and its subversive nature, the squandering of the economic surplus (potlatch) and attacks on all traditional taboos (sex, murder, excretion, holocausts, intoxication). But seeing that his `Dionysian dream' had no chance in a Liberal State, he championed separatism (individualism) and tried to undermine `the compassionate tradition'.<br />
<strong><br /></strong><strong>Michel Foucault</strong> <strong>Bataille's Dionysian violence became Foucault's `madness'.</strong> His madmen were not those human beings who we now consider as ill, but homosexuals, blasphemers, libertines, alchemists or venereal patients. Their madness of desire, their most unreasonable passions were, for him, wisdom and reason for they were of the order of nature. The true sin was the attempt by religion, morality and State intervention to neutralize that `dark rage in man's heart.' <strike>Through madness, Foucault denied the existence of a conscious, knowing subject, thereby pulverizing concepts of oligarchy, power, oppression or ideology. There is only <strong>relativism</strong>. For him, we should cease to ask: who has power? What is the aim of the powerful? It doesn't matter who exercizes power. Madness is the way of the world.</strike><br />
<strong><br /></strong><strong>Jacques Derrida</strong> antihumanist discourse by way of <strong>Jacques Derrida</strong>, who recycled Bataille’s polemic in the eighties. <a href="http://www.ideologiesofwar.com/docs/PREPARATA_UNFORGIVING.pdf" target="_blank">from</a> <strong>Lyotard, Hardt and Negri, Baudrillard</strong> For J. F. Lyotard, science is only a sort of <strong>discourse</strong>. Power is given and there is no pure alternative to the present system. The delirium went to a new nadir with `Hardt and Negri' pretending that `<a href="http://eyeinside.wordpress.com/2011/09/03/art-as-a-con/" title="From Monet to Money: the “French connection”"><strong>marketing</strong> has perhaps the clearest relation to postmodern theories</a>.'<br />
But, the ultimate scandal was <strong>J. Baudrillard's thesis that `the Gulf War didn't happen'. </strong> <strong>Kojève, Strauss, Jünger (other inspirational sources)</strong> Alexander Kojève gave a new interpretation of Hegel by stressing that the game of life was man's desire for recognition and prestige (cfr. F. Fukuyama). Leo Strauss supported the right of the strongest and proclaimed the necessity of tyranny. Ernst Jünger saw in the the rabble and its violence the purest form of Carl Schmitt's `Partisans'. G. G. Preparata shows us clearly and perfectly how postmodernist narcotic <strong>verbiage</strong> is a devilish <strong>doublespeak</strong>. It masks the real power structures (social control, wealth distribution, empire policy). It embraces violence and the cult of war, oligarchic and tyrannical domination and the necessary clash of civilizations.<br />
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<strong>Postmodernism against the <strong>Enlightenment</strong>:</strong><br />
<strike>During the period of the Eighteenth century known as the Enlightenment (Newton, Kant!), many intellectuals began to conceive of the world in a new manner. Spurred by the rise of science, philosophers came to see nature as an entity which man could actively control through technology and <strong>reason</strong>. Additionally, this confidence coincided with a rise in the stature of the self as an autonomous being, free to shape his or her personal world. Thus the possibility for emancipation from institutions like government, religion and commerce, which had suppressed the public for centuries, lay within the free and rational individual. Since the Enlightenment, reliance upon reason has "held that modern science and technology contributed to the larger... project of greater economic and political freedom in a democratic polity. Lyotard, describes modern culture's "incredulity toward metanarratives" as a definition of society's inability to form a coherent understanding of its current conditions. Instead, he champions the ability of smaller narratives, such as those belonging to marginalized groups, to undermine Western hegemony. Enlightenment : Freedom (French/amricn revol.), Reason, Justice (Human Rights)</strike><br />
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As the concept matters more than the way it is represented (ie the artist’ “intention“), traditional art objects such as paintings and sculptures are commonly rejected as mere commodities. It rejects the idea that art could be “useful”, ie has any place in our society. It is an “anti-art” art movement.<br />
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<strike>Nihilism is often associated with the German philosopher Friedrich <b>Nietzsche</b>, who provided a detailed diagnosis of nihilism as a widespread phenomenon of Western culture.</strike><br />
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NO REALITY<br />
<strike>Nietzsche characterized nihilism as emptying the world and especially human existence of meaning, purpose, comprehensible truth, or essential value. This observation stems in part from Nietzsche's <i>perspectivism</i>, or his notion that "knowledge" is always by someone of some thing: it is always bound by perspective, and it is never mere fact.</strike> <a href="http://en.wikipedia.org/wiki/Nihilism#Nietzsche" target="_blank">FROM</a><br />
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Therefore no truth...<br />
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<i>But as soon as man finds out how that world is fabricated solely from psychological needs, and how he has absolutely no right to it, the last form of nihilism comes into being: it includes disbelief in any metaphysical world and forbids itself any belief in a true world. Having reached this standpoint, one grants the reality of becoming as the only reality, forbids oneself every kind of clandestine access to afterworlds and false divinities—but cannot endure this world though one does not want to deny it.</i><br />
—Friedrich Nietzsche, The Will to Power<br />
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(sciences) >< new iconoclasm (con art, postmodernism): NIHILIST DESTRUCTION (Nietzsche) IN ARTS/ HUMANITIES<br />
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<a href="http://eyeinside.files.wordpress.com/2011/08/unreason-grieve-carlson.pdf" target="_blank">Review by Grieve-Carlson</a> <a href="http://eyeinside.files.wordpress.com/2011/08/fascismprecursortopostmodernism.pdf" target="_blank">Fascism: A Precursor to Postmodernism</a> by Bill Crouse, President of Christian Information Ministrie <strong>Title < Hamlet (Copernicus and Shakespeare!) ;)</strong><br />
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<strong>TODAY: ANTISCIENCE/REASON IN ENVIRONMENTALISM USING SCARE (superstitious) TACTICS. </strong><br />
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<strong>A BRIEF HISTORY OF ART</strong><br />
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The postmodern Nietzsche rejects the notion of truth. He is primarily concerned with aesthetics and issues of style, and is ethically and politically a tolerant relativist<br />
According to <strong>Wolin</strong>, the postmodernist strategy has thoroughly failed. The movements that brought down the Soviet bloc were inspired by precisely that tradition of reason and civil rights that postmodernists usually regard as "a fundamental source of tyranny and oppression"
con-art is cut off from our contemporary realities- unlike most artistic disciplines it has become a “world onto itself”, a “closed society” (by the “enemies of the Open Society” as Karl Popper has developed it).
During this last century Visual art has become a battlefield of ideas which led to worse political regimes in human history (communism, fascism)- it was hijacked by “intellectuals” and ideologues as it is well documented in historians books…
Eidetic art as TRUE modernism
Modernism roots come from Renaissance’s ideals. Renaissance Art historian and artist Giorgio Vasari referred in his writings to the art of his own period (16th-centuryItaly) as "modern."
For historians (but not art historians) the modern period actually begins with the Renaissance. A discussion of modernism might easily begin in the Renaissance period when we first encounter secular humanism, the notion that man (not God) is the measure of all things, a worldly civic consciousness, and "utopian" visions of a more perfect society
The modernist thinking which emerged in the Renaissance began to take shape as a larger pattern of thought in the 18th century. Mention may be made first of the so-called "Quarrel of the Ancients and Moderns," a dispute that dominated European intellectual life throughout the century. The crux was the issue of whether Moderns (i.e. those living in 18th century) were now morally and artistically superior to the Ancients (i.e. the Greeks and Romans). The argument introduces an important dichotomy that is to remain fundamental to the modernist question.<br />
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The 18th century, the Age of Enlightenment, saw the intellectual maturation of the humanist belief in reason as the supreme guiding principle in the affairs of mankind. Through reason the mind achieved enlightenment, and for the enlightened mind, freed from the restraints of superstition and ignorance, a whole new exciting world opened up.<br />
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Postmodernism, fascism, communism etc were all >< Age of Enlightenment, the “Age of Reason” (book…)
This was a logical consequence of the historical pathway towards “art for art’s sake”
Art is about communication and creativity-
It is not our intention to attack, condemn “modern art”. It is like shooting at an ambulance…(??)<br />
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By its own nature, Art, as a creative process, is modern or it is not Art. Art is expected to bring new ideas. Con-Art has become an embarrassing joke.
Important date is 1863 where Edouard Manet’s “Le Déjeuner sur l'herbe” (“Luncheon on the Grass) was exhibited at the “Salon des Refusés” in Paris.
Manet was reminded of Giorgione's “Concert Champêtre” and determined to repeat the theme in clearer colour and with modern personnel.
This was “eidetic art”. The “theme” was the “idea”.
The roots of modernism lie much deeper in history than the middle of the 19th century. For historians (but not art historians) the modern period actually begins with the Renaissance.
Our concern is where did it go so wrong? What was the banana peel on which the Art world slipped?
Modern art with “Salon des refuses” (Manet)
Duchanps’ unrinal. To
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Avant garde is destructive (“negative” method of Hegelian dialect, Niestzche etc)
>< Science: built on construction (on giant s shoulders)
Role of intellectuals (Nietszche, painted word etc) as a modern iconoclasm of last century, eg surrealism (Magritte ceci n est pas une pipe, mensonge des images) postmodern intellectuals as modern scolasts // plato/Aristotle and Italian Renaissance
Visual art (artist) I born from Renaissance -> Leonardo etc (art + science)
Definition (etymology)
Since renaissance, visual artists : art + science
Eidetic as memory. My view: as intelligence and imagination + neurobiology of brain
Art with substance
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<a href="http://en.wikipedia.org/wiki/Art_manifesto">http://en.wikipedia.org/wiki/Art_manifesto</a>
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+ histoire art et prise de contrôle par les historiens et critiques d'art + théories et idéologies (verbal) qui ont influencé l'art: psychanalyse, fascisme, communisme... +ex de Kandinsky/Mondrian et Théosophie.... mène a la mort de l'art visuel par ses critiques et historiens...
prehistoric caves
art: they knew the animals inside out, butchered them hundreds of tuimes, observed them etc
so, very close to what Leonardo started: to observe/study the anatomy -> right-hemisphere…
middle ages: left hemisphere: Aristotle’s logic, textbooks
ex: le nom de la rose (name of the rose) story by Umberto ecco
pictures/images were often considered as “magical”
that was the case in middle ages or earlier
even after the renaissance… there was a mystique behind the numbers and symbols which led to free masonry (or else)
VERY far away from Leonardo’s concerns
This mystique is // to superstition and comes from left-h brains
// unconscious = intuition = non-verbal etc which is the point of of view of L-H brains (eg : psychoanalysts, freud)
history art:
reformation: <strong>iconoclasm</strong> (word/ Gutenberg)
arts taken away from churches, towards more secular subjects (Dutch, Rembrandt)
iconoclasm: Duchamp, painting as slashed canvas etc… down to Turner prize?
