Only the heart can trigger operation of true intellect. Without the heart, intellect spirals into sophistry; pseudo-sophisticates parading as rational gurus in socially carved bee hives. A person can not use intellect to pry open the heart; one can only use the heart to swing the revolving door of intellect faster. Without the use of both the heart in conjunction with the intellect in symphonic symbiosis, the human race may not achieve global balance of the need for responsible consumption and environmental preservation.
So, please issue me a temporary license to explain myself without seeming dogmatic:
There are two types of people in the world, as my friend, Kim, explained to me eleven years ago. The first group of people can be described as artists – creative ability and desire overtakes the soul. Or, more specifically, creative desire ignites creative ability. The second type of people can be described as critics; they usually sit in the catbird seat by virtue of choice. It is much easier to criticize than to create.
Descartes wrote during in the Age of Reason. From his initial conclusion, “I think, therefore, I am,” he subsequently used logical synthesis to prove the existence of God as the clockwork master of creation and dialectic interrelationships. It is rather strange that Descartes did not conclude, “I think and feel, therefore, I am.” However, he may have realized that, on some level, he was trying to appeal to his own, present-day audience. It is my initial conclusion, and I will try my best to explicate that the latter quote will lead our planet to more responsible undertakings that are not destructive of the delicate balance of consumption and preservation for continued, healthy existence.
This chapter will be broken down into three subparts. The first will deal with the internal reality of the artist vis-à-vis the artist’s reaction to the world. The second subpart will show how even present-day science reveals that the artist’s highest level of production results when emotion and intellect are balanced. The third subpart will outline how present-day physics ultimately leads us to conclude that macroscopic disorder is only, at any given moment, unapparent order in fractal formation. I sincerely hope that you enjoy these comparisons of artistic understanding and re-creation and the emotional/scientific unveiling of the art of the universe.
The truest artist is a constant observer and also the harshest critic of himself or herself. The artist is continually looking outside and then inward to sort out the Cartesian dualism of external reality and internal perception/reaction and how these two conditions of human existence are perennially and holistically interrelated. Please note that I am using the term, artist, very loosely; the artist is the mathematician, the scientist, the doctor, the lawyer, the painter, the tennis player, the chess player, the musician, the engineer, the carpenter, an economist, or the park ranger.
The artist feels compelled to reproduce the personal synthesis that echoes from intense observation. Then, there is a point in the artistic process of external perception and internal response when profound regard leads to synthetic insight, which further magnifies the desire to use a chosen medium for creating something new from that which was internally experienced. From this dialectic of deep, initial observation of the surrounding environment and private amalgamation, the artist remains unfettered in producing good and wholesome works.
Once the initial phase of an artist’s product is produced, then the process of self-criticism begins. The greater the extent of self-criticism, usually the better the end result and the higher the level of personal appreciation for one’s own fruit embedded with the seeds of experience and perception. After the artist has arrived at a point in time when the level of exasperations lead to the desired level of satisfaction with the end-fruit, the artist finally can unveil the object of intense effort. It is also at this time of unveiling that the artist starves for sincere appreciation and also delicate, sweetened criticism. If there is no forthcoming appreciation from others, the artist may become disheartened; and, if there is severe, unrelenting criticism, the artist may lose the desire to create.
Only the most highly disciplined artists can withstand a vacuum of appreciation or a plethora of criticism. Recount how Van Gogh chopped off and mailed his ear lobe to an appreciator of his paintings. I do not think that on any personal level, I could understand the extent of desire for appreciation that Van Gogh felt at that moment of self-mutilation. But, I have to admit, that the episode has induced feelings of awe and empathy at such drastic action. Also strange is that a man who “suffered for his art” to such a degree in his lifetime never experienced the ensuing admiration for his paintings after his death. What a tragedy, as my father would say, that the producer of such fine works never received the deserved veneration during his lifetime.
The truest artist always has one foot inside Plato’s cave and one foot outside. The artist looks at his own work and painstakingly compares this result to the perfect vision inside the grotto. During this process of effort to conform the external product with internal perception, sometimes even the vision performs a kaleidoscopic metamorphosis. The work of the perfectionist is never finished because the vision of perfection is an unceasing, singing songbird for all unrelenting artists. Artists are ultimately the greatest optimists and the greatest benefactors of this world.
