“Human aesthetics correspond to human proportions, human ethics to the laws of social love, which translate to the Wor(l)d languages the biological laws of Eusocial evolution that define the survival of species”
The mind of the super-organisms of history.
The mind of any superorganism of history are the mind memes, neuronal networks that memorize and learn superstructures of ideas that motivate humans to act and replicate a certain superorganism of history, either a nation or a civilization based in metal or life meme, often both. This trove of instruments and ideologies that make us replicate it, becomes extrenmely complex during the industrial revolution as the forms to replicate ideas, ideologies, instruments and other memes multiply and diversify. In that sense, we shall reduce the concept of culture to the human or biological memes that stream out of the human mind, as opposed to instruments made with materials alien to our mind. In plain sense, that higher mind would be made of our natural time-language of verbal words and our visual eyes, expressed in plastic arts. Literature and painting, legal words and housing, and similar ‘natural goods’ form the skeleton of such life-based cultures.
While verbal art, as the mind of civilisations is far more important,
Yet as we create the metal-earth, the superorganisms of metal and machines that will soon substitute us, we have transfered the forms of ‘life’ into machines and that has influenced enormously art, even art based in human forms which tend to degenerate into simpler forms of iron and gold. In that regard the concept of art and culture has spread beyond the limits of a life-based civilization, essentially all before the XVIII century, when even in economy the ‘physiocrats considered the goods of the land the wealth of nations.
What is art? The visual mind of history.
Today the concept of art has expanded well beyond the classic meaning of art in history, which will be the concept used in this pages, that relates art and bio-history. This extension of the classic concept of art has happened mainly because today art works are basically products on sale, and so they have acquired values and definitions proper of the economic world, very different from the spiritual definitions that were used to describe art, when it was not considered a market-product, but the fundamental form of knowledge of mankind. Hence a “sacred” endeavor. Since knowledge was considered to be the highest quality of man, the quality which connected us with “God” and his laws of universal creation (either a personal being, as in most western religions, or an impersonal principle as in science and Eastern philosophies).
This second definition is what interests us here: art is a form of knowledge related to the more complex senses of the human mind, the word and the sight. If we define the human mind as a dual system of perception based on the senses of sight and sound perception, we could sum up our mental essence in a single sentence:
I think words and I see images therefore I am a human mind.
A work of artistic knowledge could then be defined as a form of sound perception (literary art, music) or visual perception (architecture, sculpture, painting), translated from the mind into an external medium. However since the process of creation of words and images by the human mind is constant, art was considered to be only those superior acts of mental perception that “evolved” the human mind, beyond its natural level of perception and creativity.
We only perceive a partial map of the Universe
“The convention of perspective, which is unique to European art and which was first established in the early Renaissance, centres everything on the eye of the beholder, it is like a beam from a lighthouse – only instead of light travelling outwards, appearances travel in. The conventions called those appearancesrea/ity. Perspective makes the single eye the centre of the visible world. Everything converges on to the eye as to the vanishing point of infinity. The visible world is arranged for the spectator as the universe was once thought to he arranged for God.” The art of seeing, Berger
Your mind creates constantly the reality you perceive with a self-centered perspective. Our mind is not the real Universe, but the sounds and images we collect from it. To differentiate both we will call the vision of the Universe that humans have, thanks to their senses and minds, the “wor[l]d”. A World is a Mental world constructed observing the Universe with a language of time, n the case of man, Words, and a language of space, in the case of man, images. The mental world of man, is different from the mental world of other species which do not use words to explain temporally reality. For example machines use numbers to explain reality, dogs seems to use smells, as ants do… The Universe is the total reality, the world is the linguistic mirror that a mind of any perceptive species use to describe reality. To differentiate all those other maps of realities, made with smells such as those of dogs or ants, from the world made by man with words, and eyes, we call the World of Man, the Wor[l]d (world=word). Since it is a World in which our temporal perception of change, and the laws of survival and extinction that cause such change, takes place through words, that value reality.
I think therefore I am, define essentially man and only man as a word-speaking species Temporal words, are the particular linguistic mind of mankind. We could say that all humans are artists of the Wor[l]d, since all humans see and understand with words the Universe. What an artist does, however, is to go beyond that common wor[l]d, the biological wor[l]d of our senses, to stretch the limits of perception of human words and sight. Art in such a classic sense, adopted here, is the creation and evolution of the human mind made of images and verbal thought. I see and think therefore I am defines Man. I see more, I think more therefore I am an artist defines an artist as a more complex human mind.
That perception is evolved by the artist’s imagination into new forms, which return from the mind into reality in the shape of an artistic form, a “Work of Art”. A new verbal or visual form, becomes “real”, thanks to the use of certain materials, able to conform easily to the will and imagination of the artist, to become a work of art. Wood, stone, paint, metal, paper, allow the forms the artist has elaborated in his mind to become real, to become art. Thus, the artist is a sensitive man who “thinks more and sees more” and expresses his higher mental sensibility through his works of art. Such a theory of art developed by the Greeks and the Italian Renaissance, makes art a sacred endeavor, since art tries to expand the limits of human sensorial perception, in his perennial search for the truth and the essence of the Universe.
Out of all the human senses, why is it we highlight visual and verbal perception as the origin of art? In biological terms the answer is simple. Sound and sight offer much more information to the human mind than the other senses of touch, taste and smell do. Since the creation of art requires an initially rich sensorial evidence, only those senses can provide the perceptive material needed to create complex works of art. Art is therefore, first the evolution of our linguistic, verbal and visual perception of reality, and only in a secondary level, a product, a work of art for sale in the market.
The former explains why the Greeks considered philosophers, that only talked, and had no products on sale, the highest artists. Since they could combine words -the second level of the mind, that comments on what the sight sees- with such a beautiful logic, as to create new “wor[l]ds”, new linguistic images of reality, only with the power of the mind.
Images and words are the languages of creation of the human mind. They are like mirrors which show the Universe. However the mirror is not the Universe in itself, just an image of it. A linguistic mirror of reality. What you see is not reality, just the creation of your mind.
But all human minds have a genetic, basic way of creating the wor[l]d of sound as images, as all dogs smell and create a world of smells that probably is similar. What differences the artist is its capacity to distort, in several possible ways -what we call artistic styles- that basic biological mirror. He will be a verbal artist, when he makes descriptive models of the Universe with words. He will be a visual artist, when he creates sight-based models of that Universe.
- The visual mind of man: subconscious collective of history
- . The human visual artist: I see better
THE 3 AGES-STYLES OF ART………………………………………………Pg. 405
1. Historical Organisms: Civilizations
2. Birth, reproduction and death of civilizations.
3. The great civilizations of history; 3 ages, 7 cycles.
4. Animetal, rhetoric art: Trader Vs Warrior Civilizations.
5. The Three Ages Of Art.
6: The prophet, scientist of History, anticipates it future cycles.
7. Youth of History. Age of Bronze and Wor[l]ds.
8. Maturity of History. Age of iron and Go[l]ds
I. THE VISUAL MIND OF MAN
In the next graph self-centered in the human ∆ø mind we observe below the last scales of human interaction, the ∆-4 invisible scale of gravitational forces and the ∆-3 next plane above it, of light space-time forces. The difference of those scales is obvious: we do NOT use the ∆-4 scale as a source of information so we do not perceive their pixels of information. We use it only as a source of entropic motion. It is the next scale that ‘in-forms’ the gravitational scale, the light plane the minimal plane we perceive visually:
We define a whole range of ∆§cales for all entities in exi:st¡ence, self-centered in a given St¡ plane, ∆¡≈ø, where the specific mind of a T.œ exists and perceives a range of ∆±4 planes in which to perform its ‘actions of survival’. The relative ∆±3 plane will then be the plane in which the system perceives its minimal pixels of information, relative to its self-centered mind.
The humind is a light mind and as such the ∆-3 plane of perception is light space-time. And since the mind perceives a still space, with maximal form and minimal motion, we perceive light as space-time fixed distance; with our electronic minds. This is the ultimate reason of the constancy of c-speed in all our measures (Special Relativity).
In the graph the Euclidean light space-time the human mind sees. In posts on i-logic geometry we develop a pangeometry of all possible non-Euclidean minds of the Universe. We conclude that each mind is a monad, a fractal point crossed by an enormous numbers of rays of information, which create a specific mind, mirror of the Universe, with less volume of information and more stillness to fit in the point. Ours, is an electronic mind, as electrons are fractals whose ‘cells’ are dense photons.
So the eye-electrons feed on light and the mind uses those informative knots, to create an electronic mind similar to that of the digital camera, also electronic – REASON WHY WE CAN SEE A TV, WHICH IS LIKE SEEING INSIDE OUT, a mind of a future robotic machines – now becoming 3Dimensional (Virreal minds).
The mind of man as Kant understood is EUCLIDEAN, because our space is Euclidean, and it is so because it is light space-time, made of three perpendicular fields able to carry information: the electric, magnetic and c-speed field, the longest direction of view, which explains why we indeed look ahead in the horizontal plane, but have an informative head on the height direction of information as the electron which produces the ray of light does, moving up and down (left, bottom); and finally stores ‘energy’ in the width, MAGNETIC ‘BELLY’ direction (: ALL HAS changed in the evolution of light through 5D scales till creating man, but all has ultimately remained the same: a game of vital dimensions of space-time.
Below we see the humind which better understood this paradox, Monet’s first ‘impression(ist): sunrise’ painting, in which space is no longer painted as ‘a background’ cartesian canvass, but as the frozen view of light rays by the human eye. Physicists though still don’t get what artists eyes saw intuitively. We shall in that sense consider the relationship of art with physics, as a pioneer of its space-time analysis, from the work of Alberti on perspective, way before Desargues found projective geometry and Descartes the self-frame of reference, to the work of Leonardo, under his lemma of a living Universe of organic forms we must learn how to see (saper vedere), which certainly would have enjoyed immensely this blog and the part on topological vital space-time, to the impressionist realisation light is the mind of space, to Picasso’s analysis of imaginary worlds made only with ‘lineal motions’ (cubism) or cyclic, reproductive yin-female ‘forms’ (post-war period), to my own work as a painter with my ‘waves of time-space’ (graph with my 30 years old ‘eureka’ moment, when I first painted the fifth dimension)… on our analysis of the human mind, its artistic languages, and i<eye=wor(l)ds of space-time.
In that sense the arts, which are specially gifted to reflect the game of the Universe from the pov of the humind are:
S: Bidimensional painting of sheets of STATIC information and how they evolve iTS dimensions, which did evolve into geometry through its renaissance masters.
ð: Music, which is as Schopenhauer understood the fundamental art of time, with its three dimensions of ‘scales’, ‘melody’, and ‘beat’. And again we find from Pythagoras through Plato, to this writer’s Phrygian mode symphonies, a conscious ever more complex consideration of Music as a perfect alternative vehicle to express ‘the world cycle of life and death with its up and downs, actions and survival emotions, since Music and sound is indeed the language of time in biological supœrganisms. (i.e. we feel ’emotional distress’ with growing treble, informative painful sounds, as the Doppler effect means a treble of growing pitch is a ‘predator’ coming; and peaceful feelings with Bass-moving away waves). We can in fact express any world cycle as a sum of discontinuous ‘fundamental tones’, each one expressing the arrows-actions of a mind of space-time, as the Fourier transform show. And indeed, the first derivative equations of merit were found in the study of a violin string.
∆•: wor(l)ds, which were the final sound evolution from its simpler ternary and then 8+1 tones of music, into the 8 x 3 phonemes of words, which gave us a much larger range of ‘forms of thought’. So wor(l)ds evolved as the ethic, social messages of love that would evolve into new scales of the historic, human 5D.
It is for that reason that the wor(l)d of man, has always been better described by artists and ethic writers than by scientist, whose ‘concern’, valid as it is, has been mostly the Universe at large – in a parallelism we shall soon trace between western anthropomorphic wor(l)d religions and eastern, taoist, Universal ones. Hence the ridiculous egotist trips of modern nerd scientists who ‘despise’ humanities as irrelevant to the truth. They are explaining the same truths, merely with different languages, and different domains of analysis.
