Showing posts with label Woodcuts. Show all posts
Showing posts with label Woodcuts. Show all posts

Monday, July 22, 2013

The Universe of Sound: Subodh Patil - Collide@CERN Inspiration Part

Dr. Subodh Patil is a cosmologist at CERN and is the inspiration partner for Bill Fontana, 2012-2013 Prix Ars Electronica Collide@CERN winner, during his residency at CERN. Bill began his 3-month residency at CERN at an event called "The Universe of Sound" on July 4th, 2013, in the CERN Globe of Science & Innovation. In this excerpt from this event, Dr. Patil explains the parallels between physics, cosmology, sound, and music.
Watch the video of Bill Fontana's talk here:


Tuesday, January 04, 2011

Maurits Cornelis Escher

A 1929 self-portrait
Born June 17, 1898
Leeuwarden, The Netherlands
Died 27 March 1972 (aged 73)
Laren, The Netherlands
Nationality Dutch
Field Drawing, Printmaking
Works Relativity, Waterfall, Hand with Reflecting Sphere
Influenced by Giovanni Battista Piranesi
Awards Knighthood of the Order of Orange-Nassau    

Maurits Cornelis Escher (17 June 1898 – 27 March 1972), usually referred to as M.C. Escher (English pronunciation: /ˈɛʃər/, Dutch: [ˈmʌurɪts kɔrˈneːlɪs ˈɛʃər]  ( listen)),[1] was a Dutch graphic artist. He is known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions, explorations of infinity, architecture, and tessellations.


Early life

Maurits Cornelis, nicknamed "Mauk",[2] was born in Leeuwarden, The Netherlands, in a house that forms part of the Princessehof Ceramics Museum today. He was the youngest son of civil engineer George Arnold Escher and his second wife, Sara Gleichman. In 1903, the family moved to Arnhem where he attended primary school and secondary school until 1918.

He was a sickly child, and was placed in a special school at the age of seven and failed the second grade.[3] Though he excelled at drawing, his grades were generally poor. He also took carpentry and piano lessons until he was thirteen years old. In 1919, Escher attended the Haarlem School of Architecture and Decorative Arts. He briefly studied architecture, but he failed a number of subjects (partly due to a persistent skin infection) and switched to decorative arts.[3] Here he studied under Samuel Jessurun de Mesquita, with whom he would remain friends for years. In 1922 Escher left the school, having gained experience in drawing and making woodcuts.

Later life

In 1922, an important year of his life, Escher traveled through Italy (Florence, San Gimignano, Volterra, Siena, Ravello) and Spain (Madrid, Toledo, Granada). He was impressed by the Italian countryside and by the Alhambra, a fourteenth-century Moorish castle in Granada, Spain. He came back to Italy regularly in the following years. In Italy he met Jetta Umiker, whom he married in 1924. The young couple settled down in Rome and stayed there until 1935, when the political climate under Mussolini became unbearable. Their son, Giorgio Arnaldo Escher, named after his grandfather, was born in Rome. The family next moved to Château-d'Œx, Switzerland, where they remained for two years.

Escher, who had been very fond of and inspired by the landscapes in Italy, was decidedly unhappy in Switzerland, so in 1937, the family moved again, to Ukkel, a small town near Brussels, Belgium. World War II forced them to move in January 1941, this time to Baarn, the Netherlands, where Escher lived until 1970. Most of Escher's better-known pictures date from this period. The sometimes cloudy, cold, wet weather of the Netherlands allowed him to focus intently on his works, and only during 1962, when he underwent surgery, was there a time when no new images were created.

Escher moved to the Rosa Spier house in Laren in 1970, a retirement home for artists where he had his own studio. He died at the home on 27 March 1972, at age 73.


Escher's first print of an impossible reality was Still Life and Street, 1937. His artistic expression was created from images in his mind, rather than directly from observations and travels to other countries. Well known examples of his work also include Drawing Hands, a work in which two hands are shown, each drawing the other; Sky and Water, in which light plays on shadow to morph the water background behind fish figures into bird figures on a sky background; and Ascending and Descending, in which lines of people ascend and descend stairs in an infinite loop, on a construction which is impossible to build and possible to draw only by taking advantage of quirks of perception and perspective.

He worked primarily in the media of lithographs and woodcuts, though the few mezzotints he made are considered to be masterpieces of the technique. In his graphic art, he portrayed mathematical relationships among shapes, figures and space. Additionally, he explored interlocking figures using black and white to enhance different dimensions. Integrated into his prints were mirror images of cones, spheres, cubes, rings and spirals.
In addition to sketching landscape and nature in his early years, he also sketched insects, which frequently appeared in his later work. His first artistic work, completed in 1922, featured eight human heads divided in different planes. Later around 1924, he lost interest in "regular division" of planes, and turned to sketching landscapes in Italy with irregular perspectives that are impossible in natural form.

Although Escher did not have mathematical training—his understanding of mathematics was largely visual and intuitive—Escher's work had a strong mathematical component, and more than a few of the worlds which he drew are built around impossible objects such as the Necker cube and the Penrose triangle. Many of Escher's works employed repeated tilings called tessellations. Escher's artwork is especially well-liked by mathematicians and scientists, who enjoy his use of polyhedra and geometric distortions. For example, in Gravity, multi-colored turtles poke their heads out of a stellated dodecahedron.
The mathematical influence in his work emerged around 1936, when he was journeying the Mediterranean with the Adria Shipping Company. Specifically, he became interested in order and symmetry. Escher described his journey through the Mediterranean as "the richest source of inspiration I have ever tapped."

After his journey to the Alhambra, Escher tried to improve upon the art works of the Moors using geometric grids as the basis for his sketches, which he then overlaid with additional designs, mainly animals such as birds and lions.
His first study of mathematics, which would later lead to its incorporation into his art works, began with George Pólya's academic paper on plane symmetry groups sent to him by his brother Berend. This paper inspired him to learn the concept of the 17 wallpaper groups (plane symmetry groups). Utilizing this mathematical concept, Escher created periodic tilings with 43 colored drawings of different types of symmetry. From this point on he developed a mathematical approach to expressions of symmetry in his art works. Starting in 1937, he created woodcuts using the concept of the 17 plane symmetry groups.

