Two Science-Art Philosophies - Utopia or Oblivion?

A warning to the reader: This article argues that modern science has been turned upside down, revealing the remedy to Steven Hawking's observation that the greatest mistake humanity has ever made was to invent artificial intelligence. The correction to that mistake necessitates an up-to-date familiarity with Buckminster Fuller and C P Snow's third culture, in which human survival is about gaining a new perspective on the unification of Science with Art.
Rather than this new perspective constituting an attack upon science, it draws attention to the crucial importance of Fuller and Snow's synergistic Science-Art concepts. The effort to place those concepts within the perspective associated with very recent, crucial scientific discoveries, will allow for a better understanding of the nature of reality, in particular, relevant to carcinogenic growth and development.
The Feb-Mar 2016 issue of Philosophy Now contained an article by Magdalena Scholle about how the philosopher, Nietzsche, inspired Dali. Her observation that Nietzsche's first book The Birth of Tragedy deserves particular attention by art critics, is now one of pivotal scientific importance. Evidence exists to demonstrate that Dali's intuitive assessment of Nietzsche's Two spirits of art, as he diagnosed it, included one spirit being an expression of an inner stereoscopic evolutionary phenomenon.
Scientists argued that Dali's well known obsession with what he called "stereoscopic art" failed to resonate directly to the viewers' vision. During 2003, asymmetrical electromagnetic 3D viewing glasses were manufactured and later sold along with their patent (USD669522 - 3D glasses) to the entertainment industry. The scientists that created them noted that some of the paintings by the artists, Vincent van Gogh and Paul Cezanne, when viewed through their glasses, depicted stereoscopic images. The philosopher of science, Immanuel Kant, laid the ethical foundations of the Electromagnetic Golden Age of Danish Science. Both he and the philosopher, Emmanuel Levinas, had diagnosed Plato's search for an artistic ethic as being an asymmetrical electromagnetic vision belonging to the creative mind.
Dali's passionately felt inner stereoscopic artistic inspiration has now been made visible and measurable, as an evolutionary process. This fact warrants the critical attention by philosophers of art that Scholle advocated. Asymmetrical electromagnetic visual observation now reveals that artists all over the world, during the 21st Century, unconsciously paint much more dramatic 3D stereoscopic images than artists throughout recorded history. The critical attention to this by philosophers of art will involve overcoming the severe culture shock of medical science being turned upside down by the new stereoscopic awareness. This is ethically preferable to the entertainment industry ignoring it.
Eminent epidemiologists have noted that an acceleration of the commercial manufacture of stereoscopic 3D information and communication devices has brought about a dysfunctional 3D global epidemic. This problem was summed up within an MIT Technology Review by David Zax July 29, 2011 entitled, Does 3D Hurt Your Eyes? Yes, Says Science - Now how do we fix the stereoscopic mess we've gotten ourselves into? Zax refers to a paper published in the American Government's National Institute of Health's Medical Journal of Vision, July 21, 2011, in which it states "The paper almost treats 3D like a strain of some virus that can't be contained, only treated. The assumption appears to be that 3D is here to stay, and that as good epidemiologists we must do what we can to mitigate the damage it inflicts."
The natural evolution of stereoscopic inner vision and the stereoscopic epidemic explains Nietzsches' 'two spirits of art', referred to by Scholle. The above mentioned culture shock embraces the same problem that C P Snow attributed to the functioning of mainstream science's mindset. Einstein's governing 'Premier law of all of the sciences' the universal heat death law, is now an obsolete understanding of the second law of thermodynamics, which incorrectly sentences all life in the universe to frozen extinction. Quantum biological cancer research's living information flows in the opposite direction to second law thermodynamic heat-loss energy.
Isaac Newton considered that mechanical first cause principles were "pretentious hypothesis". Although Einstein harboured doubts about quantum mechanics' infallibility, his understanding of the second law, based upon mechanical logic, can no longer to be considered as the premier law of all of the sciences.
In the second Edition of Encyclopaedia Perthensis, or Universal Dictionary of Knowledge, Volume 14, printed in Edinburgh by John Brown in 1816, Newton's first principle logic causing gravitational force has been quoted under the entry 'Mechanical' on page 118. Newton most emphatically stated that the cause of gravity is not mechanical. Under the entry, 'Mechanically' he demonstrated that mechanical gravitation first cause principles are pretentious. This information is quoted from Newton's published 28th Query Discussions, in the second edition of his journal, Opticks. Newton based his denunciation of mechanical first principle logic upon the work of ancient Greek scientists, "... who made a vacuum and atoms and the gravity of atoms the first principles of their philosophy tacitly attributing gravity to some other cause than dense matter."
Whether Newton was right or wrong is irrelevant. Quantum mechanics and its offspring cannot deliver first cause principle logic that has been derived from the false assumption that Newton held gravity to be caused by the mass of objects in space.