The problem with our contemporary society is that it breeds arrogance in the concept of self-esteem and, thereby, circumvents artistic expression by cradling narcissism. If the artist is given too much adoration in the form of flattery, the artist may become arrogant and loses the discipline required to perfect the end-fruit. This self-consuming state causes stagnation and, while the artist may still produce fine works, the potential for greatness gradually diminishes. Interesting to note is the fact that many great scientists also discontinue production of consequential discoveries and applications after earlier accomplishments. However, the discipline of non-self-deception and the desire to remain true instead of stagnating into self-satisfaction can prevent artists from becoming locked into their own presumed greatness. The possibility for improvement should always remain infinite, and only humility tempered with appreciation for one’s own work will enable continued progress.
Studies have connected listening to Baroque music in conjunction with a breathing technique synchronized to the beats of a particular, musical piece to the phenomena of incredible learning ability. For instance, in one study, a group of subjects was taught to breathe in accordance with the beats of a symphony written by Mozart. Thereafter, this group sat underneath the shade of a tree and preceded to learn 7,000 words of French in less than eight hours. Other studies echo this virtuoso-producing quality of proper breathing connected to Baroque music. [Note: give more examples; also check stats].
Other books marveling prodigy-like achievement include a Pulitzer-prize winner entitled, Godel, Escher, & Bach. Godel was a twentieth century mathematician, who exhibited incredible abilities at unfolding mathematical concepts; Escher was an artist, who produced paintings that challenged the viewer’s perception by reflecting an illogical, physical depiction in which non-reality seemed to be real; and, Bach, was a composer from the Baroque period, who produced highly elegant and mathematically complex symphonies and melodies. The juxtaposition of these three prodigies within this one book, which is also filled with wonderful puzzles of logic and interesting anecdotal tales, reverberates the highest level of achievement in three different media: mathematics, painting, and music. The book also connects genius in these three areas of human accomplishment to mathematical symmetry and beauty in seemingly complex order.
Furthermore, recent studies of the hemispheres of the brain have concluded that prodigy-like development occurs with capitalization of the right brain. Please recall that right-handed people are left-brain dominant whereas left-handed people are right-brain dominant. Also recollect that scientists believe that usage of the right hemisphere leads to creative output, housing language-learning and artistic capabilities, whereas the left hemisphere is more mathematically controlling, in which logic predominates. The study concludes that development of genius in any medium, such as mathematics, painting, or music, at a very high mathematical level indeed occurs with dominant operation of the logical left hemisphere of the brain. However, the study’s ultimate conclusion was that virtuoso at the ultimate level of achievement occurred with right-brain dominance; ultimate human accomplishment occurs not by employing the “logic-oriented” right hand but by employing the “emotion-oriented” left hand. Reality perhaps reflects backward on seeming non-reality; elegance at the most superlative mathematical level with the most superlative emotional level.
An interesting fact is that Leonardo da Vinci was ambidextrous and Michelangelo was left-handed reflecting dominance of the right brain. Another interesting reality is that musicians utilize both the right and the left hand when practicing their arts, which may reflect the development of both sides of the brain in symphonic and harmonious logical elegance. Now recount how Baroque music in conjunction with synchronized breathing technique unleashes phenomenal learning capability.
Desire to learn motivating desire to create; desire to create motivating desire to learn. Perhaps Narcissus’ image was not one that was created by his own initial self-impression but an idea originating from the initial appreciation of others. The tragedy with Narcissus was that he was enmeshed in what appeared to be his own likeness. However, that reflection may have been only a fleeting perspective created by the momentary appreciation of others. Poor Narcissus – if only he had chosen to look outside himself again, he might have attained an even more beautiful perspective.
In the recent past, scientists across the globe have been using institutional supercomputers connected over the Internet to perform massive, number-crunching computer simulations of macroscopic phenomena: ocean-current patterns, cloud formation, earthquake prognostication, and other physical occurrences. Scientists have been using supercomputers with enormous computing capabilities to produce simulations of future physical phenomena – that is – time-progressive graphical depictions to forecast weather patterns, for example. [Note: give info in Gigabytes/second to highlight enormity of the numbers involved & examples from Supercomputing ’93].
About five years ago, physicists were employing fractals, continually self-repeating patterns to describe these number-intensive simulations described in the preceding paragraph. Graphical depictions of fractals are simple and yet majestically beautiful like a complex paisley pattern floating in a lotus pool; elegance created by a simple pattern that repeats itself endlessly in every direction. Any view of a fractal theoretically is incomplete because the smallest sections are not visible to the eye but can be imagined; the macroscopic view of the fractal has this same equality. Fractal art is exceedingly beautiful; primordial simplicity that is self-creating and self-describing and, thus, perennially beautiful from any point of view in any direction.
So, please issue me a temporary license to explain myself without seeming dogmatic:
There are two types of people in the world, as my friend, Kim, explained to me eleven years ago. The first group of people can be described as artists – creative ability and desire overtakes the soul. Or, more specifically, creative desire ignites creative ability. The second type of people can be described as critics; they usually sit in the catbird seat by virtue of choice. It is much easier to criticize than to create.
Descartes wrote during in the Age of Reason. From his initial conclusion, “I think, therefore, I am,” he subsequently used logical synthesis to prove the existence of God as the clockwork master of creation and dialectic interrelationships. It is rather strange that Descartes did not conclude, “I think and feel, therefore, I am.” However, he may have realized that, on some level, he was trying to appeal to his own, present-day audience. It is my initial conclusion, and I will try my best to explicate that the latter quote will lead our planet to more responsible undertakings that are not destructive of the delicate balance of consumption and preservation for continued, healthy existence.
This chapter will be broken down into three subparts. The first will deal with the internal reality of the artist vis-à-vis the artist’s reaction to the world. The second subpart will show how even present-day science reveals that the artist’s highest level of production results when emotion and intellect are balanced. The third subpart will outline how present-day physics ultimately leads us to conclude that macroscopic disorder is only, at any given moment, unapparent order in fractal formation. I sincerely hope that you enjoy these comparisons of artistic understanding and re-creation and the emotional/scientific unveiling of the art of the universe.
I. The Interaction of the Artist with the World Leads to Infinite Insight
The truest artist is a constant observer and also the harshest critic of himself or herself. The artist is continually looking outside and then inward to sort out the Cartesian dualism of external reality and internal perception/reaction and how these two conditions of human existence are perennially and holistically interrelated. Please note that I am using the term, artist, very loosely; the artist is the mathematician, the scientist, the doctor, the lawyer, the painter, the tennis player, the chess player, the musician, the engineer, the carpenter, an economist, or the park ranger.
The artist feels compelled to reproduce the personal synthesis that echoes from intense observation. Then, there is a point in the artistic process of external perception and internal response when profound regard leads to synthetic insight, which further magnifies the desire to use a chosen medium for creating something new from that which was internally experienced. From this dialectic of deep, initial observation of the surrounding environment and private amalgamation, the artist remains unfettered in producing good and wholesome works.
Once the initial phase of an artist’s product is produced, then the process of self-criticism begins. The greater the extent of self-criticism, usually the better the end result and the higher the level of personal appreciation for one’s own fruit embedded with the seeds of experience and perception. After the artist has arrived at a point in time when the level of exasperations lead to the desired level of satisfaction with the end-fruit, the artist finally can unveil the object of intense effort. It is also at this time of unveiling that the artist starves for sincere appreciation and also delicate, sweetened criticism. If there is no forthcoming appreciation from others, the artist may become disheartened; and, if there is severe, unrelenting criticism, the artist may lose the desire to create.
Only the most highly disciplined artists can withstand a vacuum of appreciation or a plethora of criticism. Recount how Van Gogh chopped off and mailed his ear lobe to an appreciator of his paintings. I do not think that on any personal level, I could understand the extent of desire for appreciation that Van Gogh felt at that moment of self-mutilation. But, I have to admit, that the episode has induced feelings of awe and empathy at such drastic action. Also strange is that a man who “suffered for his art” to such a degree in his lifetime never experienced the ensuing admiration for his paintings after his death. What a tragedy, as my father would say, that the producer of such fine works never received the deserved veneration during his lifetime.
The truest artist always has one foot inside Plato’s cave and one foot outside. The artist looks at his own work and painstakingly compares this result to the perfect vision inside the grotto. During this process of effort to conform the external product with internal perception, sometimes even the vision performs a kaleidoscopic metamorphosis. The work of the perfectionist is never finished because the vision of perfection is an unceasing, singing songbird for all unrelenting artists. Artists are ultimately the greatest optimists and the greatest benefactors of this world.
The problem with our contemporary society is that it breeds arrogance in the concept of self-esteem and, thereby, circumvents artistic expression by cradling narcissism. If the artist is given too much adoration in the form of flattery, the artist may become arrogant and loses the discipline required to perfect the end-fruit. This self-consuming state causes stagnation and, while the artist may still produce fine works, the potential for greatness gradually diminishes. Interesting to note is the fact that many great scientists also discontinue production of consequential discoveries and applications after earlier accomplishments. However, the discipline of non-self-deception and the desire to remain true instead of stagnating into self-satisfaction can prevent artists from becoming locked into their own presumed greatness. The possibility for improvement should always remain infinite, and only humility tempered with appreciation for one’s own work will enable continued progress.