Circle Limit III, 1959
In 1941, Escher wrote his first paper, now publicly recognized, called Regular Division of the Plane with Asymmetric Congruent Polygons, which detailed his mathematical approach to artwork creation. His intention in writing this was to aid himself in integrating mathematics into art. Escher is considered a research mathematician of his time because of his documentation with this paper. In it, he studied color based division, and developed a system of categorizing combinations of shape, color and symmetrical properties. By studying these areas, he explored an area that later mathematicians labeled crystallography.
Around 1956, Escher explored the concept of representing infinity on a two-dimensional plane. Discussions with Canadian mathematician H.S.M. Coxeter inspired Escher's interest in hyperbolic tessellations, which are regular tilings of the hyperbolic plane. Escher's works Circle Limit I–IV demonstrate this concept. In 1995, Coxeter verified that Escher had achieved mathematical perfection in his etchings in a published paper. Coxeter wrote, "Escher got it absolutely right to the millimeter."

His works brought him fame: he was awarded the Knighthood of the Order of Orange Nassau in 1955. Subsequently he regularly designed art for dignitaries around the world. An asteroid, 4444 Escher, was named in his honour in 1985.

In 1958, he published a paper called Regular Division of the Plane, in which he described the systematic buildup of mathematical designs in his artworks. He emphasized, "Mathematicians have opened the gate leading to an extensive domain."

Overall, his early love of Roman and Italian landscapes and of nature led to his interest in the concept of regular division of a plane, which he applied in over 150 colored works. Other mathematical principles evidenced in his works include the superposition of a hyperbolic plane on a fixed 2-dimensional plane, and the incorporation of three-dimensional objects such as spheres, columns and cubes into his works. For example, in a print called "Reptiles", he combined two and three-dimensional images. In one of his papers, Escher emphasized the importance of dimensionality and described himself as "irritated" by flat shapes: "I make them come out of the plane."

Waterfall, 1961
Escher also studied the mathematical concepts of topology. He learned additional concepts in mathematics from the British mathematician Roger Penrose. From this knowledge he created Waterfall and Up and Down, featuring irregular perspectives similar to the concept of the Möbius strip.

Escher printed Metamorphosis I in 1937, which was a beginning part of a series of designs that told a story through the use of pictures. These works demonstrated a culmination of Escher's skills to incorporate mathematics into art. In Metamorphosis I, he transformed convex polygons into regular patterns in a plane to form a human motif. This effect symbolizes his change of interest from landscape and nature to regular division of a plane.
One of his most notable works is the piece Metamorphosis III, which is wide enough to cover all the walls in a room, and then loop back onto itself.

After 1953, Escher became a lecturer at many organizations. A planned series of lectures in North America in 1962 was cancelled due to an illness, but the illustrations and text for the lectures, written out in full by Escher, were later published as part of the book Escher on Escher. In July 1969 he finished his last work, a woodcut called Snakes, in which snakes wind through a pattern of linked rings which fade to infinity toward both the center and the edge of a circle.


The special way of thinking and the rich graphic work of M.C. Escher has had a continuous influence in science and art, as well as references in pop culture. Ownership of the Escher intellectual property and of his unique art works have been separated from each other.
In 1969, Escher's business advisor, Jan W. Vermeulen, author of a biography in Dutch on the artist, established the M.C. Escher Stichting (M.C. Escher Foundation), and transferred into this entity virtually all of Escher's unique work as well as hundreds of his original prints. These works were lent by the Foundation to the Hague Museum. Upon Escher's death, his three sons dissolved the Foundation, and they became partners in the ownership of the art works. In 1980, this holding was sold to an American art dealer and the Hague Museum. The Museum obtained all of the documentation and the smaller portion of the art works.

The copyrights remained the possession of the three sons - who later sold them to Cordon Art, a Dutch company. Control of the copyrights was subsequently transferred to The M.C. Escher Company B.V. of Baarn, Netherlands, which licenses use of the copyrights on all of Escher's art and on his spoken and written text, and also controls the trademarks. Filing of the trademark "M.C. Escher" in the United States was opposed, but the Dutch company prevailed in the courts on the grounds that an artist or his heirs have a right to trademark his name.
A related entity, the M.C. Escher Foundation of Baarn, promotes Escher's work by organizing exhibitions, publishing books and producing films about his life and work.
The primary institutional collections of original works by M.C. Escher are the Escher Museum, a subsidiary of the Haags Gemeentemuseum in The Hague; the National Gallery of Art (Washington, DC); the National Gallery of Canada (Ottawa); the Israel Museum (Jerusalem); Huis ten Bosch (Nagasaki, Japan); and the Boston Public Library.

