School of Athens

Raphael, School of Athens, fresco, 1509-1511 (Stanza della Segnatura, Papal Palace, Vatican) See: Raphael, School of Athens 

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See Also:

• Raphael's Fresco of the School of Athens

Utopia

Woodcut by Ambrosius Holbein for a 1518 edition of Utopia. The lower left-hand corner shows the traveler Raphael Hythlodaeus, describing the island.

Utopia (pronounced /juːˈtoʊpiə/) is a name for an ideal community or society possessing a seemingly perfect socio-politico-legal system.^[1] The word was invented by Sir Thomas More for his 1516 book Utopia, describing a fictional island in the Atlantic Ocean. The term has been used to describe both intentional communities that attempted to create an ideal society, and fictional societies portrayed in literature. It has spawned other concepts, most prominently dystopia.

The word comes from the Greek: οὐ, "not", and τόπος, "place", indicating that More was utilizing the concept as allegory and did not consider such an ideal place to be realistically possible. The English homophone Eutopia, derived from the Greek εὖ, "good" or "well", and τόπος, "place", signifies a double meaning.

It got my historical dithers up so as to pin down points of views that may have inspired cultures to look for new lands beyond the realms of thought each society was used too, and "hoped for" in some better form.

Utopia (book)

Utopia
Illustration for the 1516 first edition of Utopia.
Author	Thomas More
Translator	Ralph Robinson Gilbert Burnet
Country	Seventeen Provinces, Leuven
Language	Latin
Publication date	1516
Published in English	1551
Pages	134
ISBN	978-1-907727-28-3

Utopia (in full: Libellus vere aureus, nec minus salutaris quam festivus, de optimo rei publicae statu deque nova insula Utopia) is a work of fiction by Thomas More published in 1516. English translations of the title include A Truly Golden Little Book, No Less Beneficial Than Entertaining, of the Best State of a Republic, and of the New Island Utopia (literal) and A Fruitful and Pleasant Work of the Best State of a Public Weal, and of the New Isle Called Utopia (traditional).^[1] (See "title" below.) The book, written in Latin, is a frame narrative primarily depicting a fictional island society and its religious, social and political customs.

Despite modern connotations of the word "utopia," it is widely accepted that the society More describes in this work was not actually his own "perfect society." Rather he wished to use the contrast between the imaginary land's unusual political ideas and the chaotic politics of his own day as a platform from which to discuss social issues in Europe.

Why quest for new lands, planets for living?

Bacon's Utopia: The New Atlantis

Quote:

In 1623 Bacon expressed his aspirations and ideals in The New Atlantis. Released in 1627, this was his creation of an ideal land where "generosity and enlightenment, dignity and splendor, piety and public spirit" were the commonly held qualities of the inhabitants of Bensalem. In this work, he portrayed a vision of the future of human discovery and knowledge. The plan and organization of his ideal college, "Solomon's House", envisioned the modern research university in both applied and pure science.

Tommaso Campanella- See also:The City of the Sun

What contributions were idealistic set before those who signed the documents that one would have found reference from Raphael toward the Stanza's of the signatore's room in Rome?

The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. See Raphael Rooms

You had to understand the setting and the historical drama set forth?



School of Athens by Raphael

Quote:

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.

So to set this up some background was needed?

Quote:

Plato and Aristotle, Up and Down by Kelley L. Ross, Ph.D. 

Rafael has Plato pointing up and Aristotle gesturing down to indicate the difference in their metaphysics. For Plato, true existence is in the World of Forms, in relation to which this world (of Becoming) is a kind of shadow or image of the higher reality. Aristotle, on the other hand, regards individual objects in this world as "primary substance" and dismisses Plato's Forms -- except for God as a pure actuality, without matter.

However, when it comes to ethics and politics, the gestures should be reversed. Plato, like Socrates, believed that to do the good without error, one must know what the good is. Thus, we get the dramatic moment in the Republic where Plato says that philosophers, who have escaped from the Cave and come to understand the higher reality, must be forced to return to this world and rule, so that their wisdom can benefit the state. Aristotle, on the other hand, says that the "good" is simply the goal of various particular activities, without one meaning in Plato's sense. The particular activities of most human affairs involve phronésis, "practical wisdom." This is not sophía, true wisdom, for Aristotle, which involves the theoretical knowledge of the highest things, i.e. the gods, the heavens, and God.