Catholic art (after renaissance/baroque) will flourish better than protestant? (spain,france,italy) Is it to do with light? (then what about Arabic art?)England: had to “import” artists from continent. Literature will flourish better.
Impressionism, surrealism…
Expressionism is more protestant … ?
Kandinsky’s fundamental error:
difference between visual arts and music (“abstract”) is that music comes from our spoken language (German, Italian ect musics are directly connected their respective spoken languages) in other words: music does not come from the sounds we hear, it comes from our spoken languages, it is primarily SUNG!!! Ex: rap music!!! Music comes from the sound of talk!!
Unlike painting: our visual <strong>language</strong> is based on what we see.
To deny that is recipe for not being understood.
there is only one instance where visual language could become “abstract” as music is: <strong>calligraphy</strong> (ex: Arabic, Chinese…) Arabic: because islam forbids visual representations.
It's called zoomorphic calligraphy and some believe it's developed because of the restriction of illustrating living beings according to muslim traditions.
<a href="http://creativebits.org/inspiration/arabic_calligraphy">http://creativebits.org/inspiration/arabic_calligraphy</a>
So, where does come some “universality” in music? IF there is any…
This “universality” comes from the shared roots of all our spoken languages. But this “universality” is therefore very relative. There are different musical scales, depending where you come from…
Chinese painting and calligraphy are closely connected to each other. Chinese artists usually learn and practice both.
<a href="http://blogs.ebay.com/linli888/entry/Chinese-Ink-Brush-Painting-on-Rice-Paper-Bamboo/_W0QQidZ123533019">http://blogs.ebay.com/linli888/entry/Chinese-Ink-Brush-Painting-on-Rice-Paper-Bamboo/_W0QQidZ123533019</a><br />
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<a href="http://www.amazon.co.uk/gp/product/1583912134/ref=sib_rdr_dp"><strong>Autism and Creativity: Is There a </strong></a><br />
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<strong><a href="http://www.amazon.co.uk/gp/product/1583912134/ref=sib_rdr_dp">Link Between Autism in Men and Exceptional Ability?</a></strong>
by <a href="http://www.amazon.co.uk/s?ie=UTF8&index=books&field-author=Michael%2520Fitzgerald">Michael Fitzgerald</a> <a href="http://www.amazon.co.uk/gp/reader/1583912134/ref=sib_dp_pt#reader-page">http://www.amazon.co.uk/gp/reader/1583912134/ref=sib_dp_pt#reader-page</a><br />
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<strong>NON SENSE (irrational, madness, "anti-authoritarians" etc)</strong>
= comes from misunderstanding of <strong>reason</strong> (science)
ir-rational is not non-rational!
REASON: (assault) from postmodernists who define science as a "language", ie as verbal, sequential.. from the point of view of (sequential) language (words)!!!!
// "ceci n'est pas une pipe"!!!<br />
Postmodernism generator :
<a href="http://www.elsewhere.org/pomo/">http://www.elsewhere.org/pomo/</a>
Adorno etc : hegel + neo-marxist
<a href="http://en.wikipedia.org/wiki/Frankfurt_School">http://en.wikipedia.org/wiki/Frankfurt_School</a> and « modernism » ?
As the growing influence of <a href="http://en.wikipedia.org/wiki/Nazism" title="Nazism">National Socialism</a> became ever more threatening, its founders decided to prepare to move the Institute out of the country.<sup><a href="http://en.wikipedia.org/wiki/Frankfurt_School#cite_note-10">[11]</a></sup> Following <a href="http://en.wikipedia.org/wiki/Adolf_Hitler%27s_rise_to_power" title="Adolf Hitler's rise to power">Adolf Hitler's rise to power</a> in 1933, the Institute left Germany for <a href="http://en.wikipedia.org/wiki/Geneva" title="Geneva">Geneva</a>, before moving again to <a href="http://en.wikipedia.org/wiki/New_York_City" title="New York City">New York City</a> in 1934, where it became affiliated with <a href="http://en.wikipedia.org/wiki/Columbia_University" title="Columbia University">Columbia University</a>.
Frankfurt School theorists were explicitly linking up with the <a href="http://en.wikipedia.org/wiki/Critical_philosophy" title="Critical philosophy">critical philosophy</a> of <a href="http://en.wikipedia.org/wiki/Immanuel_Kant" title="Immanuel Kant">Immanuel Kant</a>, where the term <em><a href="http://en.wikipedia.org/wiki/Critique" title="Critique">critique</a></em> meant philosophical reflection on the limits of claims made for certain kinds of knowledge and a direct connection between such critique and the emphasis on <a href="http://en.wikipedia.org/wiki/Autonomy#Philosophy" title="Autonomy">moral autonomy</a> – as opposed to traditionally <a href="http://en.wikipedia.org/wiki/Determinism" title="Determinism">deterministic</a> scientific theories. In an intellectual context defined by <a href="http://en.wikipedia.org/wiki/Dogma" title="Dogma">dogmatic</a> <a href="http://en.wikipedia.org/wiki/Positivism" title="Positivism">positivism</a> and <a href="http://en.wikipedia.org/wiki/Scientism" title="Scientism">scientism</a> on the one hand and dogmatic "<a href="http://en.wikipedia.org/wiki/Scientific_socialism" title="Scientific socialism">scientific socialism</a>" on the other, critical theorists intended to rehabilitate Marx's ideas through a philosophically critical approach.
History, according to Hegel, proceeds and evolves in a dialectical manner: the present embodies the rational <a href="http://en.wikipedia.org/wiki/Aufheben" title="Aufheben">sublation</a> of past contradictions. History may thus be seen as an intelligible process (often referred to as <em><a href="http://en.wikipedia.org/wiki/Geist" title="Geist">Weltgeist</a></em>) which is <a href="http://en.wikipedia.org/wiki/Idea_of_Progress" title="Idea of Progress">moving towards a specific condition</a>—the rational realization of human freedom.<sup><a href="http://en.wikipedia.org/wiki/Frankfurt_School#cite_note-HegelStanford-12">[13]</a></sup> However, <a href="http://en.wikipedia.org/wiki/Problem_of_future_contingents" title="Problem of future contingents">considerations about the future</a> were of no interest to Hegel,<sup><a href="http://en.wikipedia.org/wiki/Frankfurt_School#cite_note-13">[14]</a><a href="http://en.wikipedia.org/wiki/Frankfurt_School#cite_note-14">[15]</a></sup> for whom philosophy cannot be <a href="http://en.wikipedia.org/wiki/Normative#Philosophy" title="Normative">prescriptive</a> because it understands only in hindsight. The study of history is thus limited to the description of past and present realities.<sup><a href="http://en.wikipedia.org/wiki/Frankfurt_School#cite_note-HegelStanford-12">[13]</a></sup> Hence for Hegel and his <a href="http://en.wikipedia.org/wiki/Right_Hegelians" title="Right Hegelians">successors</a>, dialectics inevitably lead to the approval of the <em><a href="http://en.wikipedia.org/wiki/Status_quo" title="Status quo">status quo</a></em>—indeed, Hegel's philosophy served as a justification for <a href="http://en.wikipedia.org/wiki/Christian_theology" title="Christian theology">Christian theology</a> and the <a href="http://en.wikipedia.org/wiki/Prussia" title="Prussia">Prussian state</a>.
This was fiercely criticized by Marx and the <a href="http://en.wikipedia.org/wiki/Young_Hegelians" title="Young Hegelians">Young Hegelians</a>, who claimed that Hegel had gone too far in defending his abstract conception of "absolute Reason" and had failed to notice the "real" (i.e. often <em>undesirable</em> and <em>irrational</em>) life conditions of men. Unlike Hegel, Marx maintained a strong concern for the present improvement and future development of human society. By correcting Hegel's dialectical method, Marx advanced his own theory of <a href="http://en.wikipedia.org/wiki/Dialectical_materialism" title="Dialectical materialism">dialectical materialism</a>. This established a new dialectical <a href="http://en.wikipedia.org/wiki/Historicism" title="Historicism">law of history</a>, according to which the social and material <a href="http://en.wikipedia.org/wiki/Contradictions#Dialectical_materialism" title="Contradictions">contradictions</a> inherent to capitalism will inevitably lead to its negation—thereby replacing capitalism with a new rational form of society, <a href="http://en.wikipedia.org/wiki/Socialism" title="Socialism">socialism</a>.
For their part, Frankfurt School theorists quickly came to realize that a dialectical method could only be adopted <em>if it could be applied to itself</em>—that is to say, if they adopted a self-correcting method—a dialectical method that would enable them to correct previous false dialectical interpretations.
Modernism or postmodernism’ common method: REJECTION of the past (“enlightments”, religion etc) <a href="http://en.wikipedia.org/wiki/Modernism#Goals_of_the_movement">http://en.wikipedia.org/wiki/Modernism#Goals_of_the_movement</a>
IT IS NEGATIVE, NOT INCLUSIVE (cusa) not like “<a href="http://en.wikipedia.org/wiki/Standing_on_the_shoulders_of_giants">Standing on the shoulders of giants</a>”
the metaphor was first recorded in the twelfth century and attributed to Bernard of Chartres. It was famously uttered by seventeenth-century scientist Isaac Newton
The attribution to Bernard is due to <a href="http://en.wikipedia.org/wiki/John_of_Salisbury" title="John of Salisbury">John of Salisbury</a>. In 1159, John wrote in his <em>Metalogicon</em>:<sup><a href="http://en.wikipedia.org/wiki/Standing_on_the_shoulders_of_giants#cite_note-0">[1]</a></sup>
"<em>Bernard of Chartres used to say that we are like dwarfs on the shoulders of giants, so that we can see more than they, and things at a greater distance, not by virtue of any sharpness of sight on our part, or any physical distinction, but because we are carried high and raised up by their giant size.</em>"
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POSTMODERNISM: AN INTELLECTUAL JOURNEY TO NOWHERE (No Man’s Land)
<a href="http://en.wikipedia.org/wiki/No_Man%27s_Land">http://en.wikipedia.org/wiki/No_Man%27s_Land</a>
<strong>No man's land</strong> is a term for land that is not occupied or is <a href="http://en.wikipedia.org/wiki/Land_claims" title="Land claims">under dispute</a> between parties that will not occupy it because of fear or uncertainty.
Postmodernists (French intellectuals) = Nietzscheans (against rationality/Hegel etc)
// Apollo (Hegel) >< Dionysus (Nietzsche)
HEGEL V NIETZSCHE:
Apollo V Dionysus
Christ (plato) V Dionysus
Good V Evil
Thesis V Antithesis (Negation) -> “Synthesis” (Neg of Neg)
Nietzsche: “<a href="http://en.wikipedia.org/wiki/Beyond_Good_and_Evil">Beyond Good and Evil</a>” (subtitled "Prelude to a Philosophy of the Future") + "free spirits" >< (quote) ” the most dangerous of errors hitherto has been a dogmatist error—namely, Plato's invention of Pure Spirit and the Good in Itself.”