Selected works

  • Trees, ink (1920)
  • St. Bavo's, Haarlem, ink (1920)
  • Flor de Pascua (The Easter Flower), woodcut/book illustrations (1921)
  • Eight Heads, woodcut (1922)
  • Dolphins also known as Dolphins in Phosphorescent Sea, woodcut (1923)
  • Tower of Babel, woodcut (1928)
  • Street in Scanno, Abruzzi, lithograph (1930)
  • Castrovalva, lithograph (1930)
  • The Bridge, lithograph (1930)
  • Palizzi, Calabria, woodcut (1930)
  • Pentedattilo, Calabria, lithograph (1930)
  • Atrani, Coast of Amalfi, lithograph (1931)
  • Ravello and the Coast of Amalfi, lithograph (1931)
  • Covered Alley in Atrani, Coast of Amalfi, wood engraving (1931)
  • Phosphorescent Sea, lithograph (1933)
  • Still Life with Spherical Mirror, lithograph (1934)
  • Hand with Reflecting Sphere also known as Self-Portrait in Spherical Mirror, lithograph (1935)
  • Inside St. Peter's, wood engraving (1935)
  • Portrait of G.A. Escher, lithograph (1935)
  • “Hell”, lithograph, (copied from a painting by Hieronymus Bosch) (1935)
  • Regular Division of the Plane, series of drawings that continued until the 1960s (1936)
  • Still Life and Street (his first impossible reality), woodcut (1937)
  • Metamorphosis I, woodcut (1937)
  • Day and Night, woodcut (1938)
  • Cycle, lithograph (1938)
  • Sky and Water I, woodcut (1938)
  • Sky and Water II, lithograph (1938)
  • Metamorphosis II, woodcut (1939–1940)
  • Verbum (Earth, Sky and Water), lithograph (1942)
  • Reptiles, lithograph (1943)
  • Ant, lithograph (1943)
  • Encounter, lithograph (1944)
  • Doric Columns, wood engraving (1945)
  • Three Spheres I, wood engraving (1945)
  • Magic Mirror, lithograph (1946)
  • Three Spheres II, lithograph (1946)
  • Another World Mezzotint also known as Other World Gallery, mezzotint (1946)
  • Eye, mezzotint (1946)
  • Another World also known as Other World, wood engraving and woodcut (1947)
  • Crystal, mezzotint (1947)
  • Up and Down also known as High and Low, lithograph (1947)
  • Drawing Hands, lithograph (1948)
  • Dewdrop, mezzotint (1948)
  • Stars, wood engraving (1948)
  • Double Planetoid, wood engraving (1949)
  • Order and Chaos (Contrast), lithograph (1950)
  • Rippled Surface, woodcut and linoleum cut (1950)
  • Curl-up, lithograph (1951)
  • House of Stairs, lithograph (1951)
  • House of Stairs II, lithograph (1951)
  • Puddle, woodcut (1952)
  • Gravitation, (1952)
  • Dragon, woodcut lithograph and watercolor (1952)
  • Cubic Space Division, lithograph (1952)
  • Relativity, lithograph (1953)
  • Tetrahedral Planetoid, woodcut (1954)
  • Compass Rose (Order and Chaos II), lithograph (1955)
  • Convex and Concave, lithograph (1955)
  • Three Worlds, lithograph (1955)
  • Print Gallery, lithograph (1956)
  • Mosaic II, lithograph (1957)
  • Cube with Magic Ribbons, lithograph (1957)
  • Belvedere, lithograph (1958)
  • Sphere Spirals, woodcut (1958)
  • Ascending and Descending, lithograph (1960)
  • Waterfall, lithograph (1961)
  • Möbius Strip II (Red Ants) woodcut (1963)
  • Knot, pencil and crayon (1966)
  • Metamorphosis III, woodcut (1967–1968)
  • Snakes, woodcut (1969)

[edit] See also

[edit] Notes

  1. ^ Duden Aussprachewörterbuch (6 ed.). Mannheim: Bibliographisches Institut & F.A. Brockhaus AG. 2005. ISBN 3-411-04066-1.
  2. ^ "We named him Maurits Cornelis after S.'s [Sara's] beloved uncle Van Hall, and called him 'Mauk' for short ....", Diary of Escher's father, quoted in M. C. Escher: His Life and Complete Graphic Work, Abradale Press, 1981, p. 9.
  3. ^ a b Barbara E, PhD. Bryden. Sundial: Theoretical Relationships Between Psychological Type, Talent, And Disease. Gainesville, Fla: Center for Applications of Psychological Type. ISBN 0-935652-46-9.


  • M.C. Escher, The Graphic Work of M.C. Escher, Ballantine, 1971. Includes Escher's own commentary.
  • M.C. Escher, The Fantastic World of M.C. Escher, Video collection of examples of the development of his art, and interviews, Director, Michele Emmer.
  • Locher, J.L. (2000). The Magic of M. C. Escher. Harry N. Abrams, Inc. ISBN 0-8109-6720-0.
  • Ernst, Bruno; Escher, M.C. (1995). The Magic Mirror of M.C. Escher (Taschen Series). TASCHEN America Llc. ISBN 1-886155-00-3 Escher's art with commentary by Ernst on Escher's life and art, including several pages on his use of polyhedra.
  • Abrams (1995). The M.C. Escher Sticker Book. Harry N. Abrams. ISBN 0-8109-2638-5 .
  • "Escher, M. C.." The World Book Encyclopedia. 10th ed. 2001.
  • O'Connor, J. J. "Escher." Escher. 01 2000. University of St Andrews, Scotland. 17 June 2005.
  • Schattschneider, Doris and Walker, Wallace. M. C. Escher Kaleidocycles, Pomegranate Communications; Petaluma, California, 1987. ISBN 0-906212-28-6.
  • Schattschneider, Doris. M.C. Escher : visions of symmetry, New York, N.Y. : Harry N. Abrams, 2004. ISBN 0-8109-4308-5.
  • M.C. Escher's legacy: a centennial celebration; collection of articles coming from the M.C. Escher Centennial Conference, Rome, 1998 / Doris Schattschneider, Michele Emmer (editors). Berlin; London: Springer-Verlag, 2003. ISBN 3-540-42458-X (alk. paper), ISBN 3-540-42458-X (hbk).
  • M.C. Escher: His Life and Complete Graphic Work, edited by J. L. Locher, Amsterdam 1981.

External links

Monday, March 02, 2009

ta kymatika Greek means "matters pertaining to waves." Or in Hans Jenny's case Cymatics.

There were other images which mirrored biological forms and natural processes, as well as flowers, mandalas and intricate geometric designs - all this the result of audible vibration. These experiments seemed to reveal the hidden nature of creation, to lay bare the very principle through which matter coalesced into form.PUBLISHER'S CONFESSION by Jeff Volk, January 2001 Newmarket, New Hampshire, USA

I hope I will not see some so lost by accepting an "mystic interpretation," as some sign of engaging the decay of the scientific values. As Nature being the Architect, and in recognition of our builders of science, I have always been enthralled by what nature could have supplied. Not only in such designational feature of sound that is telling, but of what SOHO is to supply. How we see the Cosmo in relation to the WMAP. How such a "gravitational spectrum" maps the earth "in assumption" of the rules of relativity. We now see earth much different. Not so round and pretty:)

There are two reasons that having mapped E8 is so important. The practical one is that E8 has major applications: mathematical analysis of the most recent versions of string theory and supergravity theories all keep revealing structure based on E8. E8 seems to be part of the structure of our universe.