This authentic argument reveals that science is being turned upside down, and it correlates with Snow's argument that modern science does not communicate about evolutionary biological processes, because it has no insight into the true nature of the second law. The absence of scientific synergistic communication within mechanical and biological dialogue requires that substantial evidence be provided, in particular, concerning the process of inner stereoscopic evolution.
The Proceedings of the National Academy of Sciences of the United States of America (vol. 101 no. 27, 2004) included the paper, Binocularity and Brain Evolution in Primates. It stated that while stereoscopic vision in primates is extremely complex, its "evolutionary purpose is unknown". Conversely, The British Medical Journal on the 6th of August, 1953 ( vol 2, issue 4831) published the paper Evolution of Binocular and Stereoscopic Vision in Man and Other Animals. In its conclusion, the question is asked whether complex inner stereoscopic vision within the human mind will ensure human survival or be used to destroy civilisation. This paper led to further in-depth research and discovery, of immense human survival importance, that has been disregarded by mainstream science. Scientists such as CP Snow, the Nobel laureate, Szent-Gyorgyi and Buckminster Fuller, all realised that this dysfunctional aspect of scientific research, unless rectified, would lead to the end of civilisation.
The stereoscopic research of the British scientists remained isolated from mainstream science until 2012, when it was fused into quantum biology by Professor Massimo Pregnolato and Professor Paolo Manzelli, recipients of that year's Giorgio Napolitano Medal, awarded on behalf of the Republic of Italy. Together with the Italian artist, Roberto Denti, they linked Science-Art Research in Australia to their Italian quantum biology discoveries as being an integral part of the 21st Century Renaissance, a rebirth of the ancient Platonic Greek Science for ethical ends.
Also, in 2012, the physicist Guy Deutscher's book of the year, Through the Language Glass upgraded the discarded 19th Century evolutionary linguistic colour perception theories of the British Prime Minister, William Gladstone and the German philosopher of biological science, Wolfgang von Goethe. The resulting neurological science was compatible with the Australian-Italian Science-Art quantum biology research findings. Furthermore, the evolutionary process of unconscious artistic intuition, observable though asymmetrical electromagnetic stereoscopic glasses provided for important optics research expanding upon the use of optical mathematics theory during the 1980s. The measurement of the life force governing seashell growth and development through space time, reprinted by the world's largest technological research institute, IEEE, in 1990, as an important 20th Century discovery, is recorded in the online book, C P Snow and the NASA high Energy Project.
Dali dismissed Descartes' science research axiom, "I think therefore I am", writing in favour of Freud's first principle being the "Joy of Life" paradigm. Platonic ethical emotional first cause principles were associated with the nature of infinity by many philosophers of science including Newton, Liebniz and Georg Cantor. Cantor's mathematical theories now uphold most of modern science. However, his theory of 'actual' infinity completely upset the modern scientific mind, which for many years has been governed by an obsolete understanding of the second law of thermodynamics. That law led to the evolutionary belief that the living process must move toward extinction. Within this mindset, the concept that life could possibly evolve toward infinity by embracing infinite fractal logic technologies would seem impossible. Cantor, one of history's most famous mathematicians, become the most detested one for his highly contentious paradigm, "The fear of infinity is a form of myopia that destroys the possibility of seeing the actual infinite, even though it in its highest form has created and sustains us, and in its secondary transfinite forms occurs all around us and even inhabits our minds."
In, Beyond Infinity: Georg Cantor and Leopold Kronecker's Dispute over Transfinite Numbers, the author Patrick Carey wrote that the mathematician, David Hilbert, famous for his development of Hilbert space, basic to the foundation of functional analysis, wholeheartedly supported Cantor's work. He defended it by claiming that it was "nothing less than the finest product of mathematical genius and one of the supreme achievements of purely intellectual human activity." The author of Brainfilling Curves, Jeffery Ventrella, researcher of infinite boundaries of fractal curves, wrote that Hilbert's work was about different kinds of infinity, beyond mainstream science, in the highly vilified Cantorian sense.
The human cell changes its geometrical shape when it is poised to transmit first principle cause information, as it divides itself as an infinite fractal expression. In his 2009 article, The Human Genome in 3 Dimensions, Brandon Keim provides the highest resolution picture ever of the genome's 3D structure at that critical moment. Its fractal shape and not just its DNA content transmits health information in a manner "which remains largely unexplained by traditional" genomic science. In mathematical terms, the cell employs a geometrical shape belonging to the Hilbert curve family structure. Georg Cantor had thoroughly researched the Platonic Greek Science that Newton saw as being the correct authority on first cause principle logic, functioning within their infinite universes.
We can now explain about Kant and Levinas's asymmetrical electromagnetic ethics in a more sociable manner, in particular, to reveal how to obtain first cause principles concerning the nature of dysfunctional carcinogenic growth and development. They agreed with Plato that traditional art was unethical. This can be explained by referring to the spirit of Greek art being enhanced by the culture of the Roman Empire. The Roman Colosseum, hailed within Roman culture as the epitome of Greek art, in which the mathematics employed in its construction were used to construct beautiful aqueducts, carrying fresh water to the city of Rome. This was touted as being artistically superior to the artistic construction of useless Egyptian pyramids. We can argue that the Colosseum's Science-Art form, used to stage sadistic acts of murder for the entertainment of the populace, was an unethical art form. This dysfunctional tradition of Science-Art echoes the cause of the global stereoscopic 3D epidemic, of concern to epidemiologists.
The 3D virus of concern to the epidemiologists is transmitted to the human mind through an artistic collaboration with contaminated mathematics. Through the global acceleration of information and communication devices this virus has become an incurable epidemic. The virus appears to be a strain of the mathematical dysfunctional intent placed into poker machines, where aesthetically pleasing sounds and colour images can bring about a heroin-like addiction, compelling some people to play themselves into a state of bankruptcy. Vast governmental revenue from legalised poker machine gambling echoes the structure of the global stock market, in which the world debt of 200 trillion dollars cannot be paid.
The functioning of living cells as an electromagnetic unit is well understood and its associated ethical nature can be considered to belong to an infinite universal evolutionary purpose. Nietzsche's traditional understanding of the spirit of art is confined to the flow of carcinogenic heat death logic. Living information can manipulate its way through the infinite geometrical shape of the cell poised to divide itself, however, the flow of heat death energy, flowing in the opposite direction can contribute no relevant information concerning that process. However, Dali's stereoscopic science intuitions are sympathetic to the spirit of the electromagnetic stereoscopic first cause non-carcinogenic information, transmitted to the daughter cell as a first cause logic communication, in the evolution of emotional consciousness.
At the very moment of cell division we see that its infinite geometrical shape does not allow the traditional spirit of art to predominate in the human evolutionary process, but utilises one associated with infinite stereoscopic inner vision.
The author of Living Cells are Electromagnetic Units, Dr Riejo Makela M. D., has spent a lifetime arguing that,"By using the closed circuit systems [obeying obsolete carcinogenic heat death law] when studying living cells, the scientists of today reject the obligatory existence of magnetic fields with electric fields." He argues that within this mindset, an understanding of first cause cancer growth and development is prevented. He is one of many scientists that have pointed out that traditional mathematics is unable to describe first cause principles involved in solving the conundrum of how, after cell division, both cells are identical.
Dali's stereoscopic theories can appear to be associated with an intuitive Greek logic about first principles, much the same as the New York Library of Science in 1957 published the book Babylonian Mythology and Modern Science, which stated that Einstein derived his theory of relativity from the mythological mathematical intuition belonging to Babylonian culture. C P Snow in his Science-Art Third Culture modified both Dali and Einstein's intuitive origins, in which 21st Century quantum mechanics's evolution of stereoscopic vision later became a rigorous foundation for the new upside-down science. Snow's Science-Art theories, specifically different from traditional, unethical Science-Art logic, transposed Newton's first principle logic, and Dali's emotional intuitions, into potentially practical technological aspects of the abovementioned Deutscher linguistic colour perception theories.
The 2013 discovery that the junk DNA helix communicates health and wellbeing information to DNA, and is considered to be using an inner stereoscopic 3D language is now of crucial importance. In 2004, Harvard University, Massachusetts University and the Royal Danish Consulate, held an international symposium to explain to the world about the social importance of the message of the electromagnetic Golden Age of Danish Science. They noted that it had been mostly written in Danish and not translated, making it "invisible to English speaking scholarship." ï»¿This article is an attempt to help the remarkable upside-down mainstream science to synergise with C P Snow and Buckminster Fuller's human survival Third Culture, in the name of Utopia or Oblivion.
Professor Robert Pope is the Director of the Science-Art Research Centre of Australia, Uki, NSW, Australia. The Center's objective is to initiate a second Renaissance in science and art, so that the current science will be balanced by a more creative and feminine science. More information is available at the Science-Art Centre website: http://www.science-art.com.au/books.html
Professor Robert Pope is a recipient of the 2009 Gold Medal Laureate for Philosophy of Science, Telesio Galilei Academy of Science, London. He is an Ambassador for the Florentine New Measurement of Humanity Project, University of Florence, is listed in Marquis Who's Who of the World as an Artist-philosopher, and has received a Decree of Recognition from the American Council of the United Nations University Millennium Project, Australasian Node.
As a professional artist, he has held numerous university artist-in-residencies, including Adelaide University, University of Sydney, and the Dorothy Knox Fellowship for Distinguished Persons, Dunmore Lang College: Maquarie University, and Yangzhou University, China. His artwork has been featured of the front covers of the art encyclopedia, Artists and Galleries of Australia, Scientific Australian and the Australian Foreign Affairs Record. His artwork can be viewed on the Science-Art Centre's website.


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