Fractal Life Science, Liberty, Ethics and the Upgrading of Renaissance Optics

Known as The Man of the Renaissance, Leonardo da Vinci’s Theory of all knowledge is recognised as being basic of the modern age of mechanistic science and technology. The key to this work of great genius was the human eye. Leonardo’s optical key was associated with Sir Francis Bacon’s vision of a great empire for all men based upon all knowledge through the eye. Thomas Jefferson, inspired by this concept, depicted the Egyptian All seeing eye concept upon the great seal of America.

The term Renaissance refers to a rebirth of the lost Classical Greek Science of Life. The 14th Century Great Italian Renaissance was an extension of the Islamic Translator School that was set up in Toledo Spain during the 11,12th and 13th Century. The Translator School was about the recovery of several centuries of ancient Greek science which the Christian Church had mostly destroyed as heresy. During the Golden Age of Islamic science the writings of Al Haitham, known as the father of optics, has since demonstrated that Leonardo da Vinci’s status as the Man of the Renaissance is simply a great myth. Recent optical discoveries have proven this to be so.

Al Haitham had corrected Plato’s optics but retained the warning that to use the eye as the source of all knowledge could only lead to an ignorant and destructive scientific world view. The engineer Buckminster Fuller’s life energy discoveries, derived from Plato’s spiritual optics or holographic optics, are now basic to a new life science being developed by the three 1996 Nobel laureates in Chemisty.

When a sperm makes contact with the membrane of the ovum, the function of its liquid crystal optical construction focusses life into being within that cell. There is no eye present to engage in any knowledge collating process whatsoever. The technology developed from Pierre de Gennes liquid crystal optics theories which won the 1991 Nobel Prize in Physics, revealed, through nano technology observations, life science energies functioning in complete defiance of Leonardo’s mechanistic world view. As Al Haitham and Plato had advised, considering that the eye is the key to all knowledge can only lead to a limited mechanical lifeless and ethically void scientific world view.

The internationally recognised science book titled The Beauty of Fractals-Images of Complex Dynamical Systems, warns that the current understanding of geometry upholding technology belongs to a doomed civilisation. A chapter in that book under the heading Freedom, Science and Aesthetics, written by the scientist, Gert Eilenberger, contains a reference to some remarkable computer generated fractal artwork.

Professor Eilenberger wrote about the excitement surrounding these fractal pictures, stating that they demonstrated the existence of a bridge between rational scientific insight and emotional aesthetic appeal. Not only can surrounding excitement be generated by these pictures but when viewed through 3-D ChromaDepth glasses they can exhibit vivid hidden holographic images. The the late Royal Fellow of Medicine, (London) Dr George Cockburn, correctly predicted such artistic phenomena within a published book written in 1984 entitled A Bio-aesthetic Key to Creative Physics and Art. After his death it was discovered that the reproduction of some pictures, painted over the centuries also contained the hidden holographic images, that had been generated unconsciously by the artist.

Dr Cockburn’s correction to Kantian logic was found to echo the theories of the 19th Century mathematician Bernard Bolzano, whose Theory of Science had also been based upon a correction to Kant’s Aesthetics. Recently, German scientists rediscovered Bolzano’s work and extrapolated its reasoning into the modern format of fractal logic, commenting that Kant had not even grasped the logical significance of important problems that Bolzano had solved. Edmund Hurserl’s book on pure logic, published in 1900, considered Bolzano to be amongst the greatest logicians of all time. It is of further interest that Professor Eilenberger’s chapter also contains a correction to Kantian Aesthetical theory.

Dr Cockburn’s work was used in 1986 to correct the optical key to Leonardo da Vinci’s Theory of Knowledge. While there is no questioning da Vinci’s brilliance in mastering the laws of artistic perspective they have now been superseded by the artists evolving innate optical ability to create holographic images, which is now relevant to the development of new human survival supra technologies.

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