The other reason is just that the complete mapping of E8 is the largest mathematical structure ever mapped out in full detail by human beings. It takes 60 gigabytes to store the map of E8. If you were to write it out on paper in 6-point print (that's really small print), you'd need a piece of paper bigger than the island of Manhattan. This thing is huge.

See:Pasquale Del Pezzo and E8 Origination?-Monday, March 19, 2007

I would like to clarify that such patterns are somewhat "given to people in recognition of states" that are much closer to that "decomposable limit" that is declared by Connes in his articulation of the mathematics.

Such "decomposable limits" are the recognition of "pure states" becoming condensible. While we may think of the allotrope and their configurations, what is the final product given in the arrangement of the matters specific? Is there some "higher version of geometrics" that we had lost, while we see only the matter at hand.

IN this mandala above it is by design that human nature sought to construct the basis and foundation of experience so that it could be a record for all time. This is an intentional act to build in experience an foundational perspective. This is one time where we might use such a mind map to be used in this context. People become enthralled too, by the beauty of flower under computerize algorithmic code manipulated image because it is pleasing to the eye, while, there is another time where these "pure states" become the reflection of an intense experiential journey of sorts.

Sort of like, discovering new math and by definition, a decomposable limit.

ON the one hand you might say, well, this case its matter defined then, and while I am saying this is in the image of the mind, that too is a coalescing of the pure state, into a image form.

Such an kaleidescope view of the most intangible seems fitting that it defines a complex recognition state that was not accessible, before, this intense info packet had descended into the mind.


  • The Geometrics Behind the Supernova and it's History
  • 13th Sphere of the GreenGrocer
  • E8 and the Blackhole
  • Tuesday, March 04, 2008

    Mandalas as Mind Maps

    While I respect Carl Jung and his thought on the personality, it would have made more sense to me that at death "perfection would be as best the soul is in it's attempts." To discover, one's nature and recognize that the living and working to perfect, "is the real success" for the work and perfection the soul quests for in attaining the clear light, instead of the fog.

    CARL JUNG by Dr. C. George Boeree

    The most important archetype of all is the self. The self is the ultimate unity of the personality and is symbolized by the circle, the cross, and the mandala figures that Jung was fond of painting. A mandala is a drawing that is used in meditation because it tends to draw your focus back to the center, and it can be as simple as a geometric figure or as complicated as a stained glass window. The personifications that best represent self are Christ and Buddha, two people who many believe achieved perfection. But Jung felt that perfection of the personality is only truly achieved in death

    This blog entry is very important to me for a number of reasons. There is something very natural that can arise from a person's "subconscious state" that can explode(fire all the neurons) to become a person's paradigm change for their waking life. As if, the change and time according to the progression of a soul, is timely at a certain point in one's life. You had to make it happen yourself. No body told me about this, as I came to discover the deeper significances of the change that occurred.

    It's also of wonder to me that this progression is signalled, and mark by the individual themself. That it had to come from a "previous existence." You had to used this "Mind Map" in previous circumstances unwittingly, by being a participant in the way this mandalas is set to ignite the soul with that new energy.

    Of course you understand what a Mind Map is? Of course you understand what a mandala is? You understand what a liminocentric structure is?

    What are Mind Maps?

    The Alchemists attempted to perfect the One Thing of Hermes, what they called the First Matter, by using specific physical, psychological, and spiritual techniques that they describe in chemical terms and demonstrated in laboratory experiments. However, while the alchemists spoke in terms of chemicals, furnaces , flasks, and beakers, they were really talking about the changes taking place within their own bodies, minds, and souls.2
    The Emerald Tablet, Dennis William Hauck, Chapter 10, Page 151

    While I give a woodcut image of historical relevance, it is made to help one remember. The alchemist notion of distilling and perfecting one's very nature in life. Of course, there are current scientist perceptions that speak to the alchemist notions of Newton. I would again have to remind the good scientists about the alchemical nature being more then just the chymstry in a lab. The alchemist body was also a lab. It deals with the psychological aspects of our emotive and mental states.

    If the context of these were understood as valuations measured in terms of the "circle within the circle" a topological review was done by me on how determinations of which line is which, arises as we look to unfold the "colour and valuations of being" at one time or another. While I place our individuality at the centre, it is around you that I speak to the unfolding, all the while a physiological process is unfolding in the states of those emotive and mental ventures. The outer most circle is the spiritual domain of our journeys.

    Splendor Solis ("The Splendour of the Sun") is a well-known colorful alchemical manuscriptThe symbolic process shows the classical alchemical death and rebirth of the king, and incorporates a series of seven flasks, each associated with one of the planets. Within the flasks a process is shown involving the transformation of bird and animal symbols into the Queen and King, the white and the red tincture. Although the style of the Splendor Solis illuminations suggest an earlier date, they are quite clearly of the 16th century See:Newton the Alchemist

    A mind map is a diagram used to represent words, ideas, tasks or other items linked to and arranged radially around a central key word or idea. It is used to generate, visualize, structure and classify ideas, and as an aid in study, organization, problem solving, decision making, and writing.

    It is an image-centered diagram that represents semantic or other connections between portions of information. By presenting these connections in a radial, non-linear graphical manner, it encourages a brainstorming approach to any given organizational task, eliminating the hurdle of initially establishing an intrinsically appropriate or relevant conceptual framework to work within.

    A mind map is similar to a semantic network or cognitive map but there are no formal restrictions on the kinds of links used.

    The elements are arranged intuitively according to the importance of the concepts and they are organized into groupings, branches, or areas. The uniform graphic formulation of the semantic structure of information on the method of gathering knowledge, may aid recall of existing memories.

    You would have to understand some of the blog posts I have done, in order to see that mathematical structures are derived from images, however they are described to take us as close as possible to the very "essence of the idea" being translated? This, is a universal language for scientists

    Are mathematical truths invented or discovered? This is an age old question that I have seen around for some time. If you believe that every thing has already been thought of, then it would mean, that it is only to be discovered.

