Category: Art & Design
A-Symmetry as Semiotic of European Evolutionary Advance
His colleagues noted that some species of crabs have asymmetrical appendages, one being larger than the other, but when one of the pair was lost, another grew back in mirror image to the other. To this they were disposed to ask, how did the crab gain symmetry?
Through the extended analysis, Bateson hypothesized that his colleagues had been asking the wrong question. They should rather have been asking, “how did the crab lose asymmetry?”
It was in fact, in the course of this very investigation into the biological laws of symmetry that William Bateson first coined the term “genetics.”
The rule by itself is not of particular relevance to our concerns for European ontology and nationalism. However, steps taken in ecological and cybernetic analysis and arrival at Bateson’s rule of morphology do have significant implications, suggesting hypotheses for semiotics of ecological (and ontological) correction - including of human ecology.
Posted by DanielS on Sunday, January 26, 2014 at 06:29 PM in Activism, Anthropology, Anti-racism and white genocide, Art & Design, Conservatism, Demographics, Environmentalism & Global Warming, Ethnicity and Ethnic Genetic Interests, Genetics & Human Bio-Diversity, Origin of Man, Social Sciences, The Ontology Project, White Nationalism
I came upon the work of Frederick Parker-Rhodes in my quest for the ideal computer language, which I have elsewhere on MR discussed in relation to Heidegger’s “as” structure and GW’s ontology project. Recent work in theoretical physics has provided empirical validation to his “wildly eccentric” views—which managed to provide a priori derivations of the dimensionless scaling constants of physics from his ontology detailed in his book “The Theory of Indistinguishables”. To be brief, there is his “combinatorial hierarchy” that derives from FRP’s attempt to find the underlying mathematical structure of what he called “wholesight”.
Below the fold is an excerpt from “Wholesight: The Spirit Quest” by Frederick Parker-Rodes…
Posted by James Bowery on Monday, February 4, 2013 at 01:08 AM in Art & Design, Christianity, Economics & Finance, Environmentalism & Global Warming, Global Elitism, Globalisation, Science & Technology, Social Sciences, The Ontology Project
by David Hamilton
There is confusion about what art is. The qualities that make something art are intrinsic, not external. It is the artifice, the organising of elements, perspective, choice of colour etc, that make it art. The result is obtained by transforming reality and thus nature through human imagination and emotion and is realised by skill and technique.
The word Beauty (or beautiful) is descriptive if used as an adjective to express the response of the beholder to an object, or if used within a clear context; if used as an abstract noun it is universal, and therefore meaningless.
A significant difference between contemporary art and traditional art is the split between form and meaning. This Cartesian duality is the split between mind and body, subject and form. The split is in all the various forms and styles and substance and meaning, of the respective art forms. In architecture contemporary buildings look like objects they are not which is why they are given comic nicknames - The Gerkhin, The Cheese Grater, or Liverpool’s Catholic Cathedral, The Mersey Funnel (aka Liverpool Metropolitcan Cathedral). The form is not related to function - the interior of a modern cathedral could be anywhere.
Traditional art develops within traditional forms and it develops the forms. In his Christian paintings of the fifties Dali adapted forms to his individual vision but they are recognisably traditional forms. Dali was a genius - contemporary artists are not. They need to shock to get recognition. Real Art grows out of tradition and provides sustenance, spiritual or worldly, for people rather than negative emotions like shock or offence that are harmful.
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