The consequences of the previous graph for the understanding of both the humind (human mind) and the external Universe of space-time are multiple, from a proper understanding of special relativity to the analysis of magnetism as an independent force NOT an observer’s effect as modern physics think, to the fundamental analysis of light and photons as the minimal organism of our known-known Universe, each of those themes exploring an element of the ∆•st light supœrganism.
The previous incursion on the languages of the humind has a purpose: to show that even within the limits of the Humind’s euclidean Universe there are meaningful different ways to perceive spacetime.
It is precisely those new dimensions what creates a priori an organic entangled Universe of physical super organisms tracing world cycles, instead of an abstract physical world of mere ‘locomotions’ (translations in space), tracing ‘worldlines’ over an ‘abstract background, a mere mathematical ‘continuum’ useful for measure but nowhere to be seen – and hence introduces also the deepest philosophical questions about the Universe (it is an organism or a mechanism, it is disconnected or entangled, it has multiple planes or only the c-speed light space-time plane, it is realist made of time-motions and space-forms or creationist, made of mathematical numbers and points, and if realist, why mathematical languages mirror so well its properties?).
Word Art and Sight Art. The eye-word, preceptor of space and time
It follows that there are two basic forms of “mind art”; Word and sound arts: music, and literature of any gender. And visual arts, architecture, painting, sculpture.
Why are images, and words the main sensorial languages of man? The answer is rather simple. We exist in time and space, the two parameters which define all species of the Universe. We therefore need to exist, survive and interpret such a Universe, a spatial and a temporal sense. The eye scans space. It is our spatial sense.The word remembers events in time. It is our temporal sense. So the eye-word are the human senses of perception of space and time, the main parameters of the Universe. This position places a special importance on the “higher arts”. It gives them a “sacred” meaning, since they deal with the very essence of mankind’s intelligence, our “soul,” which is our consciousness of space and time, of the Universe. The difference between both arts is in the senses which control the creation of the art form. Visual arts depend on spatial perception, through eye-images. Word art is “temporal art”, since man uses words and verbs to measure and explain events which happen in time. Verbs are the “temporal memory of man”, the “scanner of time” of the human mind.
We conclude that art is the highest expression of the human mind, in as much as it takes the mind of man into further evolution beyond its biological limits. The visual artist is the person able to see more and, with a higher sight, he is able to create images in two dimensions (painting) or 3 dimensions (architecture and sculpture). On the other hand, writers and musicians are able to think better in sounds; either in the simplified language of 8 sounds (music) or the more complex language of 24 sounds (words). They are able to explain emotions, sensations and temporal events with more complexity than ordinary people can, and with a higher sense of harmony, according to the natural laws of the Universe.
Mind-art, art of the human senses of space and time, the eye and the word, is clearly the highest level of knowledge man reaches about the Universe by his own linguistic means, with his soul-mind. In this manner, the wor[l]d becomes our soul-mind, the linguistic mirror that words and images craft on the Universe of atomic energy and information.
Even though man has 5 sensorial outlets to the Universe, it is important to distinguish between our “Energy senses” and “Informative senses”. The former might also evolve and create human goods to satisfy our perception (gastronomy, perfumes), but these can hardly inform us about the Universe, since their physiology allows them to accumulate only a small quantity of information. So they give way to simple sensorial objects. The Informative senses of the mind, eyes and words, accumulate thousands of times more information than the lower senses do. So they give birth to much more complex works of art. For that reason those works which relate to the higher senses of man are considered to be the classic arts in History.
However, in the present market-oriented society, the word “art” has been devaluated to allow the sale of many products which traders promote as art when they are mere crafts that do not evolve the human mind. This has an economic reason behind it; “a single genius is a single sale”. It is difficult to find enough truly creative works of art to invade the world market. Therefore the idea of converting any object into art and use the prestige of art to market industrial products, has expanded the notion of art beyond the products of the mind into many other things, from clothing to gastronomy, from images taken by machines to industrial design, of minimal creative content.
Man has existed for 150.000 years and he always considered art a sacred endeavor, and art works the most perfect or innovative forms perceived and recreated by the higher senses of the mind; words and images. Thus only products of “the eye-wor[l]d”, in its classical manifestations: literature, poetry, drama, prose, musical sounds, painting, sculpture and architecture, are considered art in this web. They are the seven arts of classical Greece, which the seven muses embodied.
The lower senses of man, those which have a limited perception of reality, (taste, touch, smell) blurred by the lack of distinct and clear information, create what we might call at best, lower art, forms of Human Goods, that should be promoted and reproduced as much as possible since they are truly the real wealth of nations,the goods mankind needs to survive: gastronomy, sex, textiles, perfumes… Yet precisely for that reason they cannot be unique, or special of a certain human mind, but common and available to all men, in a healthy body of history.
The style of an artist, and the style of a society.
The present earth is changing from a historic ecosystem of human social organisms based in human beings, human goods, and human art into a single ecosystem ruled by metal organisms, networks, and financial systems, that we might call the metal-earth.
The main effect of that change is the increasing obsolescence of human art and human minds, submissive today to the industrial design of software for thinking machines.
However in the past, in the ecosystems-organisms of history that we have called nations and civilizations, words, legal systems and art were far more important, because they were the informative networks of societies. Verbal and visual knowledge and Art were the mind of civilizations as historic organisms, organized by legal information, and religion.
And so art, as the social networks of information of civilizations, was not so much an individual phenomena, but a collective phenomena. And the artist felt himself with a social role, as the neuronal cells, the informative organs of his society. It was for that reason the art of any artist was basically similar, to the art of all other artists of its society. It was “style-art”, because the style, was the collective message of a civilization. Today however, because civilizations are no longer ruled by human minds, but by networks of financial information, by company-mothers and its lobbies, by networks of metal-minds that produce information in industrial processes, the artist no longer has a social role of relevance. So he is free of any collective style. The style that controls ideas of artists, exists however in radios, televisions, internets, and all other forms of industrial information. A style which is controlled, and tailored to produce the basic message of industrial societies: men have as only purpose to work=reproduce machines, and test=consume them. Of course this message is presented with al the rhetoric of beauty, and freedom necessary to hide the fact, that work and consume are not acts that necessarily develop and increase the human sensorial Freedom, but basically evolve and multiply machines. Yet the message has reached so much sophistication, that most human beings today, believe that to be a worker and a consumer is the paramount Freedom of mankind; while to evolve human senses, and enjoy Human Goods, and the pleasures of human existence is either a “sin”, an act of “laziness”, and “weakness” and a “lost of time”. The fact is that all top predators in the Universe, exist to be lazy, lions of the savanna, enjoying the basic pleasures of his organism, to reproduce (sex-love), to feed energy [food, movement], and to receive its natural information (verbal thought and visual beauty in the human case). That is, the ideals of society before the industrial revolution – the ideals of Renaissance, and the aristocracy, top predator caste of that age. And vice versa, and ideal world dedicated to the freedoms of machines, will imply that men-slaves of machines would dedicate their time to the reproduction of machines (work) its evolution (industrial research) and its vitalization as species in movement (consume of machines that vitalize their existence).
So it is evident that the Freedom of the market, the Freedom of the economy, is the Freedom of machines and its company-mothers. While the biological Freedom of the citizen, of the human being, were the ideals expressed by the art styles of historic civilizations. Those facts have of course enormous historic relevance, and explain why under such brain-washing propaganda, the classic historic, social, religious art and his aesthetic and ethic ideas, clash so deeply with modern ideologies of economical men and yet they were accepted and enjoyed by the citizens of Historic civilizations. They found in the social ideas of religious art, and the sensorial ideals of individual art, the pursuit of their self-realization as individual, biological human beings, and as part of a macro-social organism, a culture, or civilization, that social art harmonized, as nervous messages harmonize social cells in a body.
In all those cultures art was sacred, art was considered the informative network of the Historic organism. Art caused the evolution of the collective human mind. Art was the mind of civilizations, and acted in the social historic organism, as the nervous networks act in the human organism:
Art the informative mind of the civilizations. The canon of ethics and aesthetics
Since we have defined human art, as the visual and verbal perception olf space and time by the human ind, it fllows that collectiv e art was also visal and verbla rt, of colletive nature. And that collective nature imposed upon social art, two socila concepts: ethics and aesthetics of human nature. So classic art always had two basic forms, social ethic art, and individual aesthetic art, and two canons, moral, and beauty, carried by the word, and the eye of the human artist.
Today, even artists find those ideals, something of the past, because the artist today is not the valuator of reality, and has no ethic role. He does not educate the rest of the cells of society. So sacred art, religious art (which tried to create a social, harmonic morality among the different cells of society), even legal thought, has declined. Of course this has given individual Freedom to artists, to reflect their individual personality since nobody cares really anymore for what we, the artists, neurons of humanity, have to say.
Yet for most of history, Art has been a social phenomena, since men, lived in a social organism. The artist lived within a society. His ideas were similar to those of other artists of that society, fruit of customs and learning processes within that society. And so, the information that the mental cells of a civilization developed (the artistic information of a culture) was similar in most of the artists of a civilization. Styles in art gathered those similar mind-wor[l]ds, coming from people living in the same place, at the same time, as neurons work in the same manner, in the same organisms.
Individual art, the genius… and its relationship with social art
The style of an artist, is the peculiar way in which the mind of the artist, transforms the biological “Wor[l]d” of perception, that all humans have in common; the sounds and image we perceive as the Universe. While most people see reality under those biological limits, the artist goes beyond the subjective eye-Wor[l]d of the human species, and adds certain personal subjective changes to those images and words. This is the artist’s style.
The artist with his style goes beyond the “common way of perceiving reality”, and shows those other possible Worlds, that maybe some other species in some far away planet perceive directly (imagine a world where eyes see with the colors of a fauvist painter).
Still in the Earth, men see reality in a certain manner, and only artists are able to break with those conventions of the mind. Such individual artists are rightly called genius, since they create an entire new way of perception. When such new way of perception is meaningful, and harmonic, and can be understood at least partially by the audience, we have found an original artist.
Yet, in as much as men belong to social organisms, where they communicate in-form-ation to other human “cells” of the social organism, even individual genius, and its perception of reality, reproduces into works of art, that transmit the information to other “neurons” of the social organisms. In this manner, styles are transmitted, and create “schools” of art where many similar artist display the same style.
If the individual artist expresses its mind experience through its personal art, we can say that the society expresses its collective mind experience through schools of art.
If individual art is the evolution of the mental senses of the artist towards regions never explored by the common human mind, the style-art is the evolution of the collective mind of civilizations. It reflects the social mental state, of such civilization (as individual art reflects the mental state of the individual artist). In that sense, art becomes the collective mind of a civilization.
It is then clear that in classic history the role of artists was indeed sacred, fundamental, because verbal and visual artists, were in charge of recreating a Wor[l]d pleasant to man, where human social cells were in harmony, and shared as cells in any organism do, their vital information and energy. Ethic priests ruled the verbal minds of people with messages of love and ethics. Artists created beautiful environments, well constructed cities. Energy workers (farmers) fed the cells of the organisms. Literature educated the feelings of people, allowing bondage among individuals, at several levels (love, family, citizenship, religion). There was therefore a clear idea of what a social nation was, and what artists had to do in such society. That is why artists tried to find “canons” of beauty, that people would imitate, as role models.
The canons in classic art. What are ethics and aesthetics?
We can now understand the concept of a canon, both in verbal art (canon of ethics) and in visual art (canon of beauty). Today in individual art, when art is no longer the mind of civilizations, but science is, canons do not matter, but in the past, when art guided cultures, and took care of its survival and welfare, it was necessary and fundamental.
There was a canon of beauty in space, that had as element of reference the human form. Since we are humans, and we were top predators of the Earth, as all top predators do, we designed a Wor[l]d to our image and resemblance. So spatial arts, had as canon of beauty the proportions of human beings, and in its most beautiful creations (Greek, Italian art), that canon was respected, to create an environment in which man felt happy, in harmony with his surroundings, and dedicated to the pursuit of sensorial pleasure. This is the case of Greek and Renaissance sculpture and architecture.