    The Space you Provide

    The mandala can also be an image of eternity cycling through time and as such images soul's and Nature's circular journeys, as they are reflected in, for example, the Native American Medicine Wheel, in seasonal, rebirth and karmic cycles, in mythic journeys of going out and returning changed to one's point of origin, and in the zodiacal wheel as life's twelve archetypal stages of personal growth.

    This cyclic transformation is also at the heart of ancient Chinese meditation. When the spiritual light in the body moves through rhythmical breathing in a circle, all the opposite energies of heaven and earth, sun and moon, light and dark, are crystallised and form what the Chinese called the Golden Flower, an inner mandala imaging the balanced, open and centred heart.

    How quiet do we have to be to recognize "that place" from which such ideas will emerge. A space and place from inside of you.

    We can read all our lives and study, but what is it we will take from it all. What will we move forward that will become profound for you to realize all things become anew. Ideas change who we are. Ideas worked can become the ideals, and it this translation in our work, that such things become possible.

    Wednesday, February 28, 2007

    Science's Responsibility While Investigating Consciousness?

    Our attempt to justify our beliefs logically by giving reasons results in the "regress of reasons." Since any reason can be further challenged, the regress of reasons threatens to be an infinite regress. However, since this is impossible, there must be reasons for which there do not need to be further reasons: reasons which do not need to be proven. By definition, these are "first principles." The "Problem of First Principles" arises when we ask Why such reasons would not need to be proven. Aristotle's answer was that first principles do not need to be proven because they are self-evident, i.e. they are known to be true simply by understanding them.

    As a lay person myself, while being introduced to the subject of synesthesia, I found certain correlations that were uncanny to me within the way I had been displaying this site here.

    We know we can adopt many things by insinuation alone and that is not what I wanted to show here, but the actual responsibility in researching consciousness as it is being held too here with the investigation by Richard E. Cytowic, M.D.

    So I pull the following paragraph from his book to demonstrate, that what he holds in terms in methodology, is no less then that required in our research to all the sciences involved. As I research physics/consciousness within context of this site also. I draw the paragraph because it made a impression for responsibility, and by insinuation, I would not like to leave this area without giving it this attention as set.

    There is a responsibility toward oneself as you investigate the world around you.

    So by example Richard E. Cytowic, giving the circumstance of his research on the subject of synesthesia, had to incorporate the valuations assigned within that paragraph I selected. To show the information, displayed as I travelled through the book, was a historical as well as explanatory method on what would become one's consensus as of today.

    There is a Physical Matter Called the Brain

    It is interesting to speak about emotion and at the same time think about the physical consequences "within the body" that causes us the consternations of our moods and it's effect on our consciousness.

    Because I may relate the issues of emotion in context the alchemist, it is by such developmental aspect of the psychology that I would want one to think about the thinking process as having a direct physiological consequence.

    This interplay of various ways of conceiving the world could be compared to the experience of synesthesia, where stimulus of one sense causes a perception by another, seemingly unrelated sense, as in musicians who can taste the intervals between notes they hear (Beeli et. al., 2005), or artists who can smell colours. Many individuals who have one or more senses restricted or lost develop a sensorium with a ratio of sense which favours those they possess more fully. Frequently the blind or deaf speak of a compensating effect, whereby their touch or smell become more acute, changing the ways they perceive and reason about the world; especially telling examples are found in the cases of 'wild children,' whose early childhoods were spent in abusive, neglected or non-human environments, both intensifying and minimizing perceptual abilities (Classen 1991).

    While I mention the woodcuts, the "labels" serve us well here to show that a picture can become a road map to the psychological, as well, demonstrating the experience itself, as well laid out "ideals" with which we could begin to approach our actions, as consequences. To what can become, and has been deeply buried to this point by the impact of that emotion/memory.

    Seeing a Psychologist at Work

    Richards Wagners's Ring of Nibelung Jean Shinoda Bolen, M.D. Ring of Power was interesting.

    Strange that we could have seen A Jungian Understanding of the Wagner's Ring cycle, portrayed in todays world and how could have this been accomplished. But by re-introducing a fictional story and embuing it with the archetypal structures of what Jean Shinoda Bolen called, "The Abandon Child, The Authoritarian Father, and the Disempowered Feminine."

    So giving some indication of the "metaphoric relation" applied to the psychology of a situation, I thought it best that while relating the road map to a "wood cut" that I show this expressionism at work as well. It is interesting to see how the psychologist speaks directly to the human condition?

    Friday, February 09, 2007


    True creativity often starts where language ends.
    Arthur Koestler

    How many of you had thought the body you inhibit as a "vessel or a crucible?" I related in the previous post to ""Democritus had Passion and Heat?" to the idea of "Passion and Creativity" as as things that relate to the heat?

    Now you ask what the heck is this to mean?

    Well I spoke briefly on the woodcuts in "Hermetic Ties: Art to Esoteric Form" to demonstrate what the alchemist like to do as they used an "artistic form" of their day. To hide these "analogies" about just such a thing as I am describing in relation to the body and the crucible as being very similar.

    The original of Splendor Solis which contained seven chapters appeared in Augsburg. In miniatures the works of Albrecht Dürer, Hans Holbein and Lucas Cranach were used. The author of the manuscript was considered to be a legendary Salomon Trismosin, allegedly the teacher of Paracelsus. The work itself consists of a sequence of 22 elaborate images, set in ornamental borders and niches. The symbolic process shows the classical alchemical death and rebirth of the king, and incorporates a series of seven flasks, each associated with one of the planets. Within the flasks a process is shown involving the transformation of bird and animal symbols into the Queen and King, the white and the red tincture. Although the style of the Splendor Solis illuminations suggest an earlier date, they are quite clearly of the 16th century

    I gave a picture of a woodcut, as example of this, and what it means. As well, the relationship to the "Emerald tablet for consideration" in this thought about creativity and passion. About "distilling the very essence" we are made up of, as we think about things. As we give "colour and meaning to emotive happenings" that you are not aware, yet exist, in a "colouring of a sort outside you" you never knew about?