Thus, for philosophy, Aristotle should point up and would represent a contemplative attitude that was certainly more congenial to religious practices in the Middle Ages. By the same token, Aristotle's contribution to what we now think of as science was hampered by his lack of interest in mathematics. Although Aristotle in general had a more empirical and experimental attitude than Plato, modern science did not come into its own until Plato's Pythagorean confidence in the mathematical nature of the world returned with Kepler, Galileo, and Newton. For instance, Aristotle, relying on a theory of opposites that is now only of historical interest, rejected Plato's attempt to match the Platonic Solids with the elements -- while Plato's expectations are realized in mineralogy and crystallography, where the Platonic Solids occur naturally.

Therefore, caution is in order when comparing the meaning of the metaphysics of Plato and Aristotle with its significance for their attitudes towards ethics, politics, and science. Indeed, if the opposite of wisdom is, not ignorance, but folly, then Socrates and Plato certainly started off with the better insight.

Hope I didn't bore you with precursors of "new thoughts of how differing societies were formed?  How one may of attained such insight by helping one to realize the choice we have about how those new societies may have inspired?

Of course, "a science" evolved from it all?

The Dance to Truth

While searching for familiarity on the terminology of Phenomenology, the greater question settled on my mind as to what Nature itself means.

Undoubtedly we have no questions to ask which are unanswerable. We must trust the perfection of the creation so far, as to believe that whatever curiosity the order of things has awakened in our minds, the order of things can satisfy. Every man's condition is a solution in hieroglyphic to those inquiries he would put. He acts it as life, before he apprehends it as truth. In like manner, nature is already, in its forms and tendencies, describing its own design. Let us interrogate the great apparition, that shines so peacefully around us. Let us inquire, to what end is nature  NATURE---Emerson, Ralph Waldo, 1803-1882

I would of course direct one's attention to the question of what Nature can mean here then. How we live with it and how it is applied to our circumstance for it to be "a truth for which we live and breathe."  "Walk the Talk" and live according too, is a measure of our judicial process  as to the finality of the road travelled with regards to our own life.

So what is the way in which you would perceive the road too, and how would you draw such a picture to best describe what you are seeing "as the way leading"  to a common front regarding predictions of science?

Science and the Mind

Dr. Roger Penrose, Oxford University

The idea of the predictions of science have to have a course in which to follow that accurately describes the process to which such predictions are made. Now, this kind of abstraction is correlated in my mind as to the way in which one could map the mind and the road toward such prediction,  and in following such a road, lead all to imagine that after such a journey, a verse can be expounded upon as to to what can possibly materialize out of such a "cloud gathering, " or a, "Light bulb" moment.

PHENIX, the Pioneering High Energy Nuclear Interaction eXperiment, is an exploratory experiment for the investigation of high energy collisions of heavy ions and protons. PHENIX is designed specifically to measure direct probes of the collisions such as electrons, muons, and photons. The primary goal of PHENIX is to discover and study a new state of matter called the Quark-Gluon Plasma.

While giving this consideration,  such experimental processes were telling to me of where and what we were doing by focusing our attention directionally to a time in the fractions of second,  as to detail the very understanding of how the Universe came to be,  and how such correlation could have been spotted in the neural connection,  as if a space,  to which all information could enter.

But we know relatively little about how the circuitry of the brain represents the consonants and vowels. The chasm between the neurosciences today and understanding representations like language is very wide. It's a delusion that we are going to get close to that any time soon. We've gotten almost nowhere in how the bee's brain represents the simplicity of the dance language. Although any good biologist, after several hours of observation, can predict accurately where the bee is going, we currently have no understanding of how the brain actually performs that computation.

The thing was,  you had to provide that space in order to raise the question of what could have arisen out of it. What that space actually means. Now,  are these things real or imagined facets of the natural world,  or,  are they measurable things that we have been lead too, to direct our attention, and not call it some fictional representative of a wild Bumble bee Dance?

Raphael's Dissertation on Age and Youth?

School of Athens by Raphael

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.

In a reflective occasion drawn to the center of the picture of Raphael, I am struck by the distinction of "age and youth" as I look at Plato and Aristotle. Of what has yet to descend into the minds of innovative and genuine science thinkers to know that the old man/woman works in concert with the science of youth, and this is something yet has still to unfold.