Basically: Dionysos >< truth, good etc
“"HOW COULD anything originate out of its opposite?” “The fundamental belief of metaphysicians is THE BELIEF IN ANTITHESES OF VALUES.”
and Zarathustra (Superman) before “Beyond…”
// Hegel and Zeitgeist/Napoleon (<a href="http://en.wikipedia.org/wiki/Lectures_on_the_Philosophy_of_History">The Philosophy of History</a><em>)</em><em> : the “</em>absolute spirit” (absolutism…)
Quote: history does not produce happiness - "history is not the soil in which happiness grows.<br />
The periods of happiness in it are the blank pages of history"
(German nationalism):
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“World history is the record of the spirit's efforts to attain knowledge of what it is in itself. The Orientals do not know that the spirit or man as such are free in themselves. And because they do not know that, they are not themselves free. They only know that <strong>One</strong> is free.... The consciousness of freedom first awoke among the Greeks, and they were accordingly free; but, like the Romans, they only knew that <strong>Some</strong>, and not all men as such, are free.... The Germanic nations, with the rise of Christianity, were the first to realize that <strong>All</strong> men are by nature free, and that freedom of spirit is his very essence.”</div>
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Hegel takes throughout his philosophy of history, namely, "World history travels from east to west; for Europe is the absolute end of history, just asAsiais its beginning."<br />
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SO NIETZSCHE WAS A MYSTIC, SO WAS HEGEL… IN ORDER TO SOLVE, SUPERCEDE KANT’S CRITICISMS OF REASON
Constructism: Rodchenko: based on many “no’s” to Art (beauty, creativity etc) -> “death of art” (<a href="http://en.wikipedia.org/wiki/Alexander_Rodchenko#The_end_of_painting">http://en.wikipedia.org/wiki/Alexander_Rodchenko#The_end_of_painting</a>) + poet Maiakovsky = “Hegelian negative” phase : tabula rasa, destruction of past (// cults)
+ Malevitch
THEY ALL WERE KILLED BY STALIN: THE REVOLTION DEVOURS ITS OWN CHILDREN (NEG OF NEG)
// FRENCH TERROR
// KRISTAL NACHT
Revolution is like Saturn, it devours its own children. ATTRIBUTION: Georg Büchner (1813–1837), German dramatist, revolutionary. Trans. by Gerhard P. Knapp (1995). Danton’s Death, act I (1835).
In the original German:
die Revolution ist wie Saturn, sie frißt ihre eignen Kinder.
The revolution like Saturn devours its own children. I believe it was a common saying during the French Revolution (1789) and that it was most famously uttered by Danton during his trial. By the period Danton fell out of favor with the Committee of Public Safety and Robespierre, the revolution had become so suspicious of loyalism and foreign intervention (Marat, a popular journalist was killed by a royalist) it set up kangaroo courts throughout the country to purge society of counterrevolutionaries.
In the end, the people of Paris took virtual control of the National Assembly and the committee of Public Safety. Successive waves of radicalization (Girondins, Jacobins, Enrages) had followed the ascension of the Jacobins to power, quickly making conservatives out of yesterday's radicals.
In the end, the terror killed 7000 people across the country, many of whom had been among the first revolutionaries. Danton, Robespierre and Saint-Just all succumbed to the guillotine.
The revolution, much like Saturn, ate its children. Thermidore ended the terror, and dealt with Robespierre and SaintJust.
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If you want an pictorial history...check out the paintings of David. For a good Saturn... how about Goya's "Saturn Devouring its children"
<a href="http://en.wikipedia.org/wiki/Saturn_Devouring_His_Son">http://en.wikipedia.org/wiki/Saturn_Devouring_His_Son</a>
anti-art and its historical precedent, iconoclasm. it was suggested that Art History itself is iconoclastic. By offering interpretation, the critic distances the viewer from the direct experience of the work.
Note: Dada was not against the “images”, it was against all art.. (poetry, literature included)
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// formalism in Math (Hilbert)?
// art for the sake of art (abstraction)- art as its own subject
// sophism (subjectivity, no objectivity)
Contemporary art (modern or post modern) has been a history of auto-negation. (Hegels’ double neg), leading to… nothing, emptiness (nihilism, cannibalism).
What if Punk rock had won over the music scene? There would have been an anti-Punk Punk mvt etc etc, leading eventually to an emptied scene.
!!! THE FIRSTARTCRITICS WERE… POETS. THEN THEY WERE REPLACED BY “INTELLECTUALS”… (when?)
Nihilism is also a characteristic that has been ascribed to time periods: for example, <a href="http://en.wikipedia.org/wiki/Jean_Baudrillard" title="Jean Baudrillard">Jean Baudrillard</a> and others have called <a href="http://en.wikipedia.org/wiki/Postmodernity" title="Postmodernity">postmodernity</a> a nihilistic epoch,<sup><a href="http://en.wikipedia.org/wiki/Nihilism#cite_note-3">[4]</a></sup> and some <a href="http://en.wikipedia.org/wiki/Christianity" title="Christianity">Christian</a> theologians and figures of religious authority have asserted that <a href="http://en.wikipedia.org/wiki/Postmodernity" title="Postmodernity">postmodernity</a><sup><a href="http://en.wikipedia.org/wiki/Nihilism#cite_note-4">[5]</a></sup> and many aspects of <a href="http://en.wikipedia.org/wiki/Modernity" title="Modernity">modernity</a><sup><a href="http://en.wikipedia.org/wiki/Nihilism#cite_note-phillips-2">[3]</a></sup> represent a rejection of <a href="http://en.wikipedia.org/wiki/Theism" title="Theism">theism</a>, and that such a rejection entails some form of nihilism.
Logic of the “Antis”:
Modern art is a story of anti-mvts: impressionist were against expressionists etc etc
This was madness: Mutual Assured Destruction, M.A.D.
Circular logic (Hegel’s “neg of neg) and Nietzsche “reversal of values” and the myth of “eternal recurrence”
CIRCULAR LOGIC (closed society) will become like a LABYRINTH… when it develops itself, a closed labyrinth.
ARISTOTLE (Scholastic method of pro and cons = 2 peri-patheticians)
Kant: critics of Reason lead to “impasse” (dead-end): antinomies
<a href="http://www.gla.ac.uk/departments/philosophy/Personnel/susan/Antinomies.html">http://www.gla.ac.uk/departments/philosophy/Personnel/susan/Antinomies.html</a>
<strong><a href="http://www.blogger.com/Users/Yves/Documents/_MY%20PROJECTS/2C_OR_NOT_2C/blumenth.pdf">The Visual Arts in <em>What Art Is</em></a> </strong>(PDF)<br />
<a href="http://www.aristos.org/editors/booksumm.htm">http://www.aristos.org/editors/booksumm.htm</a>
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<a href="http://en.wikipedia.org/wiki/Art_for_art%27s_sake">http://en.wikipedia.org/wiki/Art_for_art%27s_sake</a><br />
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Gautier, however, was the first to adopt the phrase as a slogan. "Art for art's sake" was a <a href="http://en.wikipedia.org/wiki/Bohemianism" title="Bohemianism">bohemian</a> <a href="http://en.wikipedia.org/wiki/Creed" title="Creed">creed</a> in the nineteenth century, a slogan raised in defiance of those who — from <a href="http://en.wikipedia.org/wiki/John_Ruskin" title="John Ruskin">John Ruskin</a> to the much later <a href="http://en.wikipedia.org/wiki/Communism" title="Communism">Communist</a> advocates of <a href="http://en.wikipedia.org/wiki/Socialist_realism" title="Socialist realism">socialist realism</a> — thought that the value of art was to serve some <a href="http://en.wikipedia.org/wiki/Moral" title="Moral">moral</a> or <a href="http://en.wikipedia.org/wiki/Didacticism" title="Didacticism">didactic</a> purpose. "Art for art's sake" affirmed that art was valuable <em>as</em> art, that artistic pursuits were their own justification and that art did not need moral justification — and indeed, was allowed to be morally <a href="http://en.wikipedia.org/wiki/Subversive" title="Subversive">subversive</a>.
The explicit slogan is associated in the history of English art and letters with <a href="http://en.wikipedia.org/wiki/Walter_Pater" title="Walter Pater">Walter Pater</a> and his followers in the <a href="http://en.wikipedia.org/wiki/Aestheticism" title="Aestheticism">Aesthetic Movement</a>, which was self-consciously in rebellion against <a href="http://en.wikipedia.org/wiki/Victorian_Era" title="Victorian Era">Victorian</a> moralism.
Petrarch?
<a href="http://medievalhistory.suite101.com/article.cfm/petrarch_and_the_dark_ages">http://medievalhistory.suite101.com/article.cfm/petrarch_and_the_dark_ages</a>
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The concept of the <a href="http://en.wikipedia.org/wiki/Dark_Ages">Dark Ages</a> is not some postmodern thing or even a 19th century Romantic notion. It is, in fact, contemporary to the period it describes. Strangely enough, it was a term created in the 14th century, by one of the Middle Ages' most brilliant writers-the poet <a href="http://en.wikipedia.org/wiki/Petrarch">Petrarch</a> (1304-1374).