    Do I fare better in my emotional disposition? I have to say I am quite human, in my struggle to identify those things that I develop in my relations, and wish for better then the Zen Master, whose anger quickly dissipates. :)

    See again the relationship I used in regards to Democritus. While it is indeed old these comparisons I make of the history as science evolved, did you think that they would have been discarded? Even in this day and age, the art form of pursuing the excellence in the human being without applying this alchemist attitude to life is not without the perspective I share with Jung. Also in those who are trying to understand the EQ (Emotional quotient) now adopted in the understanding of the human being?

    I belong to no group or faction, but deal with this from a perspective of research and understanding in relation to studying "the self." The "psychological aspect of this work" not only from an historical perspective, but from a understanding of today's psychology as well.

    Am I credentialed? Am I a scientist? Of course not. So from that standpoint the ownest is to "weight the ideas" that I put forth, and for you to find whether your recognize "the truth" in what I say. It is not my intent to spread disinformation(token authority) and propagate illusions in the dealing with reality.

    My work is to further expose our "subtle actions" from ways which have not been dealt with before? Including the way in which "new concepts are developed" in relation to science. IN this respect, I may be called "the seer" but do so with great respect of what Smolin set out to distinguish, understanding fully, the responsibility of the work of science to work from testability and experimental procedures.

    The Synesthesist

    For someone who sees as a Synesthesist, even though I do not see like them, I am able to "make the comparison," built from "modelling perspectives" that I developed while compiling and doing my own research.

    Even the Synesthesist will have to ask themself whether what I portray is significant in there own research and understanding, as they are continuing to apply and understanding the "sensual imputes" that have been "cross wired." I may work from a "conceptual basis?"

    I am trying to bring "this point of view of my own" from the metaphysical realm, and give it meaning in relation to our lives today. Hence I could be labeled the "broken flower pot," while giving a "vast view of the interrelationships" that I have been working.

    A crucible is a cup-shaped piece of laboratory equipment used to contain chemical compounds when heating them to very high temperatures. The receptacle is usually made of porcelain or an inert metal.
    Use in Ash Content Determination

    Ash is the completely unburnable inorganic salts in a sample. A crucible can be similarly used to determine the percentage of ash contained in an otherwise burnable sample of material such as coal, wood, or oil. A crucible and its lid are pre-weighed at constant mass as described above. The sample is added to the completely dry crucible and lid and together they are weighed to determine the mass of the sample by difference. The crucible, lid, and sample are then fired to constant mass to completely burn up the sample, leaving behind only the completely unburnable ash. After cooling in dryness, the crucible, lid, and remaining ash are weighed to find the mass of the ash from the sample by difference. The fraction of ash (by mass) in the sample is determined by the dividing the mass of the ash by the mass of the sample before burning, which is done by subtracting the weight of the crucible and lid from the figure of the container, lid, and sample.

    Friday, February 02, 2007

    Change that Had Consequences

    In the post, Hermetic Ties, I showed how historically information was engraved, crafted, into the woodcuts, for knowledge based on alchemist interests. I further explained the process as I have come to know of it in terms of developing this "inquisitive search into the mystery's of what life" is about how the questioning mind of any person can become the "way of the teacher" as well, enclosed within that same person.

    The teacher/student relation then is inherent in each of us, that we understand how one can push the other in our inquirers. Comparable to "this Arch of understanding" I spoke about.

    Geometrically, I laid this over top of the circle, mandalic in interpretation, that it served to raise the wonder in mind of what is driving this relation of the student with the world around them. "As the teacher" finding consequence to every inquisitive act, in answer.

    Such results then become the new and alternate plan to what is used to describe this new found relation. Ways in which the driving force of "wanting to learn" become an inherent "topological feature" of what begins descriptively, now has this inner/outer consequent to "expanding the frontiers of our knowledge base," inherently expanding the "fluttering of this egg of colour" that surrounds each of us.

    Debate if you will the words associated to "fluttering of this egg" and ask your self about what science has accomplished in mapping neurological sequences with the patterns of thought in relation to the condensible brain? What it might reveal of the "condensible features." Might such action also reveal in the "outer cover?"

    "In 1680, Isaac Newton worked on the abstract problem of gravity and he changed the world. In 1820, Michael Faraday discovered a connection between the exotic phenomena of electricity and magnetism and his discoveries electrified the world. Einstein's 1905 conceptual obsession with space and time led to nuclear energy and the operation of accelerators for knowledge, for cancer therapy and for machines that provide luminescent x-ray photographs of viruses and toxins. In 1897, the "useless" electron was discovered. In 1977, Fermilab discovered the bottom quark and in 1995 the top quark was found. The lessons of history are clear. The more exotic, the more abstract the knowledge, the more profound will be its consequences." Leon Lederman, from an address to the Franklin Institute, 1995

    So before this "act of change existed," the position of the student/teacher had already formed a consensus. I was looking to find this place amongst the order of such changes. It became the study I have placed myself "in" as I look to understand what scientists are saying from the "accepted position" they assume. As they work to develop "insight" and "model changes" to what we already know. To push "beyond" these boundaries of thought. The "standard model" perhaps.

    That I may give credence to what is hidden by Raphael in "his painting" is to gather a lot of perspective of the history of the times. To have them all resting on the "stairs and ladder of progression" to perfecting this relation "of the inquirer."

    The painting serves in this "mandalic sense" to represent the action of Plato and Aristotle as key figures in this relationship of "above and below." Inner and outer. Why their centralized location in the picture

    I have been short on time, so the articles that I have read are snippets of the "larger picture" while I can get back to more research.

    But the essence "is" that along with "this change with discoveries," scientists have this way about handling things. This has been reiterated by Clifford and others in science. So I just wanted to highlight this. AS part of this fundamental status of moving to ward these consequences and statement of change.

    The science press and scientists themselves do science a disservice when they seek to dramatize a discovery by emphasizing that it discredits a previous theory. Such coverage typically does not discuss whether the earlier theory was tentative or whether the new result modifies a well-established but incomplete theory. This dramatization feeds the popular image that all scientific knowledge is tentative. Much is tentative, but much is well understood and unlikely to be discredited. We scientists need to convey more about the status of our knowledge than can be learned from the muddy "most scientists believe" statement. We need our listeners to know what is tentative and what is not so that they understand better the ragged but cumulative progression of science and can use current knowledge effectively, with an understanding of its inherent uncertainties, in personal and political decision making.