II. Art at the Highest Levels Combines Emotional and Intellectual Balance
Disorder = Unapparent Harmony
Order = Unapparent Disorder
Disorder = Unapparent Harmony
Order = Unapparent Disorder
Studies have connected listening to Baroque music in conjunction with a breathing technique synchronized to the beats of a particular, musical piece to the phenomena of incredible learning ability. For instance, in one study, a group of subjects was taught to breathe in accordance with the beats of a symphony written by Mozart. Thereafter, this group sat underneath the shade of a tree and preceded to learn 7,000 words of French in less than eight hours. Other studies echo this virtuoso-producing quality of proper breathing connected to Baroque music. [Note: give more examples; also check stats].
Other books marveling prodigy-like achievement include a Pulitzer-prize winner entitled, Godel, Escher, & Bach. Godel was a twentieth century mathematician, who exhibited incredible abilities at unfolding mathematical concepts; Escher was an artist, who produced paintings that challenged the viewer’s perception by reflecting an illogical, physical depiction in which non-reality seemed to be real; and, Bach, was a composer from the Baroque period, who produced highly elegant and mathematically complex symphonies and melodies. The juxtaposition of these three prodigies within this one book, which is also filled with wonderful puzzles of logic and interesting anecdotal tales, reverberates the highest level of achievement in three different media: mathematics, painting, and music. The book also connects genius in these three areas of human accomplishment to mathematical symmetry and beauty in seemingly complex order.
Furthermore, recent studies of the hemispheres of the brain have concluded that prodigy-like development occurs with capitalization of the right brain. Please recall that right-handed people are left-brain dominant whereas left-handed people are right-brain dominant. Also recollect that scientists believe that usage of the right hemisphere leads to creative output, housing language-learning and artistic capabilities, whereas the left hemisphere is more mathematically controlling, in which logic predominates. The study concludes that development of genius in any medium, such as mathematics, painting, or music, at a very high mathematical level indeed occurs with dominant operation of the logical left hemisphere of the brain. However, the study’s ultimate conclusion was that virtuoso at the ultimate level of achievement occurred with right-brain dominance; ultimate human accomplishment occurs not by employing the “logic-oriented” right hand but by employing the “emotion-oriented” left hand. Reality perhaps reflects backward on seeming non-reality; elegance at the most superlative mathematical level with the most superlative emotional level.
An interesting fact is that Leonardo da Vinci was ambidextrous and Michelangelo was left-handed reflecting dominance of the right brain. Another interesting reality is that musicians utilize both the right and the left hand when practicing their arts, which may reflect the development of both sides of the brain in symphonic and harmonious logical elegance. Now recount how Baroque music in conjunction with synchronized breathing technique unleashes phenomenal learning capability.
Desire to learn motivating desire to create; desire to create motivating desire to learn. Perhaps Narcissus’ image was not one that was created by his own initial self-impression but an idea originating from the initial appreciation of others. The tragedy with Narcissus was that he was enmeshed in what appeared to be his own likeness. However, that reflection may have been only a fleeting perspective created by the momentary appreciation of others. Poor Narcissus – if only he had chosen to look outside himself again, he might have attained an even more beautiful perspective.
III. Harmony & Balance in the Art of the Universe
Nature Never Breaks its Own Rules. – Leonardo da Vinci
Nature Never Breaks its Own Rules. – Leonardo da Vinci
In the recent past, scientists across the globe have been using institutional supercomputers connected over the Internet to perform massive, number-crunching computer simulations of macroscopic phenomena: ocean-current patterns, cloud formation, earthquake prognostication, and other physical occurrences. Scientists have been using supercomputers with enormous computing capabilities to produce simulations of future physical phenomena – that is – time-progressive graphical depictions to forecast weather patterns, for example. [Note: give info in Gigabytes/second to highlight enormity of the numbers involved & examples from Supercomputing ’93].
About five years ago, physicists were employing fractals, continually self-repeating patterns to describe these number-intensive simulations described in the preceding paragraph. Graphical depictions of fractals are simple and yet majestically beautiful like a complex paisley pattern floating in a lotus pool; elegance created by a simple pattern that repeats itself endlessly in every direction. Any view of a fractal theoretically is incomplete because the smallest sections are not visible to the eye but can be imagined; the macroscopic view of the fractal has this same equality. Fractal art is exceedingly beautiful; primordial simplicity that is self-creating and self-describing and, thus, perennially beautiful from any point of view in any direction.
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