Monday, November 29, 2004

Cycle of Birth, Life, and Death-Origin, Indentity, and Destiny by Gabriele Veneziano

Was the big bang really the beginning of time? Or did the universe exist before then? Such a question seemed almost blasphemous only a decade ago. Most cosmologists insisted that it simply made no sense - that to contemplate a time before the big bang was like asking for directions to a place north of the North Pole. But developments in theoretical physics, especially the rise of string theory, have changed their perspective. The pre-bang universe has become the latest frontier of cosmology.

The new willingness to consider what might have happened before the bang is the latest swing of an intellectual pendulum that has rocked back and forth for millennia. In one form or another, the issue of the ultimate beginning has engaged philosophers and theologians in nearly every culture. It is entwined with a grand set of concerns, one famously encapsulated in an 1897 painting by Paul Gauguin: D'ou venons-nous? Que sommes-nous? Ou allons-nous? "Where do we come from? What are we? Where are we going?" The piece depicts the cycle of birth, life and death - origin, identity and destiny for each individual - and these personal concerns connect directly to cosmic ones. We can trace our lineage back through the generations, back through our animal ancestors, to early forms of life and protolife, to the elements synthesized in the primordial universe, to the amorphous energy deposited in space before that. Does our family tree extend forever backward? Or do its roots terminate? Is the cosmos as impermanent as we are
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One had to know at a deeper level how we might have engaged the cyclical universe? Could bubble nucleation fall in line with the ideas about the origins of this universe and find itself too part of this creative scenario?


Colliding branes had to have some recognition in the world that we would have considered, bubble nucleation, as manifesting itself over and over again within the confines of our own universe now? Would this have made it likely that such manifestions really go to the source of what could have begun, has always been and wil continue to evolve, in this cycle of birth death and being reborn?


Neil Turok

The Myth of the Beginning of Time

The new willingness to consider what might have happened before the big bang is the latest swing of an intellectual pendulum that has rocked back and forth for millenia. In one form or another, the issue of the ultimate beginning has engaged philosophers and theologians in nearly every culture. It is entwined witha grand set of concerns, one famosly encapsulated in a 1897 painting by Paul Gauguin: D'ou venons? Que sommes-nous? Ou allons-nous? Scientific America, The Time before Time, May 2004



Sister Wendy's American Masterpieces":

"This is Gauguin's ultimate masterpiece - if all the Gauguins in the world, except one, were to be evaporated (perish the thought!), this would be the one to preserve. He claimed that he did not think of the long title until the work was finished, but he is known to have been creative with the truth. The picture is so superbly organized into three "scoops" - a circle to right and to left, and a great oval in the center - that I cannot but believe he had his questions in mind from the start. I am often tempted to forget that these are questions, and to think that he is suggesting answers, but there are no answers here; there are three fundamental questions, posed visually.

"On the right (Where do we come from?), we see the baby, and three young women - those who are closest to that eternal mystery. In the center, Gauguin meditates on what we are. Here are two women, talking about destiny (or so he described them), a man looking puzzled and half-aggressive, and in the middle, a youth plucking the fruit of experience. This has nothing to do, I feel sure, with the Garden of Eden; it is humanity's innocent and natural desire to live and to search for more life. A child eats the fruit, overlooked by the remote presence of an idol - emblem of our need for the spiritual. There are women (one mysteriously curled up into a shell), and there are animals with whom we share the world: a goat, a cat, and kittens. In the final section (Where are we going?), a beautiful young woman broods, and an old woman prepares to die. Her pallor and gray hair tell us so, but the message is underscored by the presence of a strange white bird. I once described it as "a mutated puffin," and I do not think I can do better. It is Gauguin's symbol of the afterlife, of the unknown (just as the dog, on the far right, is his symbol of himself).

"All this is set in a paradise of tropical beauty: the Tahiti of sunlight, freedom, and color that Gauguin left everything to find. A little river runs through the woods, and behind it is a great slash of brilliant blue sea, with the misty mountains of another island rising beyond Gauguin wanted to make it absolutely clear that this picture was his testament. He seems to have concocted a story that, being ill and unappreciated (that part was true enough), he determined on suicide - the great refusal. He wrote to a friend, describing his journey into the mountains with arsenic. Then he found himself still alive, and returned to paint more masterworks. It is sad that so great an artist felt he needed to manufacture a ploy to get people to appreciate his work. I wish he could see us now, looking with awe at this supreme painting.
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