    So again by giving credence to what scientists have requested by those who are of the science themself, serve as role models for what is accepted, as we investigate and report.

    To visit perspective scientists in the know, are not the way in which to say, "hey listen I have found this to be so and so," and have some "revolutionary change." To let them alone, and continue to push the boundaries of the trade by investigating the work that they do, and learn accordingly. To read what they have written, and join in by asking what you are not sure about. Of course depending on the scientist's openness to sharing of themself, realizing "the greater message" can be conveyed to the many.

    How did they get to their perspective positions that they know more then what you know and we had not assimilated the required knowledge? What is every statement saying, about what you know of the science "against" what they have learnt and we may lack the comprehensive understanding of what laws we see applied in every case.

    Under this whole post exist the thoughts then about Thomas Kuhn and the paradigm as it would have shown itself as "change that had consequence." Only now do you see this relation here while speaking about change and consequence, did you not know that it followed some rules according to some kind of model and research?

    Thomas Kuhn

    See here for more information on the person, and model perspective. The paragraph is taken to show the connection to the research work already done in the past, on my part. The label as well will reveal earlier thinking as I integrate what I understood of the philosophy, and "other perspectives" as well.

    The explanation of scientific development in terms of paradigms was not only novel but radical too, insofar as it gives a naturalistic explanation of belief-change. Naturalism was not in the early 1960s the familiar part of philosophical landscape that it has subsequently become. Kuhn's explanation contrasted with explanations in terms of rules of method (or confirmation, falsification etc.) that most philosophers of science took to be constitutive of rationality. Furthermore, the relevant disciplines (psychology, cognitive science, artificial intelligence) were either insufficiently progressed to support Kuhn's contentions concerning paradigms, or were antithetical to them (in the case of classical AI). Now that naturalism has become an accepted component of philosophy, there has recently been interest in reassessing Kuhn's work in the light of developments in the relevant sciences, many of which provide corroboration for Kuhn's claim that science is driven by relations of perceived similarity and analogy to existing problems and their solutions (Nickles 2003b, Nersessian 2003). It may yet be that a characteristically Kuhnian thesis will play a prominent part in our understanding of science.

    Tuesday, January 30, 2007

    Hermetic Ties: Art to Esoteric Form

    The father of all perfection in the whole world is here. Its force or power is entire if it be converted into Earth. Separate the Earth from the Fire, the subtle from the gross, sweetly with great industry. It ascends from the Earth to the Heavens and again it descends to the Earth and receives the force of things superior and inferior. By this means you shall have the glory of the whole world and thereby all obscurity shall fly from you. Its force is above all force, for it vanquishes every subtle thing and penetrates every solid thing. So was the world created. From this are and do come admirable adaptations, whereof the process is here in this. Hence am I called Hermes Trismegistus, having the three parts of the philosophy of the whole world. That which I have said of the operation of the Sun is accomplished and ended.Sir Isaac Newton-Translation of the Emerald Tablet
    See: Newton on Chymistry

    Again I open this blog post with the understanding that what an artist like Raphael may try to do? May include, much of the philosophy of the times, and have these things descriptively enclosing processes indicative of what they had known, but also of what these things could hide within the self.

    In center, while Plato - with the philosophy of the ideas and theoretical models, he indicates the sky, Aristotle - considered the father of Science, with the philosophy of the forms and the observation of the nature indicates the Earth. Many historians of the Art in the face correspondence of Plato with Leonardo, Heraclitus with Miguel Angel, and Euclides with Twine agree.

    If we watched of distant spot, of century XX aC emphasizes Hermes Trismegisto, - tri three, megisto megas, three times great; perhaps the perception of infinite older than we have and takes by Mercurio name - for Greek and the Toth - for the Egyptians. Considered Father of the Wisdom and Sciences in Greece, in the cult to Osiris it presided over the ceremonies as priest and he was Masterful in Egypt like legislator, philosopher and alchemist during the reign of Ninus in the 2270 aC.

    Etimológicamente speaking, of Hermes, the gr. hermenéuiein, “hermetic” - closed, “hermenéutica” - tie art to the reading of old sacred texts talks about so much to the dark as to which it is included/understood in esoteric form. Part of saberes that it accumulated transmitted through the Hermetic Books that only to the chosen ones between the chosen ones could be revealed. As much Pitágoras and Plato as Aristotle and Euclides were initiated in the knowledge of the Hermetic School.

    In Man looking into Space, I wanted to show how casual our science has used these images and not realized the context to which the greater meaning had laid hidden, all the while it is used to "describe cosmology" and the science thereof.

    A banner has been been written across these times to which scientists hold to all that is true. In this, the reasons to dismiss any implications of history assigned along side, is asking "what validation" can be given to anything that is spoken from our times now.

    I went on in that post, "man looking into space," to explain something about the woodcuts. The art form produced, grabbed my thinking in relation to the "alchemical art forms" and grabs my thinking in regards to the "School of Athens picture."

    The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH.

    I just wanted to say that the essence of this blog post is about "the arches," and I am moving toward that description, and what is happening when we take a picture of them. Look at the "design inherent" and "dynamics" as held to gravity in it's construction. Look at what it can signify in it's "internal expression" about our contact with the world around us. The bridging that it can signify.

    I would apologize for leaving this post undone, while views pass by the essence of this post. I am indeed busy with life. So I wanted to clarify this push toward the internal dynamics, while speaking to the psychology of this work.

    A scientist may side step this look, while quoting the hermetical values of what may be said by the previous first lady Hillary Clinton. In itself, an empty page, only leaves room for what had to be expressed if it was not gotten the first time? Her attempts at humour, are the attempts to break the "rigidity of the personality?"

    The Psychology

    Myths and metaphors, like dreams, are powerful tools that draw the listener, dreamer, or reader to a character, symbol, or situation, as if in recognition of something deeply known. Myth's bypass the mind's efforts to divorce information. They make an impression, are remembered, and nudge us to find out what they mean, accounting for the avid interest that Ring audiences have in the meaning of the story.1

    Who has been so colourful in your journeys across the internet to include a wonderful language that takes you into this world of discovery of self? You had to know something about the "psychology of people" in order to give a story by nature, it's mythic description, and "most artful" to draw attention to what lies underneath.