This drawing in red chalk is widely (though not universally) accepted as an original self-portrait. The main reason for hesitation in accepting it as a portrait of Leonardo is that the subject is apparently of a greater age than Leonardo ever achieved. But it is possible that he drew this picture of himself deliberately aged, specifically for Raphael's portrait of him in The School of Athens.See:Leonardo da Vinci

Why, when it is understood that Leonardo Da Vinci's face is emblazoned on the likes of Plato by Raphael? It's to call attention to Leonardo's inventiveness that one might speculate as to what "descends into any mind" that has been prep by and stands in concert, side by side with Aristotle of science?


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PLato saids,"Look to the perfection of the heavens for truth," while Aristotle saids "look around you at what is, if you would know the truth" To Remember: Eskesthai

The ole wo/man represent all the possibilities of ingenuity as one moves to place their question. When it sinks deep into the vast reservoir of quantum descriptive world" it will then make sense that all things follow what has been put before the mind.

Factoids and Censorship

Often taking the time to absorbed the full perspective of the writer is just as much an effort as it is to understand the nature and understanding of research and information development about a topic. Where that writer leaves off.

Bradbury on FAHRENHEIT 451 See also at Home with Ray

What space has this writer given us, as we look forward to the future? What valuations do we then assign the places in television as we have become numb to the experience of discovering who we are?

So I do understand the wider perspective here about what people can do to each other as we select and transcribe the future prospects of where we want this society to go. I had learnt about this aspect of numbing as I realized that it was just as great an effort to awake our own selves to the subtle perceptions of existence, as it was to respond most appropriately in our views on the things that we had taken into our beings for assessment.

It was "as if" we could find that "space in time" where we could "stop time and look in between the clips of our everyday experiencing" and realized then, that in every moment of time as an arrow, human experiences follows? There was that place to awaken our ingenuity of mind to the discoveries of the world around us.

“Television gives you the dates of Napoleon, but not who he was,” Bradbury says, summarizing TV’s content with a single word that he spits out as an epithet: “factoids.” He says this while sitting in a room dominated by a gigantic flat-panel television broadcasting the Fox News Channel, muted, factoids crawling across the bottom of the screen.

His book still stands as a classic. But one of L.A.’s best-known residents wants it understood that when he wrote it he was far more concerned with the dulling effects of TV on people than he was on the silencing effect of a heavy-handed government. While television has in fact superseded reading for some, at least we can be grateful that firemen still put out fires instead of start them.

Ray Bradbury: Fahrenheit 451 Misinterpreted L.A.’s august Pulitzer honoree says it was never about censorship
By AMY E. BOYLE JOHNSTON Wednesday, May 30, 2007 - 7 pm

Creativity

How subtle this point about this identification of this question on creativity,"What does "creativity" mean in our lives? that it could be thrown in the mix? There was a greater story here waiting for us in the wind? How unpredictable the weather to see that in the third valley of Amy Tan's exploratory journey, that while she in writing sees the object of stones as a part of the story line, then finds reality has been kind to her, that such serendipity is the realization that all things will come home to roost.

So too in this aspect and understanding, do I find, that the word "creativity" is a funny thing that such "determinisms are factored with it." That such ideals and relations become the "correlations of cognition" that I had found opening in my own life. It was by discovery of such a method in a literary device I could, look at what other authors were doing as they began their stories.

How was I to know that the very search I had put myself on would lead me here or there, and to understand, that I was seeing into the future, and the future was coming home to see me?



The discovery of Plato and his Dialogues were a lesson in mind that I had come to look at, as if, the Dialogues themself were a method by which such perspectives could have pointed toward a future. An outcome, determined by the very process of bringing forth the "point of view", whether by a "truer character of being," or some form of left right brain dialogue of coming to a consensus on that oscillatory moment.

School of Athens by Raphael

That two such positions could have been adopted in the painting of Raphael in the Signatore's room at the Vatican, was a deeper recognition to me of the creativity we can assign such outcomes by placing Plato and Aristotle under such such an "Arche."

The "centre of the painting" is itself to draw attention to all the events that were happening in the school(A Royal Road to Geometry?), but to bring us back to this centralized position within ourselves. To brings us back to the very questions about the relationship of this teacher and student. This was a foundational perspective that was a sign of the times to me.



While we look at the inductive/deductive relation of what such an Arche represents, it was a method that by such induction/deductions of such things were to become "self evident." This dialogue could be wide sweeping, as we take Aristotle gestures and a sweep of the hand, while Plato, points to a higher purpose, and the revelation of where ideas come from. This is a source of inspiration to me that such deductions while delineating a pathway to historical context, has a relevance to what was always known. Was alway there to be discovered, We just did not realize it yet.

The Teacher and the Student



"The Teacher and the student" could exist in each of us. What choice would you have while on such a search to know that while there was never the possibility to assign ourselves to this group or that, that you were to wear the stripe and pattern of, and then loose that part of yourself that was till on the journey?

The probability of new language development was the realization that from insightful development each of us holds the ability to warm up to the idea of what creativity means in our lives. While we gesture ourselves to that future and PLATO'S HAND, and how IDEAS could descend into every thinking mind that opens itself to such a pathway?

He wanted to give a speech, but no remarks are allowed. “Not even a paragraph,” he says with disdain. Ray Bradbury: Fahrenheit 451 Misinterpreted

Why would he just settle with shaking a president's hand while he was being misinterpreted and was left without a voice?

Ray Bradbury rejected part of the mould "of who and what limits such a participation of self to the truth" was the message that betrays the deeper recognition of what we may assign to our fellow creatures on earth. Shall we learn the truth of who we are now being limited by using the distinctions and factoids, now becomes the way of hiding the deeper relevances the messages have about that truth? Were we acquiescence to such numbing? Then, Wake-UP!:)

Should we assign such a deduction to what the avenues of new technologies appeal to the nature of "numbing the senses" or, point to the realization, that such devices will allow "fine openings and apertures" which revealed the truth of that ever searching mind?

Letting Go of the Mould

Amy Tan reveals a thinking of mind that allow me to write on the "Character of our Heroes," to imply that we had to let go of our prejudgements in order to fully experience the methods and thinking of those historical figures.Sensing who they were in their totality.

Amy Tan revealed that writing on a particular place in China, the village that she was to write about suffered a terrible loss(sixty homes burnt) and the individual who caused that incident, was to bear the brunt of the village justice. In order for Amy to live and breathe that village, she had to pull back her own opinions about what justice was in order for her to write of the discipline and justice applied to that man. Removing her opinions, and "moving into that space" was to try and expeirence the story fully. Let the story to be written.

Housebuilding

It all start off as "a dream" or "an idea." Where do these come from? Dialogos of Eide

This is the house similar to what we will be constructing, with some modifications of course.

Most know of my time helping my son last year constructing his home. The journey of pictures that I have here within this bloggery. It has also some "dimensional aspect" in it's development, so I thought this might help those who are working Euclidean coordinates, may help to seal this process in some way, by being introduced to house construction.

This is the home that my wife and I had built in 1998. It was built on ten acres of land with a wide sweeping view of the mountains in the background. Although not seen here, you may have seen some of my rainbow pictures that I had put up over the years to help with the scenery we had.

Well the time has come for my wife and I to be entering into the venture ourselves. You will notice that the model we choose above is one floor. We thought this suitable for the coming years as when we move into retirement.

Here is a picture of my daughter-in-law and son's house in the winter of this last year. He still has some work to do, but as per our agreement, I help him, he is helping me.

I think I am getting the better of the deal, as he has taken the time to write me a 17 page step procedure with which I must follow. I thought this will become part of the journey for my wife and myself, so that everyone may see the process unfolding and maybe learn something about home construction. The plans of course change from country to country, while this plan is unfolding in Canada.

We purchased a 2 acre parcel of land with which to build the new home up top. I went into the bush with the camera and with about 2 feet of snow. It was not to easy to get around, so as time progresses,and as I put in the roadway and cleared site, you will get a better idea of what it looks like.



We had to contend with where we will live. We wanted the freedom and space to be close to where we will be building, so we bought a 19' foot travel trailer and will be putting it on the acreage while we build our new home. We thought of "renting" and our son of course offered for a time to let us live with him. We thought all around with the new baby Maley, we would leave them have their space as well.

Laying the Foundation

Articles on Euclid

See No Royal Road to Geometry?

I would like people to take note of the image supplied on the website of Euclides.Org, as it is one that I have used showing Plato and Aristotle. The larger picture of course is one done by Raphael and is painted on the wall in the "Signatores room in the Vatican."