Anti humanism:
Renaissance: man/Nature in the image of God (as God’s creation)
Academia: study of human body (anatomy, proportions) and Nature in general (light, shadows etc) See Leonardo’s book on painting
So IT WAS NOT MIMESIS (IMITATTION) BUT ABOUT STUDYING/ LEARNING (anatomy, Nature, etc)
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<a href="http://www.blogger.com/Users/Yves/Documents/_MY%20PROJECTS/2C_OR_NOT_2C/ANTIHUMANISM.doc#_ftnref1" title="">[1]</a> The forbidden image: an intellectual history of iconoclasm By Alain Besançon
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<a href="http://www.blogger.com/Users/Yves/Documents/_MY%20PROJECTS/2C_OR_NOT_2C/ANTIHUMANISM.doc#_ftnref2" title="">[2]</a> “The Seduction of Unreason: The Intellectual Romance with Fascism from Nietzsche to Postmodernism” (PrincetonUniversity Press,Princeton andOxford, 2004 )
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<a href="http://www.blogger.com/Users/Yves/Documents/_MY%20PROJECTS/2C_OR_NOT_2C/ANTIHUMANISM.doc#_ftnref3" title="">[3]</a> Twilight of the Idols, or, How to Philosophize with a Hammer (1888)
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<a href="http://www.blogger.com/Users/Yves/Documents/_MY%20PROJECTS/2C_OR_NOT_2C/ANTIHUMANISM.doc#_ftnref4" title="">[4]</a> <strike>The Enlightenment was an intellectual movement for which the most immediate stimulus was the so-called Scientific Revolution of the 17th and early 18th centuries when men like Galileo Galilei and Isaac Newton, through the application of reason to the study of Nature (i.e. our world and the heavens) had made spectacular scientific discoveries in which were revealed various scientific truths. The Age of Enlightenment saw the intellectual maturation of the humanist belief in reason as the supreme guiding principle in the affairs of mankind. Through reason the mind achieved enlightenment, and for the enlightened mind, freed from the restraints of superstition and ignorance, a whole new exciting world opened up. Source: <a href="http://www.arthistory.sbc.edu/artartists/modernism.html">http://www.arthistory.sbc.edu/artartists/modernism.html</a></strike>
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<a href="http://www.blogger.com/Users/Yves/Documents/_MY%20PROJECTS/2C_OR_NOT_2C/ANTIHUMANISM.doc#_ftnref5" title="">[5]</a> “Nietzsche, Prophet of Nazism: The Cult of the Superman--Unveiling the Nazi Secret Doctrine” by Abir Taha (AuthorHouse, 2005)
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<a href="http://www.blogger.com/Users/Yves/Documents/_MY%20PROJECTS/2C_OR_NOT_2C/ANTIHUMANISM.doc#_ftnref6" title="">[6]</a> “Animal Farm” Chapter 10, (1945) George Orwell
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+ <a href="http://arthistoryresources.net/modernism/roots.html" target="_blank">http://arthistoryresources.net/modernism/roots.html</a>
<a href="http://www.arthistory.sbc.edu/artartists/artartists.html">http://www.arthistory.sbc.edu/artartists/artartists.html</a>
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// Entartete Kunst 1937 <a href="http://en.wikipedia.org/wiki/Entartete_Kunst" target="_blank">http://en.wikipedia.org/wiki/Entartete_Kunst</a> = after ww2 victory: Adorno / Horkheimer frankfurt school, anti authoritarian, anti-totalitarianisms etc
wiki:<br />
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The <strong><a href="http://en.wikipedia.org/wiki/Frankfurt_School" target="_blank">Frankfurt School</a></strong> (German: Frankfurter Schule) refers to a school of <strong>neo-Marxist</strong> interdisciplinary social theory. The school initially consisted of <strong>dissident Marxists </strong>who believed that some of Marx's followers had come to parrot a narrow selection of Marx's ideas, usually in defense of orthodox Communist parties. Following Marx, they were concerned by the conditions which allowed for social change and the establishment of rational institutions. Their emphasis on the "critical" component of theory was derived significantly from their attempt to <strong>overcome the limits of positivism, materialism and determinism</strong> by returning to <strong>Kant's</strong> critical philosophy and its successors in German idealism, principally <strong>Hegel's</strong> philosophy, with its <strong>emphasis on dialectic and contradiction</strong> as inherent properties of reality. Since the 1960s, Frankfurt School critical theory has increasingly been guided by <strong>Jürgen Habermas</strong>' work on communicative reason, linguistic intersubjectivity and what Habermas calls "the philosophical discourse of modernity". The philosophical tradition now referred to as the "Frankfurt School" is perhaps particularly associated with <strong>Max Horkheimer</strong> (philosopher, sociologist and social psychologist), who took over as the institute's director in <strong>1930</strong> and recruited many of the school's most talented theorists, including Theodor W. <strong>Adorno</strong> (philosopher, sociologist, musicologist), Erich <strong>Fromm</strong> (psychoanalyst), and Herbert Marcuse (philosopher). As the growing influence of National Socialism became ever more threatening, its founders decided to prepare to move the Institute out of the country. Following Adolf Hitler's rise to power in 1933, the Institute left Germany for Geneva, before moving to <strong>New York City in 1935</strong>, where it became affiliated with <strong>Columbia University</strong>.
+Dialectical method: For their part, Frankfurt School theorists quickly came to realize that a <strong>dialectical method could only be adopted if it could be applied to itself</strong>—that is to say, if they adopted a self-correcting method—a dialectical method that would enable them to correct previous false dialectical interpretations. Accordingly, critical theory rejected the dogmatic historicism and materialism of orthodox Marxism. Indeed, the material tensions and class struggles of which Marx spoke were no longer seen by Frankfurt School theorists as having the same revolutionary potential within contemporary Western societies—an observation which indicated that Marx's dialectical interpretations and predictions were either incomplete or incorrect. Contrary to orthodox Marxist praxis, which solely seeks to implement an unchangeable and narrow idea of "communism" into practice, critical theorists held <strong>that praxis and theory, following the dialectical method, should be interdependent and should mutually influence each other.</strong> When Marx famously stated in his Theses on Feuerbach that "philosophers have only interpreted the world in various ways; the point is to change it", his real idea was that philosophy's only validity was in how it informed action. Frankfurt School theorists would <strong>correct</strong> this by claiming that <strong>when action fails, then the theory guiding it must be reviewed.</strong> In short, socialist philosophical thought must be given <strong>the ability to criticize itself and "overcome" its own errors</strong>. While theory must inform praxis, praxis must also have a chance to inform theory. ("falsifiability") The second phase of Frankfurt School critical theory centres principally on two works: Adorno and Horkheimer's <em>Dialectic of Enlightenment</em> (1944) and Adorno's <em>Minima Moralia</em> (1951). The authors wrote both works during the Institute's exile in <strong>America</strong>. While retaining much of a Marxian analysis, in these works critical theory<strong> shifted its emphasis. The critique of capitalism turned into a critique of Western civilization as a whole.</strong>
Of this second "phase" of the Frankfurt School, philosopher and critical theorist Nikolas Kompridis writes that:
“Only a decade or so later (in 1940s, note), however, having revisited the premises of their philosophy of history, Horkheimer and Adorno's Dialectic of Enlightenment steered the whole enterprise, provocatively and self-consciously, <strong>into a skeptical cul-de-sac</strong>. " Adorno,<strong> a trained musician</strong>, wrote<em> The Philosophy of Modern Music</em> (1949), in which he, in essence,<strong> polemicizes against beauty itself</strong> ― because it has become part of the ideology of advanced capitalist society. This view of modern <strong>art as producing truth only through the negation of traditional aesthetic form and traditional norms of beauty because they have become ideological is characteristic of Adorno and of the Frankfurt School generally.</strong>
Horkheimer, from wikipedia:
<em>Eclipse of Reason</em> is a book published in 1947, by Max Horkheimer. In it he discusses how the Nazis were able to project <strong>their agenda as "reasonable"</strong>. It is broken into five sections: Means and Ends, Conflicting Panaceas, The Revolt of Nature, The Rise and Decline of the Individual and On the Concept of Philosophy [3] and deals with the concept of reason within the history of western philosophy [4]. Horkheimer defines true reason as rationality[4], which can only be fostered in an environment of free, critical thinking. He details the difference between objective, subjective and instrumental reason, and states that we have moved from the former through the center and into the latter (though subjective and instrumental reason are closely connected). Objective reason deals with universal truths that dictate that an action is either right or wrong. It is a concrete concept, and a force in the world that requires specific modes of behavior. The focus in the objective faculty of reason is on the ends, rather than the means. Subjective reason is an abstract concept of reason, and focuses primarily on means. Specifically, the reasonable nature of the purpose of action is irrelevant - the ends only serve the purpose of the subject (generally self-advancement or preservation). To be "reasonable" in this context is to be suited to a particular purpose, to be "good for something else". This aspect of reason is universally conforming, and easily furnishes ideology. In instrumental reason, the sole criterion of reason is its operational value or purposefulness, and with this, the idea of truth becomes contingent on mere subjective preference (hence the relation with subjective reason). Because subjective/instrumental reason rules, the ideals of a society, for example democratic ideals, become dependent on the "interests" of the people instead of being dependent on objective truths. Nevertheless, Horkheimer admits that objective reason has its roots in Reason ("Logos" in Greek) of the subject. He concludes,
<strong><em>If by enlightenment and intellectual progress we mean the freeing of man from superstitious belief in evil forces, in demons and fairies, in blind fate - in short, the emancipation from fear - then denunciation of what is currently called reason is the greatest service we can render.</em></strong>
Error: Horkheimer confuses "logical consistency" with Reason... Nazis were "logical" but their logic was based on falsities, contradicted by facts. (falsifiable)
<strong>CULTURAL MARXISM</strong> (see Finland massacre) perceived as "anti-Christian" ("western") < A Gramsci, G Lukacs: destroy Christianity, cultural western values to take over... <strong>= ROOTS OF COUNTERCULTURE</strong><br />
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COMMUNISM: CLASS STRUGGLE
NAZIS: RACE STRUGGLE (social Darwinism)
CRITICAL MARXISM: CULTURE STRUGGLE?
Major works
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<ul>
<li><strong>Reason and Revolution</strong></li>
<li>Eclipse of <strong>Reason</strong></li>
<li>Dialectic of <strong>Enlightenment</strong></li>
<li>Minima Moralia</li>
<li>Eros and Civilization</li>
<li>One-Dimensional Man</li>
<li><strong>Negative Dialectics</strong></li>
<li>The Structural Transformation of the Public Sphere</li>
<li>The Theory of Communicative Action</li>
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Wellmer has already been seen to define the central experience of postmodernity as 'die vom Tode der Vernunft', while </div>
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[caption id="attachment_4720" align="alignleft" width="300"]<a href="http://eyeinside.files.wordpress.com/2011/08/david.jpg"><img alt="Death of Socrates, by Jacques-Louis David" class=" wp-image-4720 " src="http://eyeinside.files.wordpress.com/2011/08/david.jpg?w=300" height="195" width="300" /></a><br />
Death of Socrates (1787), by Jacques-Louis David[/caption]
<strong>Enlightenment and French and American revolutions</strong>
<strong>Surrealist "revolution" and communism </strong>
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<strong>STALIN-HITLER PACT // same >< modern art (pro-Academism) Both were against creativity in arts as it requires... Freedom!</strong>
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Reflexive nihilism is similar to Nietzsche‘s definition of nihilism in that nihilism means. "What does nihilism mean? That the highest values devalue themselves The aim is lacking; “why?” finds no answer.”<br />
According to Nietzsche, the conceptual framework known as Western metaphysics was first articulated by Plato, who had pieced together remnants of a declining worldview, borrowing elements from predecessors such as Anaximander, Parmenides, and especially Socrates, in order to overturn a cosmology that had been in play from the days of Homer and which found its fullest and last expression in the thought of Heraclitus.<br />
<a href="http://www.iep.utm.edu/nietzsch/" target="_blank">FROM</a><br />
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Nihilism was opposed to the ideological norm: to Christianity, nihilism is atheism; to authoritarian ideologies, nihilism is anarchism;<br />
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Postmodern nihilism is concerned with the idea that nihilism cannot truthfully say that there is no truth.‘<br />
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philosophical doctrine suggesting the negation of one or more putatively meaningful aspects of life.<br />
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nihilism is sometimes used to explain the general mood of despair at a perceived pointlessness of existence that one may develop upon realising there are no necessary norms, rules, or laws. Movements such as Futurism (Fascism) and deconstruction, among others, have been identified by commentators as "nihilistic" at various times in various contexts.<br />
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Nihilism is also a characteristic that has been ascribed to time periods: for example, Jean Baudrillard and others have called postmodernity a nihilistic epoch,<br />
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Postmodern and poststructuralist thought question the very grounds on which Western cultures have based their 'truths': absolute knowledge and meaning, a 'decentralization' of authorship, the accumulation of positive knowledge, historical progress, and certain ideals and practices of humanism and the Enlightenment.<br />
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Jacques <b>Derrida</b>, whose deconstruction is perhaps most commonly labeled nihilistic, did not himself make the nihilistic move that others have claimed.<br />
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Snow stands up for the view that exact science is, in its own right, an essential part of civilisation, and should not merely be valued for its technological applications. Anyone who does not know the Second Law of Thermodynamics, and is proud of it too, exposes oneself as a Philistine. [...] But the law has <span style="text-decoration: underline;">many faces and interpretations</span>; the comparison to a work of Shakespeare is, in this respect, not inappropriate. (<em>Me: NOT!) </em>[...] Planck, for example, claimed that, were it not for the existence of <strong>irreversible</strong> processes, ‘the entire edifice of the second law would crumble [. . . ] and theoretical work would have to start from the beginning.’ (Planck 1897, x113), and viewed entropy increase as a ‘universal measure of <strong>irreversibility</strong>’ (ibid. x134). A similar view is expressed by Sklar in his recent book on the foundations of statistical mechanics (1993, p. 21): ‘The crucial fact needed to justify the introduction of [. . . ] a definite entropy value is the <strong>irreversibility</strong> of physical processes.’ In this respect, thermodynamics seems to stand in sharp contrast with the rest of classical physics, in particular with mechanics which, at least in Hamilton’s formulation, is symmetric under time reversal. The problem of reconciling this thermodynamical arrow of time with a mechanical world picture is usually seen as the most profound problem in the foundations of thermal and statistical physics; see Davies (1974), Mackey (1992), Zeh (1992), Sklar (1993) and Price (1996). from <a href="http://www.physik.uni-augsburg.de/theo1/hanggi/Uffink.pdf">http://www.physik.uni-augsburg.de/theo1/hanggi/Uffink.pdf</a><br />
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<b>apollo v dionysus</b><br />
<b>3d option: NOT opposed but complementary where reason and emotions work together, "marry"</b><br />
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<b>EXAMPLE OF FEYNMAN!!!</b><br />
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<strong>ENLIGHTENMENT AND FRENCH PHILOSOPHES: NEO-CLASSICISM (1750-1850) eg David</strong><br />
<strong><br /></strong><strong>Romanticism - from 1780-1850: </strong><br />
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<li><strong>narrative: Gericault, Delacroix</strong></li>
<li><strong>landscape: Turner, Constable, Friedrich, Barbizon school</strong></li>
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<li><strong>Modern: </strong><strong>1850+</strong> </li>
<li><strong>Impressionism - from 1865-85</strong> </li>
<li><strong>Post-Impressionism - from 1885-1910</strong> The 17th-century scientists made the discoveries. It was for the 18th century writers, known as philosophes to popularise the difficult theories of the scientists. The philosophes made the new marvels of science understandable and exciting for everyone. Leaders in the movement in France included Voltaire (1694-1778), Baron de Montesquieu (1689-1755), and Jean-Jacques Rousseau (1712-1778). These philosophes, as they were called, primarily <strong>critiqued the Roman Catholic Church and its power</strong>, the political system in place, and social <strong>inequalities</strong>. As new ideologies were taking hold, art style deviated from the beginning of the century where baroque and rococo were the preferred forms of artistic expression. </li>
<li><strong>Neoclassicism</strong>, a return to the Greco-Roman traditions, exhibited order, balance, harmony, and realism. The art world, particularly in Paris welcomed this change. Portraiture maintained popularity. Gone were the overly flattering flowery portraits of the aristocracy. Portraits were given to more faithful and honest interpretations. Also, a number of women painters emerged at this time. Since they were generally not allowed entrance into the art academies or permitted to paint nudes, rendering portraits was virtually their only option. The linear simplicity of the Neoclassic movement lasted well into the 19<sup>th</sup> century. </li>
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<strong><a href="http://www.drstevebest.org/Essays/ThePostmodernTurninPhilosophy.htm" target="_blank">The Postmodern Turn In Philosophy: Theoretical Provocations And Normative Deficits</a></strong><br />
<strong><a href="http://eyeinside.wordpress.com/2011/09/01/modern-art-anti-art-establishment/">What is "Modernism"?</a></strong> Fascism >< (decadence) In <a href="http://eyeinside.wordpress.com/2011/09/10/decadence-and-the-making-of-modernism/">"Decadence and the making of modernism"</a>. its author David Weir decadence as a cultural mode of <strong>transition</strong> from romanticism to modernism OR? modernism as heritage of enlightenment? postmodernism: focuses on language (and its rules, as "rhetoric" )<br />
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BIN / TRASH</h2>
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<span style="text-decoration: line-through;">This chasm between "literary intellectuals" and "scientists" goes even further; it encompasses two major "categories": the "</span><strong>humanities</strong><span style="text-decoration: line-through;">" (culture) and "sciences".</span><br />
<span style="text-decoration: line-through;"><br /></span><b>Humanists??</b><br />
The most ominous conflict of our time is the difference of opinion, of outlook, between men of letters, historians, philosophers, the so-called <b>humanists</b>, on the one side, and scientists on the other.<br />
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The conflicts’ reasons are complex, but significant among them is the influence that the medieval trivium and the quadrivium continue to exert. In the Middle Ages, in the rediscovered tradition from Greek and Roman times, the trivium and quadrivium embodied what an educated person was expected to know. In the trivium, grammar was a basic foundation, rhetoric encompassed literature and poetry, and logic was primarily Aristotelian. The quadrivium encompassed four subjects, all based on mathematical knowledge—arithmetic, geometry, astronomy and music. Geometry had its origins in Egyptian and Greek thought, and arithmetic in Indian and Arab thought transmitted to the West. Astronomy dealt with movable objects that were deemed to be permanent and music with movable phenomena that were impermanent (its purpose was to understand polyphonic secular music).<br />
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By the thirteenth century, their structure was fairly standardized, with the trivium the basic foundation of university education, and the quadrivium leading to a master’s degree that could be followed by specialized professional education, particularly in medicine, but also the law. The purpose of the medieval trivium and quadrivium was thus to elevate and prepare. In the <b>Renaissance </b>the focus shifted to erudition, with much greater <b>secular</b>—human—emphasis than in medieval times, with their pervasive theological context, hence the label humanities.<br />
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MORE <a href="http://www.sigmaxi.org/meetings/archive/forum.2001.online.tri.shtml" target="_blank">HERE</a><br />
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ANCIENTS V. MODERNS<br />
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<b>post-moderns as "neo-ancients"?</b><br />
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The Battle of the Books is the name of a short satire written by Jonathan Swift in 1704. It depicts a literal battle between books in the King's Library, as ideas and authors struggle for supremacy.<br />
In France at the end of the seventeenth century, a minor furor arose over the question of whether contemporary learning had surpassed what was known by those in Classical Greece and Rome. The "moderns" (epitomized by de Fontenelle) took the position that the modern age of science and reason was superior to the superstitious and limited world of Greece and Rome. In his opinion, modern man saw farther than the ancients ever could. The "ancients," for their part, argued that all that is necessary to be known was still to be found in Virgil, Cicero, Homer, and especially <b>Aristotle</b>.<br />
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This literary contest was re-enacted in miniature in England when Sir William Temple published an answer to Fontenelle entitled <i>Of Ancient and Modern Learning</i> in 1690. His essay introduced two metaphors to the debate that would be reused by later authors. First, he proposed that <b>modern man was just a dwarf standing upon the "shoulders of giants"</b> (that modern man saw farther because he begins with the observations and learning of the ancients).<br />
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Swift added a short satire entitled "The Battle of the Books" to the Tale of a Tub. In this piece, there is an epic battle fought in a library when various books come alive and attempt to settle the arguments between moderns and ancients. In Swift's satire, he skillfully manages to avoid saying which way victory fell.<br />
In one sense, the "Battle of the Books" illustrates one of the great themes that Swift would explore in A Tale of a Tub: the madness of pride involved in believing one's own age to be supreme and the inferiority of derivative works. One of the attacks in the Tale was on those who believe that being readers of works makes them the equals of the creators of works. The other satire Swift affixed to the Tale, "The Mechanical Operation of the Spirit," illustrates the other theme: an inversion of the figurative and literal as a part of <b>madness</b>.<br />