    The Alchemists attempted to perfect the One Thing of Hermes, what they called the First Matter, by using specific physical, psychological, and spiritual techniques that they describe in chemical terms and demonstrated in laboratory experiements. However, while the alchemists spoke in terms of chemcials, furaces , flasks, and beakers, they were really talking about the changes taking place within their own bodies, minds, and souls.2

    Thus I have given two examples that I had promised sometime back to illustrate some of the "compelling work" that while ancient indeed, is not without it's efforts in todays world. It is the attempt to cross all boundaries, race, gender, and help one to recognize the diversity of the soul with out it's jacket. Shall we call your soul male or female, black or white?

    So I am bypassing this, and that has been my message, while the efforts to climb out of the constraints that we have come to recognize within the boundaries of self. Are the realization of the diversity of "all souls" and their time in expression.

    Shall we find the excuse to hold ourselves to the thoughts, that while overcoming, the constraints which still exist "within" had to be continually challenged? We have to break the "chains that bind us."

    The Arches

    Golden Rectangle
    I took the picture at a time of day when the tide was at exactly the right place to create this image: when the surface of the water reflected the underside of the bridge and they combined, together they produced what I named the Golden Rectangle as a nod to Pythagoras (my hero). The sensation I experienced at the time was of balancing consciousness and feeling.

    It probably seems that it is taking time to get to the essence of this post. IN order to get to the "psychological effect" that I am getting too it important to think of the images of these arches. It is about "each of us" and how we relate to the world. How, the "teacher and student" can exist within the same person.

    I point to the Heaven's in the case of the "school of Athens, while Aristotle points to what is on Earth?" Shall we leave no doubt of the "physical things" while we understand that there are more ephemeral qualities to these matter states? That we move continuously between them?

    The Inner/Outer World

    The drawn of our focus is the external world, but, if we were to connect the internal world with that "external view" how shall we do that. How shall we describe the whole being in this exercise?

    Part of this "exchange with reality," is that we can know by continually moving this information "through us" and creating "the space around us," we add to the total view "beyond what was apparent" with just the brain's condensible qualities in neurological display?

    By 'dilating' and 'expanding' the scope of our attention we not only discover that 'form is emptiness' (the donut has a hole), but also that 'emptiness is form' (objects precipitate out of the larger 'space') - to use Buddhist terminology. The emptiness that we arrive at by narrowing our focus on the innermost is identical to the emptiness that we arrive at by expanding our focus to the outermost. The 'infinitely large' is identical to the 'infinitesimally small'.The Structure of Consciousness John Fudjack - September, 1999

    While I quote above, the second part of the quote adds directly to the understanding. Not only are we "crossing the wires here," we are identifying "a aspect of consciousness" that is continuous.

    In this metaphor, when we are seeing the donut as solid object in space, this is like ordinary everyday consciousness. When we see the donut and the hole at its center, this is like a stage of realization in which 'form' is recognized as 'empty'. When we zoom in extremely closely and inspect the 'emptiness' at the center, or zoom out an extreme distance away from the object and the donut seems to disappear and we have only empty space - this is like certain 'objectless' states of awareness that can occur in meditation. But the final goal is not to achieve the undifferentiated state itself; it is to come to the special perspective that allows us to continue to see all three aspects at once - the donut, the whole in the middle, and the space surrounding it - this is like the 'enlightened' state, in this analogy. 10 The innermost and outermost psychological 'space' (which is here a metaphor for 'concentrated attention' and 'diffused attention') are recognized as indeed the same, continuous.

    So given "this relationship" on what we can build within self, then what use all this knowledge if we cannot grow with it? What of Plato's and Aristotle, as figures within the "centre of" Raphael's painting. Their perspective, "as positions in relation too," the "questioning stance" about this "unity of the circle" in our exchange with reality?

    So how would you exemplify "this exchange" with reality while "below the surface" all these "probable outcomes" are the manifestation of that which is real? You extend yourself "out there" while you also extend yourself inside? The "infinite regress," is to find oneself, with all that is "past" in front of you, can allow you to stand on what of, "the future" will pass through?

    First Principle saids that you acknowledge your place in the scheme of things as you "stretch" the thinking of the mind? Increase the "neurological frontier" in those neurological connections? Increase, the fluttering of the egg's feature, of that condensible brain/body.

    Our attempt to justify our beliefs logically by giving reasons results in the "regress of reasons." Since any reason can be further challenged, the regress of reasons threatens to be an infinite regress. However, since this is impossible, there must be reasons for which there do not need to be further reasons: reasons which do not need to be proven. By definition, these are "first principles." The "Problem of First Principles" arises when we ask Why such reasons would not need to be proven. Aristotle's answer was that first principles do not need to be proven because they are self-evident, i.e. they are known to be true simply by understanding them.

    But, Aristotle thinks that knowledge begins with experience. We get to first principles through induction. But there is no certainty to the generalizations of induction. The "Problem of Induction" is the question How we know when we have examined enough individual cases to make an inductive generalization. Usually we can't know. Thus, to get from the uncertainty of inductive generalizations to the certainty of self-evident first principles, there must be an intuitive "leap," through what Aristotle calls "Mind." This ties the system together. A deductive system from first principles (like Euclidean geometry) is then what Aristotle calls "knowledge" ("epistemê" in Greek or "scientia" in Latin).

    From here it would not be to unlikely that such dealings with the "reality of the world" would ask that we experiment and from such experiment, we learn the truth of the reality. While what the past is "in front" of us, to what goes beyond to it's future would be like asking the very nature of expression to manifest as this universe and laws of thermodynamics that the arrow of time only moves one way.

    "The future" arises from within then? We'll move forward by what choices we make? About our conclusions, about reality?

    1 Ring of Power, Jean Shinoda Bolen, M.D. Page 3

    2The Emerald Tablet, Dennis William Hauck, Chapter 10, Page 151