There was also a canon of beauty in time, defined by the biological language of measure of time, that mankind uses: verbal thought.
How can we define beauty on time? It is self-evident, that if you ask anyone, what he would want to happen in time, he would say, “I want to survive”. So survival is indeed, the canon of beauty in time. And survival has in social thought a name: Ethics. Ethic societies that promote peace, and abhor war, do not die away. Societies that create systematically weapons end in civil wars, or in national wars. Thus, the people that were considered great artists of verbal thought in the past, were the prophets and writers that praised peace, and with poetic parables, preached the well being and harmony among human beings. Philosophy and religion were considered the highest forms of verbal thought. This, as we said no longer holds, since we are no longer ruled by words, but by numbers, by men, but by machines and prices. But we cannot ignore the fact that ethics and religious thought have controlled mankind. And the great artists of the word have been those prophets such as Jesus and Buddha, that talked against weapons and money, and praised love, and human senses. The artist is indeed the prophet, not the church, or the latter commentator. The master of the Word is Jesus, that defends a prostitute, and foresees that those “who kill by the sword, will die by the sword”, not the Catholic Church or Luther, and Calvin that acceptmoney and war, and repress sensorial love.
The quality of verbal art
As a consequence of the biological nature of languages, we cannot regard any longer verbal art, as a product, or a secondary commodity. “Literature for the sake of aesthetics; art for the sake of art” is far less relevant than “sacred art”, literature with an educational mission, either social literature and philosophy, or sensorial literature (fiction), which educates the senses and feelings of the people. There are qualities in the forms of literature, because literature has a function. Literature is not useless entertainment. Verbal Art is the biological language of mankind, and our societies. Its function is to mirror reality and explain the universe to man, from our own point of view, with the aim of helping human societies to survive. This means that we can qualify the quality of literature, according to such function.
It will be good literature, either legal, religious, fiction or logic literary art, a verbal construction that through its reading and practice, improves the capacity of an individual to behave ethically and in harmony with the other members of his society. It will be bad art, those literary and verbal forms that harm the harmony of societies.
So “War and Peace” is good art. So it is the “bill of rights” or the “Gospel”. They try to give the reader an “ethic sense of life” that favors peace over war; human rights over the rights of machines; and love and poverty, and despise for money and war, (the message of the gospel). Since history proves that those attitudes are positive for the survival of the individuals of society. On the other hand bad verbal art, is that art, which harms the energy and information of civilizations, pushing individuals against each other.
A typical script made in Hollywood that makes an apology of violence and murder is bad verbal art, regardless of its technological achievements. Its consequence is to multiply the use of weapons in our society, of technological species, that harm mankind.
The decalogue scripts of Polish director K. Kieslowski, are master pieces of filmed literature, despite its minimal technology because they make us reflect on the basic matters of love and life and death, far more important than the designed special effects of digital computers. A fascist law is also bad art. A religion which does not accept the equality of all men, a tribal religion of “chosen of God”, is also bad ethic verbal art. Since it allows war between tribes. Those facts are self-evident to any human being that thinks naturally about the purpose of art and verbal thought. They might collide with the “economic view”, that favors all forms of literature, specially those forms of literature, that multiply the use of machines, even weapons (economic and military nationalism, advertising, etc.)… according to the old lemma “you will defend me with your sword, and I will defend you with my word”.
Such art is considered here “rhetoric art”, bad literature, since its purpose is the opposite to the biological function of verbal thought. However in present societies most verbal art is rhetoric art, art that has neither a moral, ethic standing, or even any relationship with the reality of man as an individual or member of a human society. Why is that? Because words are no longer the language of information and power of our societies, a role that today belongs to money.
As a consequence, verbal thought is no longer the language of power, the sacred language, and it has no longer the role of guiding the survival of mankind. For that reason words enter in decadence, and loose “logic, realistic power”, becoming “fiction”, a language used to describe false realities. The value of things now is given by its price, not by its verbal meaning. And so mathematics describes reality, while words are used to describe fictions, and those realities of lesser power, such as the individual lives – no longer the social lives of people… Literature is now too often fiction, or science, or shallow I-literature, ego-trips and bio-pics of little relevance, or books on secondary senses and products (from gastronomy, to do-it-yourself manuals). Sacred literature has almost died away…
The function of visual art
What was the social role on that sacred view, of visual art? If we have considered verbal art, to be in charge of the temporal perception of a civilization, visual art, obviously will be in charge of the visual perception of such culture. Visual art therefore has also a human canon, an aesthetic, spatial canon, referred to the relative dimensions of man. If verbal art has to create temporal harmony among individuals, visual art has to create spatial harmony, beauty, in the space of that civilization.
Such is the classic vision of architecture and sculpture, urbanism and painting, even gardening, or agricultural development. All those arts that transform the space around us tried to create a harmonic environment in societies. And when both canons succeeded, we talk of a harmonic civilization in which ethics and aesthetics (the moral of the eye), favor a Wor[l]d built to the image and resemblance of mankind.
The function of art, is to shape the environment of man in a pleasant way. Yet since all measure in space and time is relative (Theory of Relativity), a pleasant space for man has the references of human size and form. To make of man the center of creation, the God of the Earth. This was understood perfectly by the theoretical minds of Renaissance, the last human culture, previous to the Industrial Revolution. The aim of renascence artists was to create ethics and aesthetics, for the Italian society. They worked hand in hand with the church in charge of the ethics of Christian societies. They tried to create “canons” of beauty as the gospel tried to create canons of ethics. They affirmed that men should try to achieve a mind and a body according to such canons. The artist, as the most complex mind of society, was the guide of the individual, which tried to achieve personal perfection as a human being, imitating those ethic and aesthetic roles, the artists showed him.
The destruction of the Renaissance caused by the evolution of gunpowder weapons, the creation of religions that worshipped money instead of words as the language of information of human societies (Calvinism, Anglicanism), and the beginning of science with its despise for human words and human eyes, meant the collapse of the artist as the guide of human societies.
The human paradise as the goal of history also was lost. A new culture, and a new civilization appeared, where the goal of history became the progress of the machine, and the human goal, the paradise of human senses, where “man is the measure of all things” was forgotten.
We are living the consequences of such mistake, in a world in which man no longer matters, where humans and words are submissive to mathematics and machines…
Yet only the best human minds, verbal priests, and social activists that follow the original ideas of his wor[l]d-masters, sensorial artists, that do not renounce to explore fully the human nature, and rebels of thought that do not accept the brain-washing of scientific myths, and market-propaganda, realize of the errors of our society.
The myth of superman
All this bring us to a final reflection on the nature of the Human Masters, the great artists of verbal and visual wor[l]ds that have confronted throughout History, the metal masters, warriors, traders and scientists that base their power, not in their own senses and biological nature, but in the power of energy-metal (lines of metal or weapons from swords to missiles, cycles of metal, ormoney, and metal-minds or scientific instruments).
Human Masters who “think more and see more”, are the true masters of mankind. Since mankind is a mental race -its body is not even the strongest of all carbolife species- and the master artist is the most developed human mental race, it is the artist, the “super-man”, not the warrior, or the scientist, that rely on weapons and metal-minds, to power up their bodies and minds. This was the vision of the Greek philosophers, and it is the biological truth. Hence, human masters, masters of the wor[l]d should rule human societies, as Plato wisely understood. They do not rule our societies, because warriors, traders and scientists, impose their power with the help of their metal and as a consequence, they also corrupt art, which becomes another ‘informative’ myth, used to glorify animetal castes in power.
Technological art: evolution of metal-minds.
What about modern technological art? It is obvious, and we treat the theme when studying metal-communicators, that modern art is rhetoric art to the service of power, of people-castes and corporations.
In that regard, both the software of modern technological art, merely visual, evident, and based in ‘motion’, which implies violence and ‘skin views’, which implies racism, and the hardware – the machine that evolves digital thought, are NOT forms of human art but ‘ab=use’ human memes degrading art, since the age of TV (film still kept due to the difficulty and inclusion of multiple arts a high quality of human sensorial memes, bust mostly at an emotional, already lowering scale of awareness):
The graph from the 92 book ‘the extinction of man’, shows truly what fiction means, the extinction in life of most of the active existence of human beings hypnotised by screens that deactivate their eusocial love with selfish messages – you kill for money resumes the meaning of most telefilms, and instil the animetal idol-ogies of the system, mechanism, abrahamic cults, nationalism and worship of money.
Now this trend has extended in the process, of ‘murdering’ of art by markets and Warhol-style propaganda and advertising art. So the process of death of visual art is really advanced.
And what is more telling, as the price of trash-art, Warhol industrial mechanical posters, overcomes that of the best eclectic artist of the post-photograph age of inward, baroque informative eclectic art, Mr. Picasso, we can be sure that not even ‘critiques’ and collectors do understand the meaning of human sacred art.
In the graph, the last age of human art, was the eclectic, inward, informative 3rd age of human I=eye Wor(l)ds, which peaked with Picasso destruction of the outer world forms of the visual eye, improved by machines, by the internal mind ‘ I paint thoughts’ he said.
After that, there was a long silence broke by the hijacking of art by industrial systems of reproduction of photographs, which plagued the American post- Pollock/Hooper, non-artistic age of ‘Fakes’, perfectly described by Orson Welles, in his film on art markets. Warhol and his series of audiovisual, mechanical artists, with minimal human information (The Beatles copying Beethoven chords and put silly simple words, such as ‘I love you’, in every other word), shows clearly that art started with the arrival of audiovisual media a massive simplification previous to the present degeneration of art into electronic music, repetitive beats and minimalist thought.
Craft still exists.
So the best art today is either happening in 3rd world societies (as the Dakkar biennale shows) or in the regression to simple crafts, which have more value than a Wharhol poster. It is a root grass movement of normal people doing good imitative art, given the fact that the search for sacred art and humanist art is exhausted, and the role models of society are ‘eviL people’, intensely fighting for the destruction of all human values, pursuing those digital values of the ‘language of money’ that treat men as object.
Evilwood is NOT art, trust me. I arrived there with Mr. Pitt and Mr. Mandel, actor and producer, and a script hired to write for them and stay around for a decade. In a perfect world, Hollywood would be a holly-sacred place of astounding artistic films enhancing the nature of mankind, and a bigger number of documentary pieces.
As it is today is just the idol-ogical branch of the FMasters and the Military-Industrial Globalized Complex of corporations.
How can we classify the third type of products that the market today sells as “art”, and are neither Human Goods, not Human evolutionary visual/verbal art?
They are either crafts and industrial designs that use forms of energy and information of minimal complexity, (geometrical cycles and lines) easy to be mass-produced, with machines. They are also creative forms, such as photographs or computer art, which are new, evolved images that seem to have the characteristics of sacred art, yet lack the fundamental element of human art: the human mind is not the main creator of those forms, but a machine, a “metal-head” is. That is they are metal-mind art, the art of machines, the art of science…
In that sense we have to differentiate the human method of verbal/visual knowledge, the art of the human mind, that uses words and eyes to understand the Universe, with the method of knowledge that animetal scientists use to perceive the universe of space and time: the scientific method.
If both art and science search for knowledge of space and time, then what is the main difference between the two of them? The difference is radical, when we realize that art and science use different sensorial instruments of perception to search for that knowledge. Art uses the biological organs of mankind to understand space and time. The word, our biological language that measures time, is used in art to express thoughts and ideas about the passing of time, and its 3 dimensions, past, present and future, which verbs mirror with its 3 temporal forms. The eye, our biological organ of perception of space, is used in art to define our understanding of the three dimensions of spatial reality, width, length and depth (created in 2-dimensional painting with perspective or cubist deformation).
On the other hand, science uses sensorial organs which are not human organs, but machines, made basically of another type of atoms, metal. So we can baptize the organs of perception of science, “metal-minds”. They are “metal-sensorial organs”, machines that perceive time (clocks and computers) and machines that perceive space (telescopes, microscopes, cameras).
We could say that art is knowledge through human senses, and science is knowledge through metallic senses. It follows that arts evolve the human perception of the universe, while science evolves the perception of machines. And so, thanks to science, the primitive systems of temporal perception of machines (the clocks of Mr. Galileo) have become computers. And the primitive first “metal-eyes” of Mr. Galileo, founder of modern science (his telescopes), have become today the sophisticated cameras we see all around us.
