Author Archives: Pierre Beaudry

Plato’s use of the adverbial expression “suddenly” (exaiphnēs) is an appropriate metaphor for identifying the transformative nature of an “instantaneous” axiomatic change inside of the human mind. Lyndon LaRouche identified this as the transfinite measure of a discovery of principle of going from a lower to a higher manifold. In the Parmenides, Plato qualified such a changing state of mind as a “sudden instantaneous moment” which he identified as the unifying mental action of a One over the Many.

Throughout European history, the primary advocates of such an epistemological function of the human mind have been Thales, Pythagoras, Plato, Nicholas of Cusa, Gottfried Leibniz, and Lyndon LaRouche. These thinkers have used such a timely form of action for the same historical purpose, which is to modify and measure the power of the human mind with respect to God and the infinite for the common benefit and progress of mankind.

In that sense, “suddenly” (exaiphnēs) represents an instantaneous and unforeseen action of change which reflects the state of perplexity of the thinking person at the decisive moment of discovering, not merely the growing capacity of his or her mind at some moment in history, but also, the power of going beyond the limits of the apparent finite domain of knowledge, by measuring the critical steps of an unbounded human transfinite progress; thus, proving by factual demonstration that there are no limits to growth.

It is not obvious that human beings are capable of understanding and determining the boundaries and limits of their own knowledge and thereby gain access to a higher knowledge of the nature of God, the universe, and the creative process.

Nicholas of Cusa made clear the nature of that difficult task when he introduced to the Italian Renaissance the fact that the only way to access wisdom was by not-knowing, as Socrates had done by realizing that all he knew was that he did not know.

HAVE YOU EVER HEARD THIS TWELVE NOTE BEETHOVEN ARRANGEMENT BEFORE?

Gottfried Leibniz’s WRITINGS ON CHINA is a beautiful example of how Western investigators can discover how the Chinese people have mastered what Leibniz identified as “monads” or “entelechies” and “pre-established harmony” through the discovery of the idea of an axiomatic change made by the founding father of Chinese Civilization, Fu Xi, for the benefit of the other.

Leibniz’s views on China were not merely to inform western thinkers of a new way of looking at things; his purpose was to solve the deep epistemological and religious crisis that the Thirty Years War had created during the first half of the seventeenth century among European States that the Peace of Westphalia had begun to heal starting in 1648.

Lyndon LaRouche had a similar objective in proposing the great economic project of the World Land Bridge for the benefit of all of mankind; and, not surprisingly, in doing so, he confronted the same enemy as Leibniz did: the British Oligarchy and the British Crown. 

The time has come to give Andrea De Bonaiuto his proper place in history as a true Renaissance artist. From the Spanish Chapel of Santa Maria Novella in Florence, Bonaiuto speaks to us as if God had deposited on his brush a form of higher truth inside of three major frescos; that is, truth in the form of a spiritual and polemical challenge that the observer must take to heart in order to decipher what he can identify as the difference between The Church Militant and The Church Triumphant.

Sometimes it is not easy to tell what the subject of a painting is truly about, because what the observer sees may not necessarily be the subject intended by its author. Such is the case with Andrea de Bonaiuto’s frescoes in the Spanish Chapel. Bonaiuto used his brush to expose that by using Aristotle’s method to evangelize, the Dominican Order was, in fact, brutalizing minds with deductive logic and scholasticism rather than elevating those minds with Christian values.

One of Bonaiuto’s most significant contributions to the Renaissance and to the domain of classical artistic composition is to have revealed the false underlying assumptions which caused the Dominican Order to be incapable, under their deductive logic, of accessing the higher truth of the Church Triumphant. The method that Bonaiuto used, therefore, exposes the devastating error of Dominican theology which, to this day, the Catholic Church has not seen fit to recognize.