Pierre Beaudry's Galactic Parking Lot
TIME REVERSAL is the measure of change……………………………………………………….because change is the measure of TIME REVERSAL
McClendon Dinner Speech at the National Press Club, May 1, 2019. The introduction and first 6 chapters of Anton Chaitkin’s book-in-process, American Prometheus: Progress, vs. Empire, from Franklin to Kennedy, are up on the website www.antonchaitkin.com with free public access. When the book is finished, it will be published for sale with illustrations, index and bibliography.
Five hundred years ago, on May 2, 1519, the greatest genius who ever lived died at the Amboise Castle in France. His name, Leonardo di ser Piero da Vinci, more commonly known as Leonardo, will be remembered for all times to come, because he developed the talent of making others discover the pathway to the creative process of the human mind in a way that no one else has surpassed.
Today, we celebrate the 500th anniversary of Leonardo’s leaving mankind a heritage of the sciences of anatomy, architecture, astronomy, botany, cartography, drawing, engineering, geology, geometry, history, mathematics, music, painting, physical science, sculpting, and writing. Most of all, Leonardo epitomized the Renaissance humanist ideal of man.
This report is on the epistemological significance of the ceiling decoration that Leonardo painted in the Sala delle Asse in the Sforza Castle of Milan during the two year period of 1495 to 1497. Was this fresco a mere decoration or was he giving us a new discovery of principle? The fact that this so-called “decoration” was painted at the same time that he composed The Last Supper is not a coincidence. There exists a hidden discovery of principle between the two.
At the moment when Italy was joining the New Silk Road during the state visit of Chinese President Xi Jinping last month, it is fitting that the reader be reminded that the strategic and epistemological circumstances of today are similar to those of 1,200 years ago when, Charlemagne, Haroun al-Rashid, and King Bulan united their forces against religious geopolitics for the purpose of securing peace and development for mankind as a whole.
Two week ago, Philip Ulanowsky initiated a new project which I have endorsed and which he identified as a VISUAL ARTS AND ARCHITECTURE PROJECT. The intention of such a project is to form a working group focused on Lyndon LaRouche’s principle of creativity in classical artistic composition. Lyn identified the principle of beauty behind the necessity of such an intention during the NEC Meeting of Saturday, November 26, 2011, when he said:
“And that’s beauty! That’s the meaning of beauty! Not something that makes you feel good. But the fact you are elevated, your motivation is elevated, and the elevated emotion itself inspires you! It’s the source of the creative potential. It’s your best defense, psychological defense, against many kinds of ills.
“But the idea of the “art appreciation” approach, I hate “art appreciation”! I despise it! Because it’s a fake! It’s a fraud! It’s not the experience of creativity.”
The present report is aimed at bringing a contribution to this project by illustrating how to look for anomalies and singularities inside of a classical painting; but is such a way that it may cause an axiomatic change in the mind of the observer and improve his sense of beauty by way of telling the truth publically; that is to say, by way of an axiom busting process which puts his reputation on the line.
RAPHAEL’S ‘DISPUTE OF THE HOLY SACRAMENT’ AND THE ANOMALY OF POPE INNOCENT III
Earlier this year, I resolved to investigate a little studied domain of epistemology that Nicholas of Cusa had developed in the spirit of Plato and with the help of a few Pythagoreans; that is, the domain of incommensurable proportionalities in the coincidence of opposites. The proportion I am putting under scrutiny here is as follows:
The polyhedron is to the sphere as the polygon is to the circle in the same proportion as the human mind is to God’s Mind.
Of all of the Platonists throughout history, it is Nicholas of Cusa who best understood the epistemological necessity of relating the human mind to such incommensurable opposite realities as God’s Mind, in proportion to the human mind. And, what he conceived within such a proportion, he applied to a new conception of music and of time, a conception that he identified as a modality of “timeless time.”