The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. See Raphael Rooms

While one may of talked abut the past, or use a name like Plato of the past does not mean that what is being supplied from that position is not dealing with information for the 21st century. I would like you to think that while speaking about models that what the house is doing in "a psychological sense" is giving you a method by which all that you do in your life will materialize in consciousness and digs deep into the unconscious.

How often had you seen yourself in dream time, doing something or other, in the living room, kitchen, or anything that deals with the current state of mind, that you of course will see in this house? They are the many rooms of the mind.

All those who have written histories bring to this point their account of the development of this science. Not long after these men came Euclid, who brought together the Elements, systematizing many of the theorems of Eudoxus, perfecting many of those of Theatetus, and putting in irrefutable demonstrable form propositions that had been rather loosely established by his predecessors. He lived in the time of Ptolemy the First, for Archimedes, who lived after the time of the first Ptolemy, mentions Euclid. It is also reported that Ptolemy once asked Euclid if there was not a shorter road to geometry that through the Elements, and Euclid replied that there was no royal road to geometry. He was therefore later than Plato's group but earlier than Eratosthenes and Archimedes, for these two men were contemporaries, as Eratosthenes somewhere says. Euclid belonged to the persuasion of Plato and was at home in this philosophy; and this is why he thought the goal of the Elements as a whole to be the construction of the so-called Platonic figures. (Proclus, ed. Friedlein, p. 68, tr. Morrow)

See also Laying the Foundation with Respect While one indeed had to start somewhere I thought I would start here with, "Foundational Perspectives."

I choose this as an introduction, whilst I will be starting from the ground up. This will include the planning of road way and building site. Since I have this interest about physics and where science is going these days, how could I not incorporate these things into what I am doing currently with my life now? So while I speak about the science end, I am encapsulating "this process" with regard to how I will construct my home.

Is this possible?

Well having spoken of the "Euclidean reference" one would have to know how one departs form such a scheme of Euclid, to know that this graduation to Non-Euclidean geometries was somehow related to the "fifth postulate" written by Euclid.

So of course, we had those who were involved in this development historically, which serve to remind us about where someone like Dali may of been as a visionary, in terms of Time. Or "geometrically inclined" to higher dimensional figures.

It definitely had it's connotations to "points of view." I mentioned religion, but for the nature of Salvador Dali, and his lifestyle, one would have to wonder where he was going with the Tesserack and his painting of Jesus on the Cross?

While I do not subscribe to any religion per say, I do subscribe to the finger of Plato pointing up. Have you for one moment you thought to roll your eyes up in your head, and think of what is up their in your mind? Assign our highest values to goodness. Surely you would enlist the "Colour of gravity" in all situations as you choose to live your life? It's there for the choosing.

Surely, that if you wore a hat on your head, or thought, to think of the roof of your house, you may indeed think of the highest ideals with which you choose to live your life. It's not my job to tell you what that is, that is yours alone.

You will be involved with aspects of the "universal language" that knows no boundaries, no matter your race, gender, or nationality. Yet, it will be specific to you. It will have "probabilistic outcomes" according to the life you are living regardless.

The Secret of the Golden Flower

When ever you walk the pathways in your mind of what ever model, you are laying the road work for that which you will travel through. Why, I may have referred to the title of the "Golden Flower in the Bee story," is a result, that the probabilistic outcome of life calls upon this "chance meeting" to come to what is held in mind. So what's new having the honey of the Bee community?

Do the Bee dance, and you learnt from others what this model is doing. So you travel. You get the benefits of the honey sometimes in new thoughts? There had to be a point "like the blank slate, glass room, a pen and paper ready" in order for the mind to be receptive to what already exists out there in the "form of ideas." How will these manifest? So indeed, it came from deep inside/outside you?

I never thought this inductive/deductive method while thinking it topological smooth in it's orientation, was not the exchange going on with our environment. That if you live your life according to your principles, then the principles would become part of your life. That on a level not understood to clearly, the "colour of gravity" was what we could evolve too? What is our own dynamical makeup, to become part of the ideals we had set for ourselves. We set our own ship in life. The boat or vehicle, becomes part of the way we will travel in our dream time. The airplane we ride.

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

Whose who, in the School of Athens

I was over visiting Clifford's blog called Asymptotia this morning and notice a blog entry called, Heretics of Alexandria. Of course, what first came to mind is the "Library of Alexandria."



Clifford writes and paraphrases:

This full length drama, set in Alexandria Egypt, 415 A.D. features the infamous Philosopher Hypatia, who has come into possession of a document that threatens the very basis of the new religion called Christianity; a document that some would do anything to destroy. Hypatia and a powerful Christian Bishop wage a fierce struggle for the soul of a young priest and for a document which tells a very different version of the life — and death — of Jesus. A true story.

The writing was excellent as was the cast, and Bastian should be extremely proud of himself. (It is a mistake to call it “a true story”, though. It is a story based around historical events, which should absolutely not be confused with being a “true story”. Writers of synopses should not encouarge people to mix up the two.

So I started to do some research on the link offered by Clifford. All of a sudden I could see the many connections bringing "Hypatia of Alexandria" into the fold.


Hypatia of Alexandria (Greek: Υπατία; c. 370–415) was an ancient philosopher, who taught in the fields of mathematics, astronomy and astrology. She lived in Alexandria, in Hellenistic Egypt.

Hypatia was the daughter of Theon, who was also her teacher and the last fellow of the Musaeum of Alexandria. Hypatia did not teach in the Musaeum, but received her pupils in her own home. Hypatia became head of the Platonist school at Alexandria in about 400. There she lectured on mathematics and philosophy, and counted many prominent Christians among her pupils. No images of her exist, but nineteenth century writers and artists envisioned her as an Athene-like beauty.

Many of you who visit here know how much the "School of Athens" picture means to me?

That there was only one woman here named "Hypatia of Alexandria" of course sent me off to have a look. AS well, "more of the meaning" with regards to the Library of Alexandria.


9.Francesco Maria I della Rovere or Hypatia of Alexandria and Parmenides


The frescoe of the "School of Athens" has been a haunting reminder of the many things that Raphael "enclosed in meaning."


School of Athens by Raphael

That I could then give numbers and names to person's within the picture was equally exciting. I started to dissect parts of this picture quite a while back, opening of course with the "very centre of that painting." The labels supplied on this post entry should give links to farther posts about this.


1: Zeno of Citium or Zeno of Elea? – 2: Epicurus – 3: Frederik II of Mantua? – 4: Anicius Manlius Severinus Boethius or Anaximander or Empedocles? – 5: Averroes – 6: Pythagoras – 7: Alcibiades or Alexander the Great? – 8: Antisthenes or Xenophon? – 9: Hypatia or the young Francesco Maria della Rovere? – 10: Aeschines or Xenophon? – 11: Parmenides? – 12: Socrates – 13: Heraclitus (painted as Michelangelo) – 14: Plato holding the Timaeus (painted as Leonardo da Vinci) – 15: Aristotle holding the Ethics – 16: Diogenes of Sinope – 17: Plotinus? – 18: Euclid or Archimedes with students (painted as Bramante)? – 19: Strabo or Zoroaster? – 20: Ptolemy – R: Raphael as Apelles – 21: Il Sodoma as Protogenes

I now realize that with one comment entry gone( maybe both) that I really was not so out of tune. What was Plato's influence on Hypatia of Alexandria?

Letters written to Hypatia by her pupil Synesius give an idea of her intellectual milieu. She was of the Platonic school, although her adherence to the writings of Plotinus, the 3rd century follower of Plato and principal of the neo-Platonic school, is merely assumed.

See also:

No Royal Road to Geometry?

Euclid belonged to the persuasion of Plato and was at home in this philosophy; and this is why he thought the goal of the Elements as a whole to be the construction of the so-called Platonic figures. (Proclus, ed. Friedlein, p. 68, tr. Morrow)

Objective Truth?

Mark:

you can tell has a real thirst to get her mind around the issues, and who isn’t looking for a sound bite to take the place of a complicated story

There is no doubt in my mind that KC Coles will play a significant role and is playing a significant role, in helping us to put our heads around things that are extremely interesting.

Award-winning science journalist and author K.C. Cole will join the USC Annenberg faculty as a visiting professor of journalism in January 2006, the School announced Friday, October 28, 2005.

Will she follow what a Lee Smolin does, "Three Roads to Quantum Gravity," or what a Brian Greene does in terms of, "the Fabric of the Cosmos," or what anyone for that matter who is engaging the quantum gravity issue. Who gets as close as, Michio Kaku does, in helping people to view hyperdimensional realities, from roads that had been travelled from historical perspectives? Get's as close as possible to what Atlas is doing in terms of Calorimetric perspectives?

This would mean the doors are open wide and that her work, will be guided, by those who are at the front, right?

Doesn't a clear "objective truth" not only increase our awareness, but also lays at the door sill, an invitation to engage the questions of what roads leave off where, and what roads are being left with guiding signs, as a door open to the future?

So I know with the creative impute Clifford seems to have, this could be a interesting proposition, and for Mark, such curators know well to ask what would help the public understand these issues better?


PLato saids,"Look to the perfection of the heavens for truth," while Aristotle saids "look around you at what is, if you would know the truth" To Remember: Eskesthai

Ideas, they already exist, we just have to recognize them?:)

Objective truth, should be as discernable, as the roads that lead to future thoughts and ideas. This is really a tuff question to me, and having math and physics holding two features of inductive and deductive processes within our capable minds, would have some oscillatory response to a place, where that plateau is most desirable and can lead to future ideas. It's a place where injection of all that already exists comes to awareness. We just had to get there by standing back and accessing what the picture is in relationto the room. In relation to the what draws the eye, and what peole use of it to further elucidate our understanding of.

Look to the right of Raphael's painting lower right hand corner. Look at the link this picture is connected too?

Plato - holding the Timaeus - Pointing up as a sign of his metaphysical belief in the higher world of the forms, shown with the face of Leonardo.

Aristotle - holding his Ethics with hand palm down, reflecting a more grounded approach to the problem of universals.

Heraclitus - melancholy and alone, shown with the face of Michelangelo

This is a human situation, that would seek to find all in accord with, and raises question towards, that validity and extension of inductive and deductive modes. Can we excell the physics and math approaches with this interconnectivity forward to that open invitation?



Whether physicists and Mathematicians "believe" they belong to a secular view of reality, does not diminish the humanness with which responsiblity can transverse the scope of our thinking. To further invitations of psychological valuations into the meanings of the "hot stove and a pretty girl," as an culmination of good understanding about durations of time. In happiness and sadness, while this is philosophical bent, there is reason to believe that "time" can hold these valuations. That time, can be a measure in our ascertions of human conduct?



So we want this "objectve truth" so clear and concise, that it could permeate all the way down to the generalization of good physicist and mathematicains minds, to help ordinary citizens realize that the basis of objective truth lies at the heart of these words of wisdom shed amongst the populace?

So understanding where this oscillatory feature of inductive and deductive features would serve us all well I think, helps orientate what the picture of Raphael's reality includes. Not just to be taken on the surface, for what we see?

If from a "langangrian perspective" we understood where this resonantial feature could invite human awareness of this deeper hidden valution of the unseen, then the point on the chaldni plate makes it readily discernable, where injection and place one could invite these ideas into?

Our perspective and views, can go much deeper then what we had first realized, now that we know that this "arche" oversees all roads leading to the investigations of the maths and physics simultaneously. Opens such a doorway to objectivity, and extensions of human thought about what should extend into the realms of the bulk perspective. It all arose from soem consistent geometrical modelling that none were the wiser takes place, until you look at what Einstein had to incorporate. To bring such a conclusion to the idea of seeing this world from a greater perspective then the one we are held to following lines on a sphere.

"Sailing ships" now become men(?)photons who see for the first time, a view of a globe, that we had been so long held too, that we understand a greater relationship now between clocks, and it's influence on that same photon. Influence of time?

So now for the conclusion of where this picture sits here. That one indeed might wonder about the Room of the Signatore, and the place of power it holds in the Religion of the Roman Catholic. Does it bolster religious dogma, that this article in question would point to ID and it's classification, assigned to religious held views of what science should mean?

Sure, Raphael could have been a very religious man, but artistically, what could all of this science include then? Do we denouce this part of our heritage from a historical sense, or have we progressed? Throw out dogmatic rules, that do not adhere to our scientific understanding then?

Now I think it is a better understanding and clarity of these situations that we recognize each will hold to their "religion" regardless. That if some see what we are doing by let's say holding "string theory" to such high esteem, then it is the insult of "truth," as to what we hold in our investigations?

A relation to particle reductionisms and the deeper reality taken to view the origins of our universe? It would be very insulting would it not seem, had we all agreed on historical perspective, made way for scientific enlightenment?