If we are strict in our classic, biological definition of art, the languages and images which cannot be reproduced by human minds and humans hands are not human art. So science and its machines does not produce human art. Please leave aside your western ideologies that worship machines, and consider machines abstract species. Technological art is not “a creation of the human mind”, but of a “metal-mind”. And the role of man in its creation will always be secondary to the role of the machine.
If in a painting, the canvas is the passive element, and the painter the active element, in a computer-designed art form, or a photography, the human mind plays the role of the passive “canvas” adapting his style to the properties of the machine. And the active creator is the machine, which imposes his language to the “craftsman”.
So we have to be much more exigent with technological crafts to consider them a form of human art. Only those forms of technological art focused in the human experience, that require a lot of human creativity (such as “art films”, or some photographic work by masters like Cartier or Capra), can be seriously consider a technological form of human art.
The other forms of technological crafts, specially those created with computers, or related to mere mathematical, and digital shapes, belong to the “lower arts”. We call them crafts because their human content is minimal. To disguise those obvious truths, the technological artist rhetorizes his work and markets it with arrogant statements to make-belief that he is the only artist, and the machine a mere extension of his mind, not a metal-mind with his own linguistic properties (the language is the message).
That anthropocentric concept of technological art, might be true, of art made with “primitive metal-minds” (classic film-making). Yet the arrival of computers and special effects gives predominance to the machine over the human manipulator. So today Hollywood films are made by computers, according to the computer and metal-eye properties that seek higher movement and hence violence, brutality with the human body, and distortion of human feelings with dramatic effects. They are genres imposed by the machine not by the artist.
Today the arrogance of the animetal artist grows as his role in the act of creation diminishes. So we can hear sentences, such as those of a well-known Asian video artist, that considers his last work of electronic distortions, his entering on “a sublime period, like the great French gothic cathedrals”. Or the sentences of a well-known computer mogul, that considers the 010011 crunching of his software programs, “a form of creative art, like anything the great masters have ever done”. Or the evil=anti-live sentences of the father of robotics, that says he wants to play god, and construct a species superior to the human mind…
In technological crafts as in market-art, rhetoric and the cult to the machine, takes over real human creativity. Animetals can occupy their creativity in whatever they want, specially when they pursuit money and fame, which are market-oriented concepts, but we cannot pretend to make Leonardos of Animetals, children of human thought, working with Basic, Adobe Photoshop, or a video-monitor… to the risk of loosing any perspective on the nature of our human mind, and the importance that human art has to develop the human soul, our sense of ethics and aesthetics, in freedom of thought.
A more detached view though is the higher perspective of the laws of the bio-ethic laws of the organic Universe, a level of comprehension I rarely bring to this web, as it might seem ‘too far out’ for those who ignore all about General Systems Sciences. Yet it is necessary to understand the perfect man to compare and put into perspective each of our souls and that of those we observe riding us with the 4 apocalypse horses (myths are always metaphors of higher truths which give a poetic perspective)…
So let us try… The Universe is a ‘System’ made of organisms of energy and information, from physical systems, made of an informative particle moved over a body/field of energy, to human beings, made of informative heads moved by energetic bodies, to societies ruled by a neuronal class in control of our languages of social power, (money and words, and its submissive energetic language of weapons which money and words always command), which direct a body mass of working middle classes…
This must be understood – the pantheist universe constructs its ultimate laws of science and all its sub-sets of beings, made to the image and likeness of the whole departing from that simple duality.
And so to survive it selects those entities with a more perfect ‘body’ of maximal energy, brain of maximal information and the system that maximizes both, Max. E x Max. I, which mathematically happens when E=I (so for a total of 10, 5×5=25 > 6×4=24>7×3=21, etc.)
Now departing from those laws of General Systems, applied to human beings, there is a potential perfect man, which maximizes those 3 survival functions:
– A man of maximal Bravery; Max. E, or mental energy to challenge the wrongs of life by applying its Intelligence (max. Information), to create an ethic and aesthetic balance (E=I), between truth (Max. Information) and Happiness (Max. strength) – yes, good people who help others have been proved by experiments to be happier, to emit more oxytocin, the drug of love and happiness).
This simple function: Max. E -> Max. I -> Max E=I, defines the survival species of reality creating a perfect world of maximal ethics and beauty, the canon of being human (which we observe in ‘classic forms’ of aesthetics and ethics, that is of art and literature, with balance between energy and form, or in the 2nd age of maturity of any entity).
Now this simple function is broken, because E=I, ethics and aesthetics of human origin have been SUBSTITUTED by the ethics and aesthetics of the machine that destroy our collective social, ethic mind.
Thus the function of bio-ethics, of a human civilization based in the values of man, which is explained all the ‘messages’ of all the prophets of history worth to mention is now gone. But that does not mean that the search for human beauty and ethics, the natural goal of our species is not truth. It is and it will always be. So there will always be as long as humans exist in the past, present and future among the highest minds those who seek to define and practice the conduct of the perfect man, guided by the survival balance and sense of justice of the Universe, represented in our species by human ethics and aesthetics, E=I:
For example in Plato is the ‘idea of man’, the ideal man which is our potential perfect man, of which each of us, is a mere shadow, reflection in the ‘cave’, parable of the Mind of God, the Logos, or rational laws of the Universe, of that perfect man. Socrates expressed it also with its life and dictum that ‘an intelligent man (max. I) can only be a good man (E=I)’
In non corrupted Abrahamic Religions, he is the prophet, the canon of which all of us must be a reflection, trying to achieve his perfection. This was better expressed in the great philosophers of the first age of christianity before ‘animetal cultures’ of gold and weapons degraded this religion, from Orestes to Saint Augustine, in its ‘citadel’. Here the function most cherished is E=I (Ethics).
It was expressed from Confucius (Jen Man) and Mo-Ti to Buddha in all the Eastern religions. And here as in Plato we find a close description of this Jen/Buddha man, in its 3 functions (the right fold path)
It will be again expressed by neo-platonic renaissance which stressed the 3rd final function of balance and beauty, as the Greek-Latins did (mens sana in corpore sanum).
It was NOT, expressed, contrary to belief in most prophets of the Jewish-Protestant culture, since the Old testament is hihgly polluted by selfish tribal memes of go(l)d and war; but Moses and other prophets of the Isaiah cycle brought us the closest image of it.
So we had to wait till the French-American R=evolution and all those who imitated those Founding Fathers of modern ethics (including the marxist r=evolutionary man).
And so the Ideal, Canonical, Rightful, R=evolutionary ‘Perfect’ man exists at least in the mind of the poets of love that use the ethics of the wor(l)d to guide and create by imitation and right action, a critical mass of perfect men.
On that view modern humans and their animetal, mechanical cultures must be qualified as the Imperfect men, hence once that will not survive, because the Universe is perfect and only selects those perfect species who are made to the image and likeness of its logos, that a few of those men we quoted understood, because they had in themselves the seeds of the perfect man.
But the Universe and its selective system is both deterministic (as there are rules and laws that define what survives in the future) but also probabilistic (as a perfect universe should even forgive those who are imperfect, yet allowing them also a minimal probability of existence; hence most men are born potentially perfect, good Rousseaunian savages).
We are in that ‘Sigma 2’ using again mathematical terms of the more complex level of equations of bio-history (that dream of Asimov, which I resolved two decades ago and have seen unfolding every time ever since).
That is, we are the tail of the imperfect man, a planet with no critical mass of ethics, inteligence and aesthetics.
The Whole and collective self of mankind is the Wor(l)d, we make to our image and likeness, with a will carried by the collective verbal language of the human kind, the word.
In the graph, languages value species according to their substance affinity. So ethic words give maximal value to human life, since human brains reproduce them. While money was first made of metal, (coins) and gave maximal value to metal weapons. Then it was a paper and e-money representing a corporation (stocks) and so it gives companies enormous values. So Apple is worth more than all the inhabitants of Pakistan.
Only currency, representing nations carries human values and can be used to reproduce a world to our image and likeness, spent by governments in the creation of salaries and welfare goods. Thus the issue of money is NOT so much how to issue it, but its values and the power it gives to those who invent it; since it defines who rule societies.
The problem of monetary values as the graph shows is the fact that in its metallic forms, it values more corporations, machines and weapons, metal-memes than any other object, including human beings, who in fact as all forms of life have null values in terms of metallic money.
Thus a society based in the values of metal-money either gold or corporative money, fosters the overproduction cycles of machines and weapons that cause wars and the extinction of life; showing the biological, predatory nature of selfish metal memes, which act as genes do, catalyzing the reproduction of a larger super-organism – the Financial-Media/Military-Industrial system that is terraforming the Earth from a planet of life into a planet made to the image of machines and weapons, the most expensive top predator metal-species that kills man.
The problem with the values of money rises from its traditional hypnotic substance (precious metal, today e-cycles in ‘metal-minds’, computers). Go(l)d, a fetish form of money that hypnotizes the mind, and became the fetish of Cananean societies in the desert lands between the fertile crescent humanist civilizations of Sumer and Egypt – origin of the biblical gold religions – is a metal-language and so values more metal than life.
Consider instead a system, which is efficiently, designed economically from the Human/Historic perspective, in which as all mammal, evolved organisms do, the legal/verbal/nervous natural language of man that puts human subject first:
…rule the world. We would live a WHealthy world, where history would be the future, machines controlled by men, usurers out of power and humanity would thrive.
THUS ∆+1 ETHICS IS THE LANGUAGE OF THE WOR(L)D AND ITS SCIENCE, BOTH in its religious version (social love religions) and its human one (free, democratic, equalitarian, humanist cultures)
III. THE 3 AGES-STYLES OF ART.
1: Historical Organisms: Civilizations
It is then clear that non-fiction verbal prophets are the origin of civilizations created through mental waves of Ethic doctrines and laws. While animetal cultures as we shall see are caused by the actions of animetal groups of scientists, traders and warriors, and their flows of machines, money and weapons, studied in other books of this web (“Bio-economics”, “Bio-history”).
The result of the reproduction and use of those artistic forms and machines in the external ecosystem, in the vital spaces of this planet is what we call a civilization.
Civilizations in bio-history are considered ‘small bodies of History’, subject as all body-herds to processes of evolution, reproduction and extinction.
Its informative networks are the artists of the word, prophets and legal rulers, inspired by those ethic books.
Its cells are the believers in those informative neuronal messages.
Its energy networks are the land in which the civilization exist.
All together create a body and brain of History, a civilization, that is born with the prophet… Then it develops, even reproduces in other zones of the planet (colonization, expansion). And finally it dies, when the civilization it is preyed by a better ideology of mankind or other civilization of military nature – animetal civilization.
Indeed, confronting human cultures, there are animetal civilizations not based in human languages but in animetals that invent weapons, machines, laws, inquisitions, gold religions, and rhetoric art, to back their use of weapons.
They also expand as hordes of warriors conquer other nations. And they die conquered by better military, or in a few cases converted to a Human religion (as when Rome became Christian, or the Mauryas converted to Buddhism). A third way of death is when the very same process of internal corruption of the civilization by Animetals collapses it. We can consider such civilizations to have an ‘inner germ’, of hate and violence bred by weapons, warriors, speculators, and manufacturers of lethal goods, that sooner or latter infects, corrupts and destroys from inside the civilization.
Of course those cultures also have words and art – the corrupted animetal counter-parts of human truths: legal writers, politicians, and false prophets to the service of Inquisitions of war, and gold religions.
Small bodies of history.
The advantage of civilizations to understand ‘History’ is clear.
While History is a body still in process of evolution towards a single ‘mankind civilization’, or perhaps about to become extinguished by the “global metal-Earth’, many civilizations have gone through the same ‘Horizons’ or “Ages’, of any biological species: birth, expansion of ‘cellular tissue’, reproduction, decadence and death… They are ‘concluded experiments of History’.
So we can ‘understand’ why ‘small histories’ die, by studying civilizations that died in the past. Since in each civilization we can see a small mirror of the existence of the entire body of History. Thanks to civilizations we can become ‘real scientists’ of history, since we see many ‘experiments of history’, already ended.