from <a href="http://en.wikipedia.org/wiki/The_Battle_of_the_Books">http://en.wikipedia.org/wiki/The_Battle_of_the_Books</a><br />
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In 1333, in Liège, Belgium, Petrarch had found and copied out in his own hand a manuscript of Cicero's speech, Pro Archia, which contained a famous passage in <b>defense of poetry</b> and litterae (letters).<br />
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Petrarch referred to this quotation often, and where Cicero used the phrase "litterarum lumen", "the light of literature", Petrarch in the margin wrote lumen litterarum alongside and drew a sketch of a lamp or candle. The Liège manuscript is lost and so is Petrarch's copy, but Petrarch's copy "can be shown to be behind all but one of the later manuscripts" and preserve Petrarch's marginal annotations.[4] Petrarch, in many respects a Medieval man, regretted that Cicero had not been a Christian and believed that he certainly would have been one had he not died before the birth of Jesus. Cicero's humanitas was not seen as in conflict with Christianity or a Christian education by the umanisti who immediately followed him.<br />
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During Roman times, the concept of the <strong>seven liberal arts</strong> evolved, involving grammar, rhetoric and logic (the trivium), along with arithmetic, geometry, astronomy and music (the quadrivium). These subjects formed the bulk of medieval education, with the emphasis being on the humanities as skills or "ways of doing."<br />
<strong>A major shift</strong> occurred with the <strong>Renaissance</strong> humanism of the fifteenth century, when the <b>humanities</b> began to be regarded as subjects to be studied rather than practiced, with a corresponding shift away from the traditional fields into areas such as <strong>literature and history</strong>.<br />
In the 20th century, this view was in turn challenged by the <strong>postmodernist</strong> movement, which sought to redefine the humanities in more egalitarian terms suitable for a democratic society.<br />
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<br />
As a discipline, logic dates back to Aristotle, who established its fundamental place in philosophy. The study of logic is part of the classical trivium.<br />
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The migration of Byzantine scholars and other émigrés from southern Italy and Byzantium during the decline of the Byzantine Empire and mainly after the fall of Constantinople in 1453, is considered by many scholars as very important in the revival of Greek and Roman studies and subsequently in the development of the Renaissance humanism.<br />
<br />
The "intellectuals" were the Scholastics (schoolmen, partisans of Aristotle), adepts of scholasticism who "knew" everything about Nature from Aristotle's books! Leonardo changed all that, investigating directly the very same Nature Aristotle was 1000 years prior! Science didn't exist as a discipline then and often was considered as heresy and witchcraft.<br />
<br />
The curriculum of Christian schools included dialectic among the <b>seven liberal arts,</b> which was at that time the only branch of philosophy studied systematically. The head of the school generally taught dialectic, and out of his teaching grew both the manner of philosophizing and the system of philosophy that prevailed during all the Middle Ages.<br />
<br />
Scholasticism avoids Innatism, according to which all our ideas, or some of our ideas, are born with the soul and have no origin in the world outside us. At the same time, it avoids Sensism, according to which our so-called intellectual knowledge is only sense-knowledge of a higher or finer sort. The Scholastics, moreover, took a firm stand against the doctrine of Subjectivism. In their discussion of the value of knowledge they held that there is an external world which is real and independent of our thoughts. from <a href="http://www.newadvent.org/cathen/13548a.htm">http://www.newadvent.org/cathen/13548a.htm</a><br />
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Study REALITY (not as scholasts; from books): anatomy, perspective + beauty of nature (God)<br />
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<br />
DIALECTIC<br />
<br />
HUMANISM<br />
<br />
The Scholastic outlook on the world of nature is Aristotelean.<br />
Historically, the Golden Age of Scholastic philosophy, was the thirteenth century. And, even after the close of the Middle Ages, a philosopher or theologian who adopts the method or the system of the medieval Scholastics is said to be a Scholastic.<br />
The triumph of scientific discovery, with which, as a rule, the representatives of Scholasticism in the seats of academic authority had, unfortunately, too little sympathy, led to new ways of philosophizing, and when, finally, Descartes in practice, if not in theory, effected a complete separation of philosophy from theology, the modern era had begun and the age known as that of Scholasticism had come to an end.<br />
<br />
Question: Christian thinkers, from the beginning, were confronted with the question: How are we to reconcile reason (Aristotle) with revelation (Plato), science with faith , philosophy with theology? How the two orders of truth, the natural and the supernatural, must harmonize?<br />
<br />
Humanism, in contrast to scholasticism, represents the cast of mind of the Renaissance. Beginning as a movement in Italy in the 14th century, it finds some of its greatest adherents in northern Europe as late as the 16th century - in influential figures such as Erasmus and Thomas More.<br />
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Swift says therein: War is the child of Pride!<br />
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<br />
A THEOLOGICAL QUESTION:<br />
<br />
WHEN SEEING IS BELIEVING<br />
The row started with the first monotheist religion: Judaism with its condemnation of “idolatry”, to combat against the appeal of “images” from other Gods had on the first Hebrews. Yes, seeing was believing. Judaism became ever since a religion of the “Book”. This negative stance on “images” was transmitted to the two other monotheisms born out from Judaic tradition: Christianity and Islam. Indeed even today both Judaism and Islam condemn representing God with an image. Islam evolved towards geometry (architecture) and (writing) when …? Judaism: literature and music But Christianity was a religion fundamentally different: God (Jesus-Christ) had a human face. “Immediately after Constantine’s conversion, the Christian image, which had originated in the age of graffiti, proliferated and entered into constant dialogue with the imperial image” <a href="http://www.blogger.com/Users/Yves/Documents/_MY%20PROJECTS/2C_OR_NOT_2C/ANTIHUMANISM.doc#_ftn1" title="">[1]</a> + graffitis <a href="http://realhistoryww.com/world_history/ancient/Misc/Jesus/Jesus.htm">http://realhistoryww.com/world_history/ancient/Misc/Jesus/Jesus.htm</a> John 14:8-9 "If you had known me, you would have known my Father also; henceforth you know him and have seen him." Philip said to him, "Lord, show us the Father, and we shall be satisfied." Jesus said to him, "Have I been with you so long, and yet you do not know me, Philip? He who has seen me has seen the Father; how can you say, ‘Show us the Father’?" -> images of Christ… of human figure (imitation of Christ) = theological issues (not artistic, ie secular) because seeing is believing… <a href="http://en.wikipedia.org/wiki/Constantine_V#Iconoclasm">Iconoclasm</a> ideas from Constantine Copronymus, a Byzantine emperor from 741 to 775: "....He cannot be depicted. For what is depicted in one person, and he who circumscribes that person has plainly circumscribed the divine nature which is incapable of being circumscribed." (see error and // fingers at Moon) >< <a href="http://en.wikipedia.org/wiki/Iconodules">Iconodules</a> iconoclasm controversy in the Byzantine Empire <strong>Rejection of the past (eg acephale)…</strong> “To me there is no past or future in art. If a work of art does not live in the present, it must not be considered at all.” (Pablo Picasso) No past, no future<a href="http://gwynlmichael.com/?p=159">http://gwynlmichael.com/?p=159</a> What is art? Conceptual artists: everything is art… What art is not? Eidetic art takes its roots in the past masters (ideas) Old tradition of copying was studying from old masters. Art should speak for itself (no “painted word”)<br />
<h3>
>< art for the sake of art?</h3>
formalism in art = ”plastic form” Conceptual art = <strong>literary</strong> (words, books!) Surrealist (dada?) method = chance, accident of juxtaposition of two “things” whose combination creates a “spark” (Breton). à B Eno!!! Surrealism comes from Symbolism + dada = to explore “onirism”, dreams, NON VERBAL world… Art is communication of ideas, via EMOTIONS. Conceptual (intellectual) art is without emotion If you are touched, moved by a painting, you have been hit by some “idea” Beauty ß> Life Ugliness ß> death (eg Damien Hirst) ??? Nazis: their views on art/beauty was biased by racial eugenics. They hailed beauty as seen/expressed in (Aryan) Greek beauty. Nazi art (as Hitler’s) was based on death. Beauty ß-> Harmony (Nazis were opposed to harmony = // “impurity”) As a SOLUTION to a problem (simplicity containing complexity. eg E = mc2) = meaning of “harmony”. Philosophical problem of one/many. Scientists are “pattern searchers” and find beauty (simplicity) in these patterns, be they visual or mathematical. Life is such a simple/complex solution. Hence beauty = life. Canon of beauty is not beauty.<br />
<h3>
</h3>
// <a href="http://en.wikipedia.org/wiki/The_Picture_of_Dorian_Gray">Picture of Dorian Gray</a>? = >< hypocrisy<strong><em></em></strong><br />
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Enlightenment s criticisms:</div>
<ul>
<li>Jacobin terror (and absolutism)</li>
<li>Science as "positivism"</li>
</ul>
// music? In music there was attempts for radical antimusic but failed- Harmonics (melodies) were preserved (Beatles!)+ sources were pop/folk/country + African POP(ular) music!!! Unlike the radical nietzscheans (antiart or counter counterculture) etc- visual arts were an ideological battlefield These radicals (“free trhinkers”, revolutionbaries) considered themselves as an elite (Nietzscheamn ubermencsh/ zarathrustra) Therefore Acephale as a “secret society”. African culture: Picasso picked the masks when he could have pickedIfe’s sculpture! Figurative art = preserve the humanity inside (“humanism”- abstract art is anti (or “Uber”) humanists….) + it is a shared common language without which there is hardly any possible communication- especially of asocial nature. No picture was able to fill a Wembley stadium! HOWEVER, amongst the most famous pictures: Leonardo’s Mona Lisa! NO “abstract” picture ever achieved this. Andy Warhol tried to compete using Marilyn’s popularity. “Before” poets were art critics… then replaced by “intellectuals” (radical / free thinkers) More on Evola and Nietzsche’s superman and nihilism He wrote: <a href="http://www.juliusevola.com/archive/2009/03/21/The_Active_Nihilism_of_Friedri" target="_blank">THE ACTIVE NIHILISM OF FRIEDRICH NIETZSCHE</a><br />
<br />
<strong>The painted word</strong> Magritte’s pipe (trahison des images). NEW ICONOCLASM: LOGOS V. EIDOS (or society?) Our philosophy or Art will celebrate LIFE. It is based on construction, instead of destruction, on imagination rather than ### // Magritte ceci n’est pas une pipe (mensonge des images) // Name of the rose “Those who do not learn from history are doomed to repeat it”</div>
<br />
From <a href="http://eyeinside.files.wordpress.com/2011/08/richard-wolin-the-seduction-of-unreason.pdf" target="_blank">Richard Wolin - The Seduction of Unreason</a> (PDF - complete - text) + <a href="http://press.princeton.edu/titles/7705.html" target="_blank">http://press.princeton.edu/titles/7705.html</a> + <a href="http://eyeinside.files.wordpress.com/2011/08/i7705.pdf" target="_blank">Introdution (unreason)</a> <a href="https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnx0aGV0d29jdWx0dXJlc2RlYmF0ZXxneDoxYzE2ODQwNTBiNjI3MmJi" target="_blank">Or </a><br />
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<h3>
Romanticism as a reaction against... the Restoration (neoclassicism)</h3>
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<b>What is "Romanticism"?</b></div>
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<br /></div>
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<b>Despite his opposition to Enlightenment principles, "Romantic William Blake" arrived at a linear aesthetic that was in many ways more similar to the Neoclassical engravings of a John Flaxman than to the works of the so-called Romantics, with whom he is often classified. <<<<!!!!! </b></div>
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Even though the French Bourbon monarchy was restored it didn't mean the end of the "revolutionary troubles".<br />
France returned to Revolution times in 1830 and in 1848, two major events that not only impacted France, but the rest of Europe as well. The French Revolution of 1830, better known as the July Revolution, was triggered after Bourbon king Louis XVIII died, and his brother, Charles X, rose to power. He established the French Constitution that many citizens of France opposed. Fighting broke out in the streets of Paris between military officials and angered citizens. The rebels gained control and forced Charles X to abdicate to Great Britain. The French Revolution of 1848 was started for reasons very similar to the July Revolution.<br />
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Liberty Leading the People (French: La Liberté guidant le peuple) is a painting by <b>Eugène Delacroix</b> commemorating the <b>July Revolution of 1830</b>, which toppled King Charles X of France.<br />
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<a href="http://2.bp.blogspot.com/-1G7YofxhaNI/UtxP5bthfFI/AAAAAAAAC4k/dE8hdrGElLU/s1600/Eug%C3%A8ne_Delacroix_-_La_libert%C3%A9_guidant_le_peuple.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-1G7YofxhaNI/UtxP5bthfFI/AAAAAAAAC4k/dE8hdrGElLU/s1600/Eug%C3%A8ne_Delacroix_-_La_libert%C3%A9_guidant_le_peuple.jpg" height="316" width="400" /></a></div>
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Art historians say that "romantic artists" valued nature which was closely associated with emotion and imagination in opposition to the rationalism of Enlightenment philosophy. Delacroix hardly painted any landscapes! He rather painted people and human emotions!<br />
Théodore Géricault exerted a seminal influence on the development of Romantic art in France. Eugène Delacroix, was profoundly influenced by Géricault.<br />
<br />
<br />
<strike>Romanticism emphasised more on human <b>emotion</b>, (but not as a <b>Counter-Enlightenment</b> force.)</strike><br />
<strike>The Romantics complained that the Enlightenment had neglected the force of imagination and mystery.</strike><br />
<strike><b><br /></b></strike>
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<span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><strike>Restoration and NEOCLASSICISM (eg stoicism, academism, puritanism) >< ROMANTICISM?</strike></span><br />
<br />
<strike>Note: Romanticism (emotions, Beethoven, Gericault, Eugène Delacroix, etc) >< David's Neo classicism (Bourbons restoration, = COUNTER revolution Congress of Vienna)</strike><br />
<br />
<a href="http://www.jamesfarleyphotography.com/david-and-gericault-neoclassical-rationalism-and-romanticism-in-the-wake-of-revolution/" target="_blank">David and Géricault – Neoclassical Rationalism and Romanticism in the wake of Revolution.</a><br />
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<strong><strike>Enlightenment's neo-classicism // Re-naissance, ie of classical roman/Greek arts!</strike></strong><br />
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<h3>
<b><strike>COUNTER-ENLIGHTENMENT </strike></b></h3>
</div>
<b><strike>COUNTER-REVOLUTION</strike></b><br />
<b><strike>COUNTER-CULTURE</strike></b><br />
<b><br /></b>
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against PROGRESS<br />
<b><a href="http://en.wikipedia.org/wiki/Humanities#Origin_of_the_term" target="_blank">http://en.wikipedia.org/wiki/Humanities#Origin_of_the_term </a></b><br />
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<b><strike>Trivium </strike></b><br />
<strike><br /></strike>
<br />
<ol>
<li><strike>Grammar </strike></li>
<li><strike>Dialectic (also known as Logic)</strike></li>
<li><strike>Rhetoric </strike></li>
</ol>
<strike><br /></strike>
<b><strike>Quadrivium </strike></b><br />
<strike><br /></strike>
<br />
<ol>
<li><strike>Arithmetic </strike></li>
<li><strike>Music </strike></li>
<li><strike>Geometry </strike></li>
<li><strike>Astronomy</strike></li>
</ol>
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<strike>They are seven in number and may be arranged in </strike></div>
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<strike><br /></strike>
<strike><a href="http://en.wikipedia.org/wiki/Humanities" target="_blank">wiki</a>: The humanities include ancient and modern <strong>languages</strong>, literature, history, philosophy, religion, and visual and performing <strong>arts</strong> such as music and theatre. The humanities that are also regarded as <strong>social</strong> sciences include technology, history, anthropology, area studies, communication studies, cultural studies, law and linguistics. !!!</strike><br />
<strike><br /></strike>
<strike>Although, literary intellectuals will argue that this is preposterous because most are secular, I think it is fair to compare the arguments.</strike></div>
<h4>
<span style="font-weight: normal;"><strike>A major shift occurred with the Renaissance humanism of the fifteenth century, when the humanities began to be regarded as subjects to study rather than practice, with a corresponding shift away from traditional fields into areas such as literature and history. </strike></span></h4>
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<h4>
Humanities v. Humanism</h4>
</div>
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<h3>
<strike>"Literary Intellectuals" or the Revenge of </strike></h3>
<blockquote class="tr_bq">
<h4>
<span style="font-weight: normal;"><strike>In the West, the study of the "humanities" can be traced back to ancient Greece, as the basis of a broad education for citizens. </strike></span></h4>
<h4>
<div style="font-weight: normal;">
<strike>During medieval times, when learning came under the purview of the Church, these subjects (called the <i>Trivium</i>) were extended to include arithmetic, geometry, music, and astronomy (which included the study of astrology). </strike></div>
</h4>
<h4>
<strike style="font-weight: normal;">But in Medieval times, education was split into two categories: </strike></h4>
<h4>
<strike style="font-weight: normal;">the concept of the seven liberal arts evolved, involving grammar, rhetoric and logic (the trivium), along with arithmetic, geometry, astronomy and music (the quadrivium).[19] These subjects formed the bulk of medieval education, with the emphasis being on the humanities as skills or "ways of doing."</strike></h4>
</blockquote>
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from <a href="http://eyeinside.wordpress.com/2012/01/14/anti-humanism/" target="_blank">ANTI-HUMANISM (AND ANTI-ART/SCIENCE)</a><br />
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</h3>
<h4>
But what is "modernism" then?</h4>
<h3>
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<div>
Before looking at POST-modernism, let us try to define what is "modernism". Art historians generally define Modernism as a cultural movement in our society from the late 19th to early 20th centuries, which attempted to challenge the objective rigid "classicism". The theories of Sigmund Freud influenced early Modernism with some apparent scientific basis defending the preeminence of subjective experience over "objective reality", which the Enlightenment thinkers highly valued since Galileo or Newton. Freud's description of subjective states, involving an unconscious mind full of primal impulses was very appealing to artists as they would have to William Bake. Counter-Enlightenment philosopher Friedrich Nietzsche is also considered as another major precursor of "modernism," with a philosophy in which psychological drives, specifically the 'Will to power', were more important than facts, peoiple or things. Literary Modernists experimented with literary form and expression, adhering to Ezra Pound's maxim to "Make it new" (Pound, Ezra, Make it New, Essays , London, 1935). (*)</div>
<div>
<br />
On the other hand American visual art critic Clement Greenberg called Enlightenment philosopher Immanuel Kant "the first real Modernist" ! (Frascina and Harrison 1982, p. 5.)</div>
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<br /></div>
<div>
I consider "modern" as a subjective term that applies to anything which is considered as "new". The Enlightenment was therefore "modern", so was "Counter-Enlightenment." </div>
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<br />
<span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">(*) On Ezra Pound, read the excellent research by Dr. Matthew Feldman </span><a href="http://www.amazon.co.uk/Pounds-Fascist-Propaganda-1935-45-Palgrave/dp/1137345500" style="font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;" target="_blank">"Ezra Pound's Fascist Propaganda, 1935-45"</a><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"> (2013)</span><br />
<span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"><br /></span>
This "modern" term is not defined and opens the door to any subjective interpretatioon. The same applies to "postmodernism" and its "intellectuals". <br />
<span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"><br /></span><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">Note: </span><br />
While A. Sokal and J. Bricmont with their book `<em><em><strong>Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science</strong></em></em>' (1997) prepared postmodernism's coffin, G. G. Preparata hammered the nails in it and buried it deeply. Never has a `philosophical' movement sunk so deeply in the language morass. This book based on a massive bibliography is a must read for all those interested in modern philosophy and in the world we live in.<br />
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</h3>
<h4>
<a href="http://4.bp.blogspot.com/-MHJcPGY5HqI/UasogzozsmI/AAAAAAAACS8/A51uxoDNEJg/s1600/3124979.jpg" imageanchor="1" style="clear: right; display: inline !important; font-weight: normal; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" src="http://4.bp.blogspot.com/-MHJcPGY5HqI/UasogzozsmI/AAAAAAAACS8/A51uxoDNEJg/s1600/3124979.jpg" /></a></h4>
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<br /></div>
<div>
to<span style="font-family: Euclid; font-size: 14px; line-height: 21.006000518798828px;"><strike>wrote monographs drawing new attention to Nietzsche's work, and a 1972 conference at Cérisy-la-Salle ranks as the most important event in France for a generation's reception of Nietzsche.</strike></span></div>
<strike>In France, this rehabilitation texts is manifested by (Nietzsche et la Philosophie by Gilles Deleuze, 1962) and seminars (1964 1972) where discuss. </strike><br />
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<span style="font-family: Euclid; font-size: 14px; line-height: 21.006000518798828px;"><br /></span></div>
<div>
<strike>the most important postmodernist intellectuals were influenced by Nietzsche, via Georges Bataille's review the "Acephale" in the 1930s.</strike><br />
<h3>
<div>
<div style="font-size: medium; font-weight: normal;">
<strike><span style="background-color: white; color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">While questioning artistic values in early 20th C, artists never paid attention to Einstein's </span><strong style="background-color: white; color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">solutions</strong><span style="background-color: white; color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"> superseding classical Newtonian science, nor Godel's or quantum mechanics (Heisenberg's uncertainty principle). </span></strike></div>
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<strike>// intellectuals as secular "<a data-mce-href="http://en.wikipedia.org/wiki/Scholasticism" href="http://en.wikipedia.org/wiki/Scholasticism" target="_blank">scholastics</a>"! -> New Art Renaissance</strike></div>
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<strike>Postmodernism itself is a move away from Modernism especially from its twin pillars, <strong>Humanism</strong> and <strong>Rationalism</strong>. <strong><a data-mce-href="http://eyeinside.wordpress.com/2011/08/09/the-post-modernist-assault-against-the-lumieres-enlightenment/" href="http://eyeinside.wordpress.com/2011/08/09/the-post-modernist-assault-against-the-lumieres-enlightenment/">AGAINST LUMIERES</a></strong></strike></div>
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<strike>Instead adopting these basic principles:</strike></div>
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<li><strike>Nothing is absolute.</strike></li>
<li><strike>There is no great 'Truth'.</strike></li>
<li><strike>Everything is a 'text' to be deconstructed.</strike></li>
<li><strike>There are no 'Grand Narratives' of how to explain society.</strike></li>
<li><strike>All research findings must be open to change and must be falsifiable.</strike></li>
</ol>
<span style="color: #333333; font-family: Georgia, Times New Roman, Bitstream Charter, Times, serif;"><span style="font-size: 14px; font-weight: normal; line-height: 21px;">---------</span></span><br />
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<span style="color: #333333; font-family: Georgia, Times New Roman, Bitstream Charter, Times, serif;"><span style="font-size: 14px; font-weight: normal; line-height: 21px;"><strike><br /></strike></span></span></div>
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<li><strike>1902-14 // like on "Giant s shoulders" (Hawking) or eg Renaissance: it built on the past (added) He gained Swiss citizenship in 1901 and in 1909 became Professor Extraordinary at <strong>Zurich</strong>, in 1911 Professor of Theoretical Physics at Prague, returning to Zurich in the following year in 1912 to fill a similar post.</strike></li>
<li><strike>1916-22 Dada: Nietzschean method of REJECTING (tabula rasa) everything > anti Art ps: Apollinaire died in 1918</strike></li>
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<span style="color: #333333; font-family: Georgia, Times New Roman, Bitstream Charter, Times, serif;"><span style="font-size: 14px; line-height: 21px;"><strike><b style="color: black; font-family: 'Times New Roman'; font-size: medium; line-height: normal;">RELATIVISM: "EVERYTHING IS ART" </b><span style="color: black; font-family: 'Times New Roman'; font-size: small; line-height: normal;">since Duchamp's urinal</span></strike></span></span></div>
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<strong><strike>ZURICH</strike></strong></div>
<strike><b>Einstein</b>: </strike><br />
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<strong><strike>In 1905, Albert Einstein earned his doctorate at the University of Zurich.</strike></strong><br />
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<strike>Einstein sought to extend the special theory of relativity to phenomena involving acceleration. The key appeared in 1907 with the principle of equivalence, in which gravitational acceleration was held to be indistinguishable from acceleration caused by mechanical forces. Gravitational mass was therefore identical with inertial mass.</strike></div>
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<strike>In 1908 Einstein became a lecturer at the University of Bern after submitting his Habilitation thesis. The following year , </strike><br />
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<b><strike>Dada</strike></b></div>
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<strike>Unlike Einstein, "Cubists" FAILED to go beyond clasical perspective, failed to understand "hyper so they tried "multiple pserspectives" (Cezanne) which is like going back to medieval art! Einstein di go "beyond" Newton... WITHOUT rejecting it... unlike dada/sur-realists/cubists etc</strike></div>
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<strike>ps: Apollinaire did NOT understand 4th dimension</strike></div>
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<strike>The term Dada was first used by Tristan Tzara in 1916.<sup><a data-mce-href="http://en.wikipedia.org/wiki/Nihilism#cite_note-53" href="http://en.wikipedia.org/wiki/Nihilism#cite_note-53">[54]</a></sup> The movement, which lasted from approximately 1916 to 1922, arose during World War I, an event that influenced the artists.<sup><a data-mce-href="http://en.wikipedia.org/wiki/Nihilism#cite_note-Tzara-54" href="http://en.wikipedia.org/wiki/Nihilism#cite_note-Tzara-54">[55]</a></sup> </strike><br />
<strike> Given that Dada created its own means for interpreting its products, it is difficult to classify alongside most other contemporary art expressions. Hence, due to its ambiguity, it is sometimes classified as a nihilistic <em><a data-mce-href="http://en.wikipedia.org/wiki/Modus_vivendi" href="http://en.wikipedia.org/wiki/Modus_vivendi" title="Modus vivendi">modus vivendi</a></em>.<sup><a data-mce-href="http://en.wikipedia.org/wiki/Nihilism#cite_note-Tzara-54" href="http://en.wikipedia.org/wiki/Nihilism#cite_note-Tzara-54">[55]</a></sup></strike></div>
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<strong><strike>= Anti-art art mvt (see <a data-mce-href="http://en.wikipedia.org/wiki/Tristan_Tzara#Dada_and_anti-art" href="http://en.wikipedia.org/wiki/Tristan_Tzara#Dada_and_anti-art" target="_blank">Dada and anti-art</a>)</strike></strong></div>
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<strike>+ <a data-mce-href="http://arthistory.about.com/cs/arthistory10one/a/dada.htm" href="http://arthistory.about.com/cs/arthistory10one/a/dada.htm" target="_blank">http://arthistory.about.com/cs/arthistory10one/a/dada.htm</a></strike></div>
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<strike>French writer Dominique Noguez imagined Lenin as a member of the Dada group in his tongue-in-cheek Lénine Dada (1989).<a data-mce-href="http://en.wikipedia.org/wiki/Dada" href="http://en.wikipedia.org/wiki/Dada" target="_blank">WIKI</a> + <a data-mce-href="http://www.suite101.com/content/how-the-city-of-zurich-became-a-small-haven-for-revolutionaries-a352414" href="http://www.suite101.com/content/how-the-city-of-zurich-became-a-small-haven-for-revolutionaries-a352414" target="_blank">http://www.suite101.com/content/how-the-city-of-zurich-became-a-small-haven-for-revolutionaries-a352414</a></strike></div>
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<strike>Albert Einstein</strike><br />
<blockquote class="tr_bq">
<strike>The most beautiful experience we can have is the mysterious – the fundamental emotion which stands at the cradle of true art and true science.</strike></blockquote>
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<li><strike>science: build on the past (relativity didnt overthrow Newton, it included it) = on giant's shoulders</strike></li>
<li><strike>art: rejection of the past (after Duchamp et al) = tabula rasa, >< imitattion/ copying masters or nature!</strike></li>
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<strike>! 1905: Einstein + dada... :</strike></div>
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<strike><strong>!!! divorce between sciences and art:</strong> while questioning artistic values in early 20th C, artists never paid attention to Einstein's <strong>solutions</strong> superseding classical Newtonian science, nor Godel's or quantum mechanics (Heisenberg's uncertainty principle) etc etc <strong>Art is meant to disturb, science reassures. (Georges Braque) </strong> 2 different and diverging histories (science and art):</strike></div>
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<li><strike>science: build on the past (relativity didnt overthrow Newton, it included it) = on giant's shoulders</strike></li>
<li><strike>art: rejection of the past (after Duchamp et al) = tabula rasa, >< imitattion/ copying masters or nature!</strike></li>
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<strike>! 1905: Einstein + dada... : two roads in different directions yet "revolutionize" both science and art...</strike></h3>
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<strike>STORY:</strike></div>
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<strike> (eg Leonardo/ Vitruvius man as perfect "symbol" of unity between arts and sciences < Acephale) = Nietzsche/ Heraclitus/ sophism -> con art SITUATION: example: landing on the <strong>Moon</strong> // the wise-man and the Moon ;-) (see below) humanities/ "literary intellectuals" v scientists AND visual arts To demonstrate that anti-science = anti-art as well... ---> Nietzsche via <strong><a href="http://eyeinside.wordpress.com/2011/08/09/the-post-modernist-assault-against-the-lumieres-enlightenment/">postmodernism v modernism/ enlightenment</a> </strong> DRIFT: SWITZERLAND... Einstein / Lenin /Dada science+ art: Apollo/ Dionysus= aesthetic principle</strike></div>
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<strong><br /></strong><strong>Switzerland</strong></div>
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<strong>Chronology:</strong></div>
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<li>1902-14 Einstein: revolutionized science NOT by rejecting it (newton) but by building upon it // like on "Giant s shoulders" (Hawking) or eg Renaissance: it built on the past (added) + atomist theory (Democritus) He gaine Swiss citizenship in 1901 and in 1909 became Professor Extraordinary at <strong>Zurich</strong>, in 1911 Professor of Theoretical Physics at Prague, returning to Zurich in the following year in 1912 to fill a similar post.</li>
<li>1916-22 Dada: Nietzschean method of REJECTING (tabula rasa) everything > anti Art ps: Apollinaire died in 1918</li>
<li>1916 Lenin</li>
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<strike>Dionysus/ Apollo revisited at Copenhagen interpretation <strong>ZURICH</strong></strike></div>
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<b>N's "PERSPECTIVISM" AND POSTMODERNISM</b></div>
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<strong>(= "literary intellectuals" CP Snow was complaining about) </strong><strong>or when LOGOS strikes back</strong></div>
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= <strong>Humanities v Sciences</strong></div>
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<strike>POSTMODERNISM AGAINST ENLIGHTENMENT (AND HUMANIST RENAISSANCE)</strike></div>
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<strike><br /></strike><strike>NIETZSCHE/HERACLITUS > POSTMODERNSIST (INTELLECTUALS) / HUMANITIES</strike></div>
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<b><a href="http://en.wikipedia.org/wiki/Counter-Enlightenment#The_Enlightenment.27s_.22perversion_of_reason.22" target="_blank">The Enlightenment's "perversion of reason", </a></b></h3>
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<b>sometimes associated to "enlightened monarchs" (despots)</b></div>
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<b><br /></b>TOTALITARIANISM >< POSTMODERNISM</h3>
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<b>ACEPHALE AND FOUCAULT: MADNESS (NIETZSCHE)</b></div>
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POSTMODERN THINKERS >< REASON</h3>
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Divergence : </div>
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switzerland<br />
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<span style="font-weight: normal;">BUT </span>Copenhagen interpretation<span style="font-weight: normal;">: in 1927, Werner Heisenberg stated that the more precisely the position of some particle is determined, the less precisely its momentum can be known, and vice versa. Werner Heisenberg formulated the Uncertainty Principle at Niels Bohr's institute in Copenhagen, while working on the mathematical foundations of quantum mechanics. </span></div>
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It laid the foundation for what became known as the "Copenhagen interpretation of quantum mechanics." Heisenberg showed that the commutation relation implies an uncertainty, or in Bohr's language a <i>complementarity</i>. Any two variables that do not commute cannot be measured simultaneously - the more precisely one is known, the less precisely the other can be known. Heisenberg wrote:</div>
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It can be expressed in its simplest form as follows: One can never know with perfect accuracy both of those two important factors which determine the movement of one of the smallest particles—its position and its velocity. It is impossible to determine accurately both the position and the direction and speed of a particle at the same instant. (Heisenberg, W., Die Physik der Atomkerne, Taylor & Francis, 1952, p. 30) </blockquote>
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<strong><u><strike><a href="http://www.clickinks.com/enlightenment-inspired-art-of-france.html" target="_blank">A Brief History of Enlightenment-Inspired French Art</a></strike></u></strong></div>
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<h4>
<a href="http://abandonedart.org/?page_id=571">Blake vs. Newton</a></h4>
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<span style="font-weight: bold;">: </span><span style="font-size: 13.5pt; font-weight: bold;">Emotions vs. Reason</span><br />
<span style="font-size: 13.5pt; font-weight: bold;"><a href="http://en.wikipedia.org/wiki/Counter-Enlightenment" style="font-size: medium; font-weight: normal;" target="_blank">http://en.wikipedia.org/wiki/Counter-Enlightenment</a></span><br />
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+ atomist theory (<b>Democritus</b>) <a data-mce-href="http://www.physik.uni-augsburg.de/theo1/hanggi/History/Renn.pdf" href="http://www.physik.uni-augsburg.de/theo1/hanggi/History/Renn.pdf" target="_blank">Einstein’s 1905 paper on Brownian motion was an essential contribution to the foundation of modern atomism</a>. </div>
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<span style="color: black; font-family: 'Times New Roman'; font-size: small; line-height: normal;"> </span><a href="http://www.physik.uni-augsburg.de/theo1/hanggi/History/Renn.pdf" style="font-family: 'Times New Roman'; font-size: medium; line-height: normal;" target="_blank">Einstein’s 1905 paper on Brownian motion was an essential contribution to the foundation of modern atomism</a><span style="color: black; font-family: 'Times New Roman'; font-size: small; line-height: normal;">. </span></div>
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= vindicating Democritus 2,500 years later ;)<br />
<span style="color: black; font-family: 'Times New Roman'; font-size: small; line-height: normal;">Most commonly, nihilism is presented in the form of existential nihilism, which argues that life is without objective meaning, purpose, or intrinsic value. Moral nihilists assert that morality does not inherently exist, and that any established moral values are abstractly contrived.</span><br />
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<b style="background-color: white; color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"><span style="background-color: transparent;"><span style="color: black; font-family: 'Times New Roman'; font-size: small; line-height: normal;">HERACLITUS' </span></span>pessimism > arts</b></div>
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<b>DEMOCRITUS' optimism > sciences</b></div>
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