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Eseuri: Stefan Arteni The E-C European Cultural Model. 5. The Way is The Quest. Scris la Monday, April 06 @ 16:00:30 CEST de catre asymetria |
Barry Smith points to a certain comparative advantage possessed by smaller countries in those fields not requiring significant expenditures, such as mathematics, or in those fields where the issue of the native language is of secondary importance, such as the visual arts. This advantage can be carried over also to other spheres, such as philosophy, cultural anthropology and cultural semiotics. The Pole Roman Ingarden, the Czech Jan Patocka, the Romanians Matila Costiesco Ghyka, Lucian Blaga and Petru Ursache, the Bessarabian-Romanian Andrei Vartic, the Estonian Yuri Lotman, are but a few examples demonstrating how rigorous seekers for truth are always part and parcel of world culture. The East-Central European Cultural Model. 5. The Way is The Quest. Motto. Future time and yesteryear Are two sides of the same leaf, Sees in ending the beginning He who knows the learner’s way. (Mihai Eminescu) Barry Smith points to a certain comparative advantage possessed by smaller countries in those fields not requiring significant expenditures, such as mathematics, or in those fields where the issue of the native language is of secondary importance, such as the visual arts. This advantage can be carried over also to other spheres, such as philosophy, cultural anthropology and cultural semiotics. The Pole Roman Ingarden, the Czech Jan Patocka, the Romanians Matila Costiesco Ghyka, Lucian Blaga and Petru Ursache, the Bessarabian-Romanian Andrei Vartic, the Estonian Yuri Lotman, are but a few examples demonstrating how rigorous seekers for truth are always part and parcel of world culture. Today, the attempt to synchronize Romanian culture with the Western one, a process imposed by an establishment insulated from a local tradition it never understood and which it disparages, means acceptance of and synchronization with the prevailing neo-leninist melting pot model. However, there has long been and there still is a viable alternative model which has shown concern for cultural diversity, a model which aims at “integrating [cultural] particularities as differences, in a culture of difference,” as Ovidiu Hurduzeu has written, namely the poly-contextural matrix discussed in previous papers, the transclassic operational interplay of a heterarchy of coexisting cultural domains and of a simultaneous plurality of interwoven recursive and permutative diversities. Matila Costiesco Ghyka is the forerunner, especially when it comes to investigating the Golden Mean, one of the most important members of the Metallic Means Family. This requires a generalization of the concept of symmetry. The modern concept of symmetry is connected with Felix Klein’s group theory. Klein’s discoveries and his idea of symmetry can now be visualized by using computer graphics: the beautiful constructions teetering on the brink of chaos reflect the ancient Buddhist metaphor of Indra's net. It was about these subjects that Matila Ghyka wrote. We should note that we may think of visual apprehension as an extension in many ways of Klein’s group theory: “…object recognition and categorization can be described in terms of geometrical transformations, and will suggest a transformational framework, based on Klein’s hierarchy of geometrical transformation groups... this transformational framework can be extended to pictorial space… Klein proposed a common framework which integrates different geometries into one general framework: His Erlangen Program defines a nested hierarchy of transformation groups, in which a geometry is defined relative to specific transformation groups. Geometrical properties and objects are not absolute, but relative to transformation groups… The hierarchy of transformations of Felix Klein’s Erlangen Program provides an integrative framework for the study of visual perception, as well as for the history of art.” (Markus Graf, Form and Space in Perception and Art, Presented at: The Depictive Space of Perception. A Conference on Visual Thought, Mitteleuropa Foundation, 2004) The generalized concept of symmetry covers perspective:„In the perspective of artists we find a combination of the symmetry transformations affine projection and similitude.” (Gyorgy Darvas, Perspective as a Symmetry Transformation, http://www.springerlink.com/content/y581153456207m64/fulltext.pdf ) As research has demonstrated, geometric grids drawn within the golden and root phi rectangles may create perspective space: „It seems that Brunelleschi’s experiences with measurements and surveying while in Rome...put him in an ideal situation to conceive of the process of perspective drawing; but even with this in mind, I must also remain open to the possibilities that geometry (and, geometric construction), by its nature, was also a catalyst for the new way of thinking and seeing...I believe it is important to look at the process of grid making as possibly a key element in the development of perspective systems.” (Mark A. Reynolds, Perspectiva Geometrica, http://www.springerlink.com/content/h94w3683n8624758/fulltext.pdf ) An aristocratic English family, the Sitwells, had bought the ancient Montegufoni castle situated in the centre of Tuscany. In 1922, Gino Severini was asked to decorate a room with frescos. Severini employed combinations of the phi [Golden Mean] theme as well as the root 4 theme. His composition schema for a 1937 mosaic in Alessandria’s Postal Palace was based on the phi theme. Le Corbusier’s Modulor is probably the best known design based on the Golden Mean, in celebration of which Le Corbusier created his 1955 portfolio entitled ‘Poème de L’Angle Droit’. "Beauty is fitness expressed.," said Ghyca. "Inspiration, even passion is indeed necessary for creative art, but the knowledge of the Science of Space, of the Theory of Proportions, far from narrowing the creative power of the artist, opens for him an infinite variety of choices within the realm of symphonic composition." Originality, therefore, does not suggest the modern notion of an erasure of tradition as a breakthrough, but rather the sense of utilizing the highest potential of a millennial legacy of traditioning which has recourse to preformulated, prefabricated building blocks as it relies, on the one hand, on recurring patterns within a creative-formulaic continuum and, on the other hand, on the paradoxical combination of contingency and necessity. Let us attentively listen to Constantin Brancusi’s words: “I walk the questing path. We all find ourselves at the end of a great age. And it is necessary to go back to the beginning of all things; and to find again all that has been lost…Simplicity is solved complexity…By means of art, you will be disjoined from yourself. Measure and the golden number will bring you closer to the absolute…Art may redeem the world.” Mathematicians have continued to build on the firm foundation established by Ghyka, providing a synthesis between Chaos Theory (Complexity), Fractal Geometry, and the Golden Mean. The Golden Mean is more than just a device used by artists: “… This ratio acts as an optimised probability operator, (a differential equation like an oscillating binary switch), whenever we observe the quasi-periodic evolution of a dynamical system…The Golden Mean then, is an archetypal fractal in that it preserves its relationship with itself…It is ‘analogia’ exemplified…” (Nigel Reading, Dynamical Symmetries: Autopoietic Architecture, http://www.geocities.com/Area51/Starship/9201/phimega/phimega.html ) Because of the simplicity of this family of quadratic equations, the Mettalic Means find various applications in science and in discovering the roads that lead to chaos: “Some of the relatives of the Golden Mean have been used by physicists in their latest researches trying to analyze the behavior of non-linear dynamical systems in going from periodicity to quasi-periodicity… The members of the MMF [Mettalic Means Family] are intrinsically related with the onset from a periodic dynamics to a quasi-periodic dynamics, with the transition from order to chaos and with time irreversibility, as proved by Ilya Prigogine and M. S. El Naschie.” (Vera W. de Spinadel, The Family of Metallic Means, www.mi.sanu.ac.yu/vismath/spinadel/index.html ; see also Vera W. de Spinadel, From the Golden Mean to Chaos, 1998, Editorial Nueva Librería, Buenos Aires, Argentina.) Ghyka’s work is fundamental to an understanding of symbolic dynamics: “…each system of proportions gives rise to a sequence of 1's and 0's referred to in the study of dynamical systems as symbolic dynamics. Proportional systems based on phi , root 2, and root 3 were the principal systems used to create the buildings and designs of antiquity… Root 2 and root 3 geometries also have connections to the symmetry groups of the plane… “ (Jay Kappraff, Systems of Proportion in Design and Architecture and Their Relationship to Dynamical Systems Theory, http://members.tripod.com/vismath/kappraff/kap1.htm ) Louis H. Kauffman develops a context for self-referential forms. He summarizes one of his articles thus: “This paper develops a context for the well-known Fibonacci sequence (1, 1, 2, 3, 5, 8, 13, ...) in terms of self-referential forms and a basis for mathematics in terms of distinctions that is harmonious with G. Spencer-Brown's Laws of Form and Heinz von Foerster's notion of an eigenform. The paper begins with a new characterization of the infinite decomposition of a rectangle into squares that is characteristic of the golden rectangle. The paper discusses key reentry forms that include the Fibonacci form, and the paper ends with a discussion of the structure of the ‘Fibonacci anyons’ a bit of mathematical physics that relates to the quantum theory of the self-interaction of the marked state of a distinction.” (Louis H. Kauffman, Fibonacci Form and Beyond, Forma, Vol. 19, No. 4, pp. 315-334, 2004) Let us recall Constantin Brancusi. Let us hark back to his saying: “…with my newness, I hail from something ancient…” Brancusi said he was searching for “the fundational core, the ‘noema’.” [The original text was “temelia temeiului, noima;” the Romanian ‘noima’ derives from the Greek ‘noema’.] ‘Noema’ is the self-referentially achieved mental schema of a system. ‘Theoria’, Greek for contemplation, tied to hesychasm and ‘theosis’, meant initially a pilgrimage, a circular journey to new and more comprehensive insight into one’s rootedness. T.S.Elliot wrote: We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. Stefan Arteni |
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Asymetria si Dan Culcer va recomanda Enciclopedia României Blogul ideologic. Titus Filipaș Ioan Roșca Contrarevoluția din România. O cercetare Antiakvarium. Antologie de texte ideologice vechi și noi Constantin Noica: Cultura, performanta, antrenor Revista Verso Geovisite Revista NordLitera Arhiva Asymetria, începând cu septembrie 2000, este stocată și accesibilă consultării la adresa Internet Archives-Wayback Machine Universitatea din Lausanne. România : Hărți interactive. Geografie, demografie, climatologie, degradări, regiuni istorice. Colaborare helveto-română. Etimologii. Resurse lingvistice |
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