What kills then civilizations of History? Weapons.
All civilizations we will prove are extinct by the evolutions of weapons.
Animetals and war kill ‘Histories’. This fact is fundamental to understand ‘bio-History’ and bio-economics. There is a predator species that kills humans: lineal metal-species, weapons, the lions of the historical process… (see “Bio-history”).
Please remember than in this book History and Humanity are the same concepts, since the Time that humanity exists is the time that History lasts. Yet History is too extensive, to be studied together. Thanks to God, History still is alive. So Historians divide the study of the human specie in smaller ‘pieces of History’ called civilizations.
Mixed cultures and social castes.
While the ideal Human civilization or animetal civilization is clear, for most of history there have been mixed forms, Paradoxes of History, in which animetals and human beings have struggled to impose their points of view. We talk of mixed civilizations. Then we have to define a civilization by two kind of cellular species: instruments, mainly metal-species, created by animetal castes, and ideas, and artistic forms, mainly wor[l]d species and Human goods, created by human beings. Normally those civilizations are based in a series of castes with the animetals on top controlling the human beings with weapons:
In the graph the castes of mixed civilizations:
– The Animetals, the upper castes, the warriors that controlled the use of metal-weapons, and became aristocracies and kings that subjugate other humans.
– The human beings, the common men, farmers, artisans, and priests, who lived in harmony with nature, during the Neolithic, but became servants of animetal warriors. Since animetals massacre human beings when they oppose the dictatorship of weapons.
The first pyramid of social hierarchies, of some being ‘more equal’ than others, appears in the archeological records of history, coinciding unmistakably with the arrival of metal. First weapons, then money, and today scientific machines. We talk of three social classes, based on metal:
– Elite class. People who create metal, either weapons or money. They direct the rest of humans with metal-energy [weapons] or metal-information [money]
– Middle Class: People who are controlled by those tools of metal-power. They are given money and weapons by their elites.
They are either used in war as soldiers or bought with a salary as workers.
– Energy class. People who have no access to weapons or money. They are ‘enemies’ and ‘corpses’ killed in wars; or they are poor, without rights to money and goods acquired with money. They are preyed by metal-species. As the economic system evolves and uses machines as ‘Middle and Energy classes’, those two social groups slide into poverty and obsolescence, isolated in ‘third world nations’, and ‘ghettoes of the first world’:
At the same time however, and with opposite direction, to the previous pyramid of animetal power, the Human civilization exists. And it builds its structures of defense and solidarity against the animetal power. So Human beings, produce also Human goods to survive, and some become artists that make the life of the community more pleasurable, with their creations, from civil architecture to beautiful crafts. Humans also practice solidarity and social evolution among them, guided by priests, who do not exploit them, but help them to resist the ‘inferno’ of animetal control. And above all, they revere an ethic Book, the God of Man, the Words of wisdom of a prophet, which animetals cannot corrupt, and each believer hides in his heart.
So most civilizations are a dual wave of ‘clonic’ human minds based in social evolution, which during a period of Time, share common goals, and possess similar languages, cultural customs, ideas… and a preying wave of animetal castes and their instruments that abuse the common people based in Darwinian ideologies, racism of ‘chosen of Gold’, which makes them feel different from the rest of mankind, allowing them to deny the Natural law of social evolution that rules the Universe.
Animetals deform perception of the natural law to become Darwinian
Indeed, in as much as the laws of the Universe cannot be changed, the trick of an animetal culture is ‘to change the perception of equality among men’. So it is very easy to recognize animetal cultures, because there are castes that under myths believe to be different from other humans, in order to back their abuse through weapons and money of all those other humans. Such is the case of the quintessential animetal civilizations, the Jewish Gold believers, that perceive themselves as unique, different from all other humans, and victims of History, which allows them to abuse with money other humans – and from time to time receive their cholera. Or the quintessential warrior culture, the Germanic culture, that believers to be of a special physical race, superior to all other races, and so consider themselves different and with the rights to abuse with weapons all other humans.
There have been many civilizations among the humankind of the 3 types. Enough of them are known, for the Historian to hint that all human civilizations based in social art and ideas or animetal cultures based in mental racism and informative money, or body racism, and weapons, follow the same pattern.
Indeed, the mental racism and monetary abuse of the Jewish culture and the British culture over all other cultures is amazingly similar. The physical racism and military abuse of the Japanese culture or the German culture is amazingly similar. The social evolution of the Christian golden age and the Muslim golden age is amazingly similar. The teachings of all prophets are based in love, and forgiveness. The teachings of all animetal castes are based in racism, victimism and revenge. Germany felt itself the victim of Europe and massacred Europe. Judaism feels today the victim of history and from Wall Street and America is about to end history with robotics, weapons, and collective murder of the human mind. It is all deja vu, for the Bio-Historian that can observe looking at past civilizations the same process of birth and extinction of human and animetal cultures once and again – with the same cultural rhetorics or messages of love.
2. Birth, reproduction and death of civilizations
All those small bodies of history go through the same stages. Those stages are very similar to the ages of an organic being.
We said that civilizations go as living systems through birth, reproduction and death. Let’s consider such process in more detail.
Civilizations made of human clones, like organic beings made of cellular clones, are born, fruit of a single ‘cellular unit’ which multiplies and becomes organized by a network of information or energy:
– In a human culture those first cells, are artistic goods, and Ethic words, which give power to priests that try to build a world to the image and resemblance of Man…
– In an animetal civilization, those first cells are Gold ideals, weapons and military hordes, who control human masses with violence.
In civilizations an ideology or book of ideas, [a network of human information] or an species of money of weapons [a network of metal-information or metal-energy], becomes the centerpiece of the civilization.
In mixed civilizations both kind of Ideas and instruments shape together the culture, often through a social struggle.
If we consider for example metal-civilizations, we can divide history in the age of Bronze civilizations, the age of Iron Empires, the Age of Chivalry [Middle Ages], the European age of gunpowder [Modern age], and the Atomic age.
If we consider Human cultures, we talk of the previous established pyramid of growing social evolution: The age of genetic tribes, the age of Tribal religions, the age of social religion (with 3 main subspecies: the Christian culture, the Muslim culture, the Buddhist culture and the Taoist-Confucian cultures), and finally the age of socialism – of a global Government, that unfortunately has not yet arrived…
So the discovery of a new weapon, or a new book of revelation starts an animetal or Human culture…
The civilization then develops, and clones of the prophetic idea develop in the minds of believers, or warriors create more weapons. So the ideas or metal-species carry that civilization to success. The civilization then expands its ideas or instruments, eliminating previous, less evolved civilizations. In this manner verbal civilizations and warrior civilizations are born, reproduce and expand its vital space. In this manner the artistic and ethic ideas of man evolve towards the understanding of the entire body of History as a single body that includes all men. While machines of war also evolve towards a new race, the robotic top predator weapon. Who will end wining the fight?
Will man become a single body of History and eliminate weapons and war?
Or will animetal cultures, infantile cultures based in primitive ideas of revenge, and hate, such as the Germanic-Jewish culture, continue the creation of stupid wars, and weapons till they kill us?
We say that waves of weapons and ideas shape civilizations which expand like a clonic body and reach maturity, in the form of a structured world religion or empire. Today the struggle continues, as a Social Global government fights against a Jewish-Germanic civilization divided in nations that fight each other in absurd wars, promoted to make money reproducing weapons.
Death and change of ‘individual species’.
Yet one day another civilization with more efficient ideologies of man, or better machines, comes and destroys the old civilization.
Such new civilization as in ‘Darwinian hunting’, once it has destroyed the old civilization, it ‘reforms’ it to its image and resemblance. Let’s again bring the biological comparison.
A hunter feeds in the energy of a victim’s body that becomes in part wasted [killed] and in part ‘transformed’ into cells of the predator. Also in cultures, part of the ‘human energy’ is wasted by war, and the remaining humans are ‘transformed’ into believers of the predator civilization.
So Spaniards extinguished perhaps 70% of Indians and the rest became ‘Christians’…
It is the death of the civilization. Because when ideas and instruments change, the civilization changes. The iron culture of Rome is not the same that the Middle Age culture of stirrup weapons imposed by German warriors. Rome had been extinct by ‘chivalry species’ of the Germanic civilization. Again such civilization is not the Gunpowder civilization of Italy during the renaissance.
Gunpowder extinct chivalry and a new culture was born.
Nor it is the same Amon-Egypt than Greek-Christian Egypt, than Arab-Muslim Egypt. The verbal ideology has changed, and the civilization of Egypt became extinct.
Darwinian and social selection in history
We say that ‘history’ selects nations with better ideologies and better weapons.
What is a better weapon is obvious. But what is a better ideology? A system of verbal thought which increases our knowledge of the inner workings of History and Human herds, an ideology that enhances the ‘survival instincts of the social specie’.
A body of thought that improves human social evolution.
But since human social evolution improves by means of ‘love’ and ‘solidarity’ among all humans, [actions which diminish the need for weapons, that kill men] we observe that human verbal thought has evolved from ‘small, tribal, religions’ that allow wars [Judaism, Hinduism, Aristocratic ideals], into Oikoumene religions [Christianism, Buddhism, Socialism] that in his pure forms consider all humans beloved by God and hence solidarious. [Why those ideals became corrupted and allowed war is a theme treated outside this introduction]
On the other hand a better ideology is also an ideology that provides more knowledge of the outside species of the Universe. And so human verbal theories of the Universe have moved from myths to logic analysis [Greek and Taoist thought] to Theory of Evolution, a General Theory that explains all species with similar laws, and today informs all sciences.
3. The great civilizations of history; 3 ages, 7 cycles.
The 3 ages of Metal-history.
If we apply those ideas about biology of civilizations we can represent any civilization with a bell curve of existence, that indicates in a graphic of populations how the word religion or icon-weapon of a civilization [[both often reproduce together] is born, develops, reproduces [colonizes other territories], and finally dies away; substituted by a daughter civilization, or a new culture, with a more evolved weapon or religion.
We can also use the bell curve of social existence to the entire life of mankind, in the age of metal.
If we consider the entire wave of Metal-History as a single civilization also with 3 periods, its young, epic age, its classic, humanistic age, and its decadent, industrial age, we can talk of the Bronze and first iron empires of Asia, as the age of epic war. The period of European infantry, and Asian cavalry [from Greece to renascence] as the age of maturity of history. The age of the industrial evolution, as the age of extinction of history.
Each of those ages is divided by a clear discontinuum of evolution of the two functions of metal, energy-metal or weapons, and informative-metal or money.
Man adapts himself to those changes, which are symbiotic and help the evolution of our societies, in a first age, but as metal reproduces in greater numbers, it suffocates the evolution of human history and the human mind, till with the arrival of science, the human mind becomes obsolete, and men become worshippers of the minds of machines.
We talk thus of 3 clear discontinuums of evolution of metal, that mark metal-history.
– YOUTH OF HISTORY: The Age of Wor[l]ds. From -2800 BC, to -500 BC.
Age of Bronze weapons, and bartering. Since money is still scarce, in the form of bars of metal, words still are the main language of communication of mankind. Writing becomes sacred. However bronze and then iron give enormous power to warriors that end controlling all Neolithic societies. Priests are displaced from power. Women become systematically repressed. Gods become warrior Gods, without compassion. It is the age of Mesopotamic Empires, the age of Asia.
The age of verbal thought reaches its baroque age, towards -500 BC, in the work of Lao Tse, Buddha, Confucius and Socrates, that reach the height of human verbal understanding of the Universe. Yet a new language of information – coins appears, and human verbal thought looses power.
– MATURITY OF HISTORY: The Age of coins. [-500 BC, 1600 AD]
It is the Age of Iron weapons and coins. Mankind still rules, and learns how to control with ethic behavior, the power of weapons. Yet Money starts to be a common language of power, and challenges verbal ethics. Words are displaced by money as the language that controls the acts of human societies. This means that verbal thought and ethics is no longer the center of the human mind, but humans become shallow in their perception of verbal-temporal reality. The human intelligence displaces to the eye. So art becomes realistic [Greek Art] and mathematics appears as a new language of understanding of the Universe. Both coin accountancy and Mathematics come together, in the Asian Greek coast where the first monetary empires and mathematicians appear. After the brief return to an ethic age, in the Middle ages, the renaissance again imposes money as the language of social power.
– OLD AGE OF HISTORY. The Age of machines. [1600 AD till extinction].
It is the third age of mankind, and the first age of the new predator species that displace us, the machine. It is the age of science, of digital languages, of massive reproduction of money, the language of information of machines, now in the form of paper-money and electronic money. Words become obsolete. There is so much money that all things can receive monetary values, and human verbal values are no longer effective. There are so many weapons, due to the industrial reproduction of them by company-mothers, that ethics and social power become obsolete, and national armies control directly [dictatorships] or indirectly through weapon-companies [democracies] our societies. The objective of mankind is to evolve machines through acts of work=reproduction of machines, and consume=test and evolution of machines. The decadence of mankind is hidden because paradoxically as humans loose interest in verbal thought, in a non-fiction logic understanding of reality, companies of machines can convince and indoctrinate man easily. Fiction literature dominates this age. Men no longer understand the meaning of social survival, of truth, and the organic nature of our Universe…
The 7 sub-periods of Historic civilization.
If we consider the life of a single organism we can also analyze it through 3 ages, or we can be more detailed and consider each decade as a minimal interval that distinguish the life of an individual. If we consider in more detail the civilizations of history a tragic phenomena happens: the total wave of history can be further subdivided in 7 waves of civilizations, since periodically the multiplication of animetals and weapons have extinguished civilizations in all the ages of history.
We talk in fact of 7 sub-cycles of civilizations divided by great eras of war.
Very few civilizations survive the periodic arrival of massive wars, after the discovery and reproduction of new weapons. Even the American civilizations that were isolated from European warrior masters, at the end died away when the Spaniards and Anglo-Saxons arrived. The Paleolithic culture of North-Indians that had survived almost unchanged during more than 10.000 years was extinguished in a few centuries, and even if some of its genetic content both in race and customs still remains, it is self-evident that today that civilization has died.
History has become metal-history, and human cultures have become submissive to metal-cultures. Yet not a single metal-culture survives the tree of science for too long. There is in fact a cycle, of around ±800 years, or 10 human lives, that marks with massive war the evolution of metal and war-fare. So we talk of the 7 cycles of metal-history since the first bronze armies arrived to Mesopotamia and destroyed the Genesian paradise, depicted in the ‘Genesis’, the oldest book about the tragedy of History written by mankind.
We know the cause of cultural death, which is war, and since wars have come to History in certain ages, after the discovery and massive reproduction of a new weapon, we can trace a series of waves of existence, of the great civilizations of history, that have gone through birth, growth and extinction.
Indeed, the discovery and massive reproduction of weapons carried by hordes of symbiotic warriors, have shaped the history of civilizations, killing them off periodically.
We call those ages of massive reproduction of weapons, a ‘biological radiation’, borrowing the concept from biology, where biological radiations of top predator species are the main cause of extinction of weaker species. So happens with ‘radiations’ of top predator metal weapons that cause the extinction of humans and our civilizations.
Historic ages are conclusive about the extinctive process of carbolife and human civilizations in the hands of weapons. The Neolithic, with the discovery of copper tools put an end to the Paleolithic hunters. It started the age of metals. Copper appears in the upper Neolithic and displaces the stone cultures of the Paleolithic. Yet copper is not very strong, and its capacity to extinguish=kill human species is mild. Next bronze appears, and swords become perfect ‘energy=lineal species,’ able to cut and kill human bodies with ease. With bronze the first social castes of hard warriors take control of history. They expand worldwide. And wherever they go, they extinguish previous human cultures. They establish hierarchical societies, with strong social castes backed by weapons. These structures are then implemented through legal codes, and artistic, epic, rhetorical, social and religious rituals. They are built around the Top Predator ‘icon weapon,’ and the warrior caste.
Bronze weapons brought the first empires around 3000 BC. After the age of bronze swords, comes the age of Indo-European hordes with war chariots [from ±2000 BC until ±1500 BC]. They radiate from the Eurasian steppes and erase or control the Indian cultures, the Chinese Neolithic, the Middle East, and Western European cultures. Iron is discovered. And the sword of iron carries new hordes to power, coming from Turkey and Europe, [Hittites, Assyrians, Greeks, Celts, people of the sea]. Then comes the radiation of cavalry brought by Scythians. Then the radiation of stirrup horses brought by the Huns. And finally the radiation of complex machines of war – the radiation of gunpowder – which in 1200 AD starts the modern world, in Europe. These radiations bring history to the modern age – the European age, based on the power of its gunboats and artillery. During 800 years each new radiation of Top Predator weapons and hordes control the world.
In the age of metal it is clear that humans are evolving a new kind of atomic species of higher density than carbon. Weapons are discovered, and then radiate in great numbers during a period with a median duration of 800 years. We talk for each of those 800 years of ‘metal-civilizations’ in which the warrior hordes that control the weapon become Top Predators of human cultures. When a new weapon appears, and the previous horde and weapon become submissive to the new Animetals. So the arrival of new weapons show the fractal zones of History:
Wave model of 800 years civilizations.
There are three ages in all radiations of weapons, represented in the graph by a bell curve: birth of the weapon and elite-caste of the civilization; expansion of those weapons, and final extinction by other metal weapon and horde of warriors . The old weapons then might continue, but within the elite caste of the civilization, that our curves show, they will be rare and considered obsolete.
In that sense we can build an easy graph of the main ages of history, divided by discontinuums of war in which new hordes of warrior have extinguished all previous civilizations.
The median period of those cycles or radiations of a certain weapon, and an elite that controls human cultures, is an 800 years period: they represent the 3 ages of a civilization of metal, its birth, maturity and extinction…
As we see the 3 ages of a weapon, are parallel to the 3 ages of the civilization. Since each weapon expands worldwide [at least in the Eurasian continent], there is a parallel age of extinction of old civilizations in all the main zones of Eurasia [Europe, India, China]. Which creates a regularity in form and dates for all the main civilizations of animetal history.
We talk of a biological radiation of a weapon that has a cyclical periodicity given by certain constants that make the expansion of those radiations parallel in length and geography. Given the basic unity of Eurasia, the radiation travels fast, and within a few centuries of the discovery of the weapon the entire continent is ‘sick of wars’. The weapon multiplies and creates a vacuum of power. Yet finally more or less in the middle of the 800 year cycle, an empire re-organizes the great geographical zones of the World, under a caste of warriors with the new weapon. It is the Pax-age of the weapon, the Roman empire in the age of Iron infantry, the Arab empire in the age of cavalry, the Assyrian empire in the age of bronze, the American empire in the age of A-bombs, the Spanish and then the British empires in the age of gunpowder…
Those empires will become formal, atrophied in the rituals of power of its caste of animetals, that will loose one day their battles to the new hordes. Then the cycle starts again. The metal of the old weapon looses value, and it passes to the armory of old weapons. Those who lived on that weapon will then be forgotten. Nobody remembered when the Greeks passed over the ruins of Niniveh, who had inhabited those lands, a mere 200 years before…
Yet during the time those animetals rule the Earth they control the civilization very closely and also control art, creating rhetoric art which imitates the forms of the instruments of power, and the customs of the power castes of each of those 3 ages.
If we carefully look to the fractal zones of history, and order the events of history based in the evolution of weapons, we find very solid proves of the existence of a vortex of evolution which shapes negatively by destruction, the beginning and end of civilizations. Can we be more precise in the rhythms of those ages of war? Indeed we can, since history has recorded with astonishing regularity, the evolution of lineal metal weapons, since the beginning of Metal History, first carried by warriors [800 year cycle], and today carried by Scientific Companies [80 year cycle of world wars]. Thus the vortex of war is an accelerating cycle of circa 800-80 years, [deviation of less than 10%], which sets the rhythm of Great wars and civilizations, with the same decametric scale that we encounter in other vortex of information, proper of the evolution of the Earth.
The vortex of metal evolution can be explained as an accumulative cycle with two limits: the 800 to 1000 years of weather activity that alternatively has given heat to the northern warrior steppes and draught to the southern river civilizations and the 80 years generational-biological cycle of the human being. The climatic cycle of 800 years brings growth to northern warriors of the lineal steppe, which will overpopulate and move south periodically, to trader civilizations. The accelerated generational cycle of 80 years starts with gunpowder weapons; and is the origin of modern metal nations.
Indeed, the evolution of weapons is the longest detectable cycle of the Metalearth, giving origin to an 800 years wave of maybe climatic, certainly sociological transformations among human civilizations. The ±800 cycle corresponds to the dominant age of war techniques and can be followed from the beginning of recorded history around 5000 years ago; thereafter setting a series of major civilization discontinuums: the first bronze armies which probably started ‘civilized empires’, the chariot discontinuum, the iron discontinuum, the cavalry discontinuum, the stirrup discontinuum, the gunpowder discontinuum. And finally the Atomic-Computer discontinuum that transferred the top predator function from the European to the American Continent, and from man to air-machine.
In all those cycles, the mechanism of radiation of each weapon and its castes of power is always the same:
Each new wave of war techniques starts a political cycle which expands a horde of warriors with access to that technique. They extinct other cultures without remorse.
Those weapons then will be reproduced in great numbers, copied by other Hordes, and soon all the civilizations of Eurasia become destroyed by weapons.
The evolution of weapons gives a certain caste of warriors enormous power. Power that the horde will use to erase all other civilizations and impose his people as the masters of the new civilization.
The wave of 800 years is Universal when the correct parameters are established: That is we consider cultures to be related to the activity of a capital or elite of warriors and Traders whose fall or raise establishes a territorial empire, nation or civilization.
Thus for example, the wave of the Roman Empire would be an eight hundred years cycle, between the first and last destruction of Rome by the Gauls of the iron discontinuum, and the barbarians of the stirrup discontinuum [387 BC: Gaul invasion – 410 AD: Alaricus invasion = 797 years; Deviation -1%]. Then Rome will no longer exist, after Alaricus invasion…
The 3 ages of animetal cultures and rhetoric art.
Based in classic Archeological analysis, and limited by the scientific method of total evidence, historians tend to classify cultures by their ceramics, which are not the cause of the extinction and birth of civilizations [metal-weapons are]. Such method has confused a proper understanding of the phenomena of life and death of civilizations. Historians do not fully understand the decisive role of top predator weapons, and the 3 ages of such weapons.
The symbiotism between those ages and the morphology of art, and literature is remarkable, and we will analyze it in detail in the next paragraphs.
So there will be lineal art, and epic literature in the first age of a culture, that copies and worships lineal weapon forms and warrior power. There will be cyclical art, and realistic, sensorial literature in the monetary age of traders and wealth. And finally there will be a massive explosion of art, and humanistic, prophetic literature in the baroque age, when the culture foresees its extinction.
We see this in all cultures. The Paleolithic men just before dying have a final burst of creativity, in his baroque age, prior to extinction. It is the age of cave paintings, that tried to bring back the hunting that hot weather, and the advances of new waves of Neolithic men, were taking away from them.
When the first European Neolithic of Copper becomes extinct by bronze warriors, it leaves in his last millennium as the Paleolithic had left the artistic caves, a series of artistic and religious monuments, the megaliths. Then all that disappears and the culture of Bronze comes in.
When Italy is extinct by Lutheran and Iberian hordes it starts the baroque art, of maximum in-form-ation When Greece is taken by Macedonians it starts the Hellenistic age.
Today mankind art is becoming extinct by technological art, and culture becomes baroque. The extinction of realistic painting by photography brings Picasso. The extinction of literature by TV-thought, brings propaganda, marketing and script-writing…
The conclusion is obvious, animetal cultures and art are based in weapons and money not in human senses, so we have to differentiate in all those civilizations human real art, and metal-art, based in the lineal forms of weapons and the cyclical forms of money.
It is at first difficult to distinguish between both, because animetals pay for animetal, rhetoric art, and at the same time human genius rebel and do the real human art. So before we study those civilizations and their mixed forms of art, we might consider in two different sections, animetal art, and then human art, which also lives through 3 ages of youth, maturity and decadence as animetals compete the extinction of the culture and its art.
4. Animetal art: Trader Vs Warrior Civilizations.
The canon and the reality. Why art is no longer human.
We are now in conditions to understand the differences between the canon of art, the ideal art which would be the art of a planet in which man rules, and the reality of art, the art that humans submitted to the empire of the machine, of weapons and money create, as part of an ecosystem in which man is less and less important.
It is a different concept. What man wish to do, to reach happiness, and beauty, and what man is obliged to do, by animetal warriors and go(l)d religions.
First we have to differentiate the two main historic species of animetals, associated to the two basic species of metal:
– Informative, cyclical metal, or money as a language of power is associated to Trader societies, ruled by Go(l)d religions, and cultural traits that resemble the character of information in all its elements, from his love of mental activities, to cyclical information, from the importance of women, the specialized information sex, to their love of jewelry, pleasure and ornamental art. Their languages are short, creative, their truths are fragile, their literature stylish, since words are substituted by money as the language of information. And this becomes a toy, a fiction to play with.
– Energy, lineal metal, or weapons, as a language of power, is associated to warrior societies, ruled by inquisitions, and cultural traits that resemble the character of energy in all its elements, from his love of physical activities, to lineal forms, from the importance of men, the specialized energy ex, to their love of physical, big art, tombs, and simple forms. Their languages are long, unified by necessary truths… to fight together, and bond close in the theater of war.
Finally both cultures hate each other, because they perceive each other as different. So Jewish Traders hate Arab warriors, and German warriors hate English Traders, and Japanese warriors hate Chinese traders, and Greek Traders hated Roman warriors, who hated Jewish traders, who hated Assyrian Warriors, who hated Mesopotamian Traders, who hated…
The chain of useless hate continues, as both do not see themselves from the same species. Only artists, balanced in both forms, do understand all men, and despise them both… (see “Bio-History”). Of course as more pure is the Animetal culture (as it is older in cyclical inertia) that capacity to hate becomes deeper, emotional, rooted in the essence of the cultural existence. So the oldest Gold culture in record, the Jericho->Jerusalem-Jew culture, that seemed to have accumulated Gold as old as 10.000 years ago, hates all other human cultures. While the German warriors, the oldest Iron culture, which seemed to have produced iron swords almost 4000 years ago, have hated all other cultures of the Wor(l)d. And of course there is no deepest hate that the one there is between Germans and Jews. And there is no people more arrogant, more racist, more secure of being chosen of Gold, that those tribes, whose art shows all the previous characters to the extreme. Aberrant, lineal, long, physical, simple German art and sentences, is legendary.
Differences of rhetoric between traders and artists.
Verbal aberration however is in warrior cultures smaller than in trader cultures, which breaks sentences into diminutive words as English and Chinese do.
As words loose size, they become irrelevant, and philosophical truths in the English language seem impossible to be taken serious. A warrior language however in the hands of a true artist of the word can reach heights of conceptual perception, as words become necessarily chained. Such is the case of German. yet the length of those languages has a violent, militaristic reason of selection.
In a battle field only those who believe, and fight strong survive. So a German, in the geographical center of all wars, has required to survive, ‘a mind based in simple beliefs’, to go with energy into war, as strong and hard as his lineal words. In that sense truth is irrelevant to the warrior even if his language is good to express truths. What it matters is belief, to motivate him into war.
Warrior cultures need long syntax in verbal thought to program emotionally soldiers into war battalions by giving them a sense of social collective bondage. So their connected verbal sentences on the existence of societies and hierarchies cannot be broken.
The language in this manner becomes a mirror of reality: only those who bond in the battle field survive. To do so they bond first their souls in the language.
Of course true warrior artists would escape verbal Rhetoric, and evolve long words into complex,, philosophical perceptions of the Universe.
Which makes warrior languages the essential literary languages; complex German-Spanish Philosophy and novel Vs simple English and Italian dramatic genres and novellas.
However trader cultures based in the false ‘hypnotism’ of money which is basically a ‘tricky substance’ with no use, fear verbal intelligence. They need to cheat, and they cheat with the language. The legendary topic that Jews and Phoenicians always cheated, that Greeks and British never said the truth, that Chinese lie systematically is based in the massive use of Gold as the language of power in those societies.
Traders also fear social thought, which can create bondage among the masses they rule. They fear warrior cultures that can kill them. So they will repress bio-logic verbal thought, and social religions.
Instead trader cultures promote dramatic, single, individual levels of consciousness, that never create a society as an organism. So modern America is the great defender of individualism. In this manner the supreme caste of Jewish-American traders can divide and control the ‘bewildered mass’ at ease.
Cultures are therefore product in those animetal nations of the languages of metal-power that rule them. Yet to hide those final causes of culture and behavior, rhetoric art is created.
So the entire American art praises the self-made man, the individual freedom, and hides the true reason why that individualism is promoted: to control better the individuals in the bewildered herd.
We could say that trader cultures are specialized in visual art, while warrior cultures reach its height in verbal art – when a true artist is born in those cultures. While verbal rhetorics dominate animetal trader artists, and visual rhetoric dominate trader cultures. Why trader cultures love visual rhetoric.
It is all in the language of power they worship. The essence of Gold is visual rhetoric. Gold hypnotizes you because it looks like the sun. It is a rhetoric image, a false shine what makes gold power. So traders extend that love for Gold, to a love for all visual effects. They love small, decorative art, jewelry.
Traders will promote complex external architecture and decorative arts.
Finally traders hate death as much as warriors love it. So warrior culture build huge tombs, while traders prefer to hide death and enjoy the pleasures of life.
Information is feminine, creative, pleasure seeking. So trader artists will evolve their forms into refined perceptions of the human spirit and its human senses.
While Warriors who ask their people to die and test weapons fear the corruption of beauty and human pleasures, which can make wise the soldier…
Who is going to die if he can eat and make love at home? That is why warriors love sensorial repression, discipline, exhausting physical exercises and ‘Spartan food’. Also they prefer simplex external life and monumental art, or death glorification [tombs].
Ultimately the paradox of Mental traders, is that they repress real human social mental evolution. So the oldest laws, the most primitive cultures, the most infantile myths about history are found in the quintessential Trader, Jewish culture. Their information is biased, metal-based, false, digital, mathematical… all geared to promote monetary games of power. Words are corrupted, literature is infantile, dramatic, to make the intelligent man indifferent to it. Subconscious selection of culture happens constantly in warrior and trader zones, as the animetal castes become suspicious of all which does not resemble his language of power.
On the other hand the warrior has to bias all physical actions to the benefit of physical war. So sensorial perception is repressed in warrior cultures, and the nobody is used for physical lineal activities not for the pleasures of love.
Only Wor[l]d cultures fully grow all human levels of existence, accepting sensorial pleasures, and mental pleasures, body and mind as the Latin culture or the Indians did.
The analysis of a culture by artistic or linguistic remains.
Those differences in art classify animetal cultures as warrior or trader controlled cultures according to the predominance of trader or warrior art.
Also geographical circumstances (see “biohistory”) determine the location of a culture a warrior-biased geography [in mountainous nations or steppe zones such as Spain, Assur, Korea, Germany or Russia], or a trader biased land [islands, river and coastal zones such as Mesopotamia, China, Israel, Crete, Greece, England, Holland.]
We can make also linguistic and literary analysis and consider long lineal highly bonded languages, warrior languages, and short, cyclical languages, proper of societies controlled by trader castes.
Finally the same duality happens with a social analysis of relative gender power. Since women have higher power in trader societies, and men in warrior, violent, machist societies.
It is a fact of history that those ‘linguistic aberrations of form’ that stress energy or information parameters, in a culture match political History.
The laws of Universal organisms: balance=survival.
Which proves the ‘laws’ of energy and information for historic ecosystems, and the ultimate unity of all Universal phenomena, ruled by the same Laws of the Game existence, we have used to describe any Universal ecosystem or organism. We conclude that historical civilizations are also organisms controlled by networks of energy and information, which according to the laws of ‘balance’ and survival acquire its mature, more balanced, survival form, only in Human artistic cultures in which energy-information systems are not biased, but harmonic. It is what we call a balanced, canonical, Human culture.
In which neither men nor man dominate, languages are neither short no long, art uses all forms, and the wor(l)d is the language that controls societies. Those cultures are the Southern European culture, the Indian Buddhist cultures, and a few other cultures based in social ethics and human aesthetics, in which the wor(l)d controls the deforming power of weapons and money.
Samples of trader and warrior cultures in its 3 ages of its waves of existence. Warrocratic art.
We escape for reasons of size a detailed analysis of verbal linguistic forms. Such analysis would show, a classification of cultures in long-lineal languages of warriors [Spanish, Korean-Japanese, German, Aztec, Assyrian] Vs short cyclical languages of traders, even today when all cultures have been equalized as imitations of the Goldiron Jewish-English culture that invented the machine.
Words though increasingly devolve in our Neo-paleolithic controlled by Traders, where money is supreme, towards fragmentation and reduction of vocabulary in all languages. Since the Neo-paleolithich is a trader, digital culture, characterized by a total lack of social bondage, dominance of visual languages, and individualism – the traits of the Jewish-English, trader-dominant cultures.
So words are broken and the individuals cannot access the religious sense of long words and long chains of causality that knot humans into waves of believers.
In the past those were traits of the English, Chinese, Mayan and Sumerian languages. They used short words as their cultures were trader cultures, of cynical thought, without philosophical depth. Even in China, the Yin-Yang highest Taoist religion comes from the warrior North…
Obsession for Death Vs Obsession for Wealth.
Regarding the favorite subjects of monumental arts such as architecture, while trader art is built around the pleasures of wealth, and worships gold and luxury, Warrior art talks about the main cause of its power: death. So we find topic oppositions between Mesopotamic palaces and Pharaoh tombs in Egypt.
In warrior cultures there will be a lot of funerary art. In fact funerary tombs will be the most important building of the warrior culture. And their forms will grow towards the sky according to the phallic, lineal or pyramidal-triangular morphology of lineal weapons, and energetic warrior power. The classic example are the first warrior empires of Pharaoh-Gods in Egypt; its obelisks and pyramids. We find an enormous wealth of funerary art also in Rome. Also in Spain and German art, tombs are fundamental, since its earlier pre-historic ages. Indeed, the Art of death is even more evident in the purest systems of warrior cultures; in the Scythians and warrior European Neolithic cultures. The long and brutal sacrifices of Scythian kings; the Urnenfelder, Dome burials of the German and Scythian cultures, in Eastern Europe; the Megalithic cultures from South Spain to Carnac…
Symbiotism between human subspecies and metal subspecies.
Of course we do not imply that men are programmed by weapons and money, but rather there is a symbiotism between castes and sexes. So matriarchal societies love jewelry, Gold and money (England, Crete, Judaism), while male societies love weapons – in as much as men love energy and women love information. What was first the egg or the chicken. Probably the human division between peaceful matriarchal cultures based in creative cyclical forms, and lineal, aggressive male cultures; which only latter the use of money and weapons stressed further. In any case both kind of subcultures are very old. To the point that a division between Trader Vs warrior art, cycles Vs lines is already found in megalithic cultures:
The trading, peaceful isolated island of England in its Megalithic culture builds the cycle of Stonehenge. Across the channel, in the warrior arch of west France, artists built the lineal Carnac, an arrow of dolmens advancing towards the sea… England and France, O an |, trader Vs warrior art continued for millennia. Look at their gardens: lineal Versailles Vs curved geometry in the British landscape.
Look at the streets of London and the streets of Paris…
5. The Three Ages Of Art.
The elements of civilizations as social organisms.
Each human civilization, or nation, is a symbiotic ecosystem, with two components, a human culture, based in human sensorial evidence [visual and verbal art], and human goods [agriculture, clothing, housing, art, education, etc.]; and a metal-culture, based in metal-energy [weapons, machines] and metal-information [money, scientific instruments]. People tend to put together both ecosystems, as if they were a single reality. They are not. In fact, often they are opposed and those who represent the human ecosystem [artists, reproducers of human goods], confront those who represent the metal-ecosystem [warriors, traders, scientists]. We studied that opposition of both ecosystems in previous chapters. Now we can see the dynamics of that opposition through the verbal and visual minds of historic cultures. For most part of history metal-species have been basically of two kinds: weapons or ‘lineal, metal-energy’, and money or ‘cyclical metal-information’. They acted as the body and brain of the economic ecosystem. Two castes, warriors and traders, have used those two ‘languages of power’ to control societies. Confronting them, the historic, human culture has tried to impose itself through verbal and visual art [laws, religion, sacred art.]
So we can talk of 3 different concepts that we could use to systematize the organisms of history:
– A culture is a human social organism, or ecosystem, made of human cells, [citizens, believers] related by networks of visual and verbal information [art], and a common system of distribution of human goods [food, housing, crafts, clothing, etc.].
– An economic ecosystem, is a social organism, made of metal-species of energy, [weapons, machines], related by networks of digital metal-information [money, scientific instruments, metal-minds]. It is symbiotic to ‘castes of metal-masters’, warriors, scientists and traders.
– Both together create a ‘nation’ [small ecosystem], or ‘civilization’ [extended ecosystem], in which the culture and the economy interact. Depending on who dominates that interaction we can talk of 3 basic types of nations-civilizations.
If weapons dominate as the language of power, warriors control society and impose their ‘simple, arrogant’ vision of reality, even to the artists of the culture. We talk of a warrior civilization. Since warriors depend on their weapon to control society, the weapon becomes the icon-god of the society. Everything adapts to that weapon. Even the forms of art preferred by the caste of power, imitate the simplicity, linearity and thirst for death of the weapon. So visual art is ‘lineal’, young-energetic, and verbal art is epic, ‘dramatic’, often concerned with war and death. We say that the civilization is in his first age, and it is war dominant.
If Art [verbal and visual, laws or religions] controls society, and even warriors acknowledge the rights of citizens to enjoy their livers, and reproduce human goods, to think in a free manner, and evolve their minds, we talk of a ‘wor[l]d’ dominant social organism, or mature organism. This is obviously the best kind of society for mankind, since both our natural, biological goods [human goods] and our minds and languages control society. People are happier, live longer, develop and educate their natural mind. This shows in art which reaches its apogee in complexity and harmony with reality both in visual and verbal art.
It is the maturity of the civilization. We talk of an age of realist, classic visual art, and an age of sensorial, logic literature, when the collective mind of society matures, beyond the simple level of ‘dramatic, arrogant, subjective’ thought, that warrior civilizations display.
Finally, if money dominates as the language of power, traders, and company-mothers reproducers of products and machines, often weapons, dominate the culture. They also impose more or less subconsciously ideas and forms that resemble the forms of money [cycles of information]. They specialize in information. They corrupt the law, and reproduce weapons, paying mercenary armies, and engaging themselves in warfare with ‘warrior civilizations’ the find opposite in tastes and form [energy versus information]. So art is formal, baroque, extinctive, and verbal thought becomes informative in excess, paradoxical, cynical. Since the law is corrupted by money, and society confronts other societies of warriors in unending wars. We call this civilization a money dominant civilization, and normally it takes place at the end of the life, of a civilization.
It is self-evident that the best civilization is a realist, logic civilization ruled by human verbal languages, able to control the castes of warriors and traders.
Those castes are not fit to survive. They confront each other, when they specialize their civilizations, and because war reproduces money and weapons, they love war.
So we see in History the fight between warrior, energetic, physical, simplistic cultures, Versus trader, informative, mental, complex cultures:
Sparta [warrior] Vs Athens [trader]. Rome [warrior] Vs Cartage [Trader]. Germany [warrior] Vs Britain [Trader]. Spain [warrior] Vs Britain [trader]. Germanic civilizations [warriors] Vs Jewish people [traders]. China [trader] Vs Mongolian tribes [warriors]. China [trader] Vs Japan [warrior]; etc. The unending wars of history are provoked by traders and warriors, that either make money reproducing weapons, or impose power killing with weapons.
They also control artists, and impose styles of art that we perceive naturally as styles less evolved, or corrupted, when compared to the classic age of art.
So the 3 ages of civilizations, correspond also to 3 different languages of social power, weapons, human languages, and money.
If societies knew this, and could control weapons and money, they could maintain a civilization in the realist, classic, humanistic age. So far this has not happened, because warriors, scientists, and traders are too arrogant, to relinquish power to priests, non corrupted lawyers, and reproducers of human goods, to citizens, and believers in mankind.
The 3 ages of art: the final freedom of the artist beats the animetal.
Even if the corruption of History by the tree of science, and its bad apples, the weapons of metal-masters is as old as history of man, and the original sin of Adam and Cain the first smiths of History, goes back to at least 5000 years into the past, in all those civilizations, metal-masters have been a minority. Problem is they have and keep imposing their tastes with the multiplying power of weapons and money.
Fact is that most humans have and do worship love at social level, have desired always human goods. And they have admired art based in the human canon. So in all chaotic times, when castes of power loose control of a society, human art surfaces. Hence the paradox of finding in the third age of extinction of a civilization when the castes of power loose control, the best artistic forms.
Facts those which lead us to the study of the cyclical repetition of artistic forms, according to the castes of power. First warriors control society and lineal art dominates, then they learn to use money also and trader art appears. Finally as the civilization collapses, artists become free, and the expression of all forms and styles explodes in an age of multiple artistic forms…
Such is the greatness of art, the mind of mankind: Artists survive with his final free works, the periods of rhetoric works, that praise brutality, greed and military arrogance.
And we specially remember that final art, admired by humanity long time after their decease. When Shakespeare says in his sonnet, that the deeds of warriors will not last as the words of love of his poetry he is right.
When warriors are forgotten, men wake up from the dreams and myths of epic, rhetoric art and remember only those artists who knew about the human soul and the human wor[l]d.
At the time of their conception the best artistic pieces and books, and their creators are prosecuted, because they do not yield to the rhetoric of power and money. Leonardo wrote backwards to avoid the inquisition of Rome. Aristotle left Athens, the kingdom of coins. Plato was made prisoner by Dionysius. Socrates was condemned to death. The family of Mhmd tried to kill him so many times not worth to remember. Moses was abandoned on the mountain of God, perhaps because he married a non-Jewish woman, while Aaron worshipper of the golden calf, went down to the Mountain. Christ died in the cross at the hands of the combined power of Rome, master of war, and the Banker Priests of Jerusalem. The American democracy is hold prisoner of bankers and military men. Yet when time goes by, we remember Moses, not Aaron, Christ not Caifas, Socrates, not his murderers, Leonardo, not the pope. And if there are men to watch films in one hundred years, they will see the films of Italian-American Human master, Mr. Coppola, not those of the Technological Jewish American Animetal Mr. Spielberg.
We know what is the human nature, when we have forgotten the rhetoric that carried the day. So even in the worst of times there are artists that quietly trace the truth of human history, which is the survival and evolution of the human mind, his suffering and destruction, the beauty of love, the social network of communication among men, the dream of a Human paradise…
Further proof that humanity degrades his collective mind in metal-civilizations, exists in the fact that in those zones where certain weapons=war radiation had not taken place, human cultures, art and human goods survived longer and reached their apogee. The cultures of the lineal Bronze Age reached their peak in Crete, which being an island survived the wave of charioteers [cyclical bronze]. The American stone cultures reached perfection in the Mayan and Eastern Islands cultures. Yet both were destroyed when new weapons [copper and obsidian] were brought by invaders. This pattern continues throughout the next “discontinuums” of massive war. For example, the Iron Age reached its apogee in Japan, during the Edo Age, which rejected the gunpowder radiation, having only mildly accepted the Stirrup Age, due to its insularity.
In the Indian subcontinent, only Ceylon and Nepal-Tibet were never invaded by “stirrup Muslims.” There Buddhism reached its peak, as it did the traditional cultures associated with the fertility Goddess. Dorian invaders did not penetrate Athens, where Greece merged with the Cretan tradition and reached its height. Wor[l]d cultures have flourished in lands with lesser machines. Without metal all men belong to the Wor[l]d cultures of human Gods and goods. Even though Wor[l]d cultures based on verbal laws today are submitted to extinction by monetary civilizations, we consider them as the “ideal” human cultures. These cultures flourished with minimal metal input. We speak of a simpler life, without change and evolution. Indeed, the trick of the survival of mankind is the “dolce fare niente” [sweet doing nothing]. The Italian artist, the Buddhist, Muslim and Christian cultures exemplify this idea through the constant search for cyclical return. The control of the tree of science and its machines is natural to the religions of love and poverty. They try to preserve the past, by means of repeating rituals and laws of love. Since love means social communication through the senses, and sharing of the natural goods of man, love is indeed the biological law of social evolution, among cells of the same organism. For that reason religions praise the natural Law of cellular organisms: ‘love the other as you love yourself’. The present world that despises love as a weakness, is not natural. It is the result of the death of the collective human Organism, of God. As in a dead body each cell is disconnected from the organism, and the ‘germs’, the machines and weapons that extinguish history, control our existence.
Yet in the past, Wor[l]d cultures understood the need to halt evolution of metal, and enjoy the human senses and his natural products. Let us remember those human civilizations.
In the graph, the main Human Cultures, flourished during the times of lesser warrior activity, normally in the second age of a civilization. Some of those cultures flourished in human senses because they received later, the radiation of weapons [Chinese, Harappa in India, Nepal, Ceylon, Japanese Edo civilizations]. Consequently, they were able to develop complex religions of the sentient Universe, and reproduce human goods, without metal-repression. Others were isolated during an entire cycle, without ever receiving the radiation [Crete, Mayan civilizations]. Their cultures as a result, matured and reached heights of sensorial and religious refinement. Many of them are found at the beginning of History, before metal masters appeared [Neolithic, Chinese, Pre-Columbian cultures]. Finally many of them expanded due to the activity of religious prophets, [Buddhism, Christianism, Socialism], that partially transformed Metal-civilizations into cultures of art, and human goods.
The Three Ages Of Art
In Biology we say that all species go through three ages: the energy-youth age, or first age when energy is more abundant. The mature age of balance, when the species reproduces. The third age of the species known as the baroque, informative, or extinctive age is reached when energy is scarce, but information is abundant, because of its accumulation during the first ages. Look at humans. Old people have a lot of information drawn in to their wrinkles and minds, but little energy. Young people have a lot of energy but less information. Mature people have both energy and information; between 30 and 40 humans are at their prime. This also happens to civilizations and cultures. Between birth and death by war radiation, the culture goes in its artistic and cultural manifestations through a young, simple; a mature, classic; and a baroque, third age of art.
Lineal Young, Art: The Warrior Age Of Civilizations
Metal-species of a civilization are first lineal, weapon forms. We call the first horizon of civilizations, the lineal-war horizon of maximum energy hordes. In this manner started the Greeks and Romans, with hordes of Hoplites, and Legionaries. Or the Middle Age and English civilizations with hordes of Stirrup horses, and gunboat pirates. All the cultural remains in those ages also follow such lineal forms and obsession with death. Their art is simple, puritan, lineal: Greek Kuroi statues, Roman Temples, Romanic Christian, Calvinist Britain.
Classic Art: The Monetary Age Of A Civilization
After the age of war, the metal-masters, the elite of the civilization evolves its cultural rituals, and uses cyclical money to control people in a milder way, that the hordes of warriors. It is the second horizon or trader age, of maximum wealth. The culture [human side of the civilization] reaches its apogee. The lineal Greek Kuroi, become the sophisticated sculptures of Phidias. The simple Romanic grows into the Gothic. It is the age of Athens, Augustus, the Gothic Middle Ages, the 19th c. of England. Often the civilization reproduces in other regions by means of an empire. The Republic expands into the Roman empire. Inquisitorial Spain expands into South-America. Puritan England expands through its empire and colonies.
Baroque, Art, The Extinction Age Of Civilization
Yet sooner or later a new weapon=war radiation takes place and the civilization dies. It is the third horizon; the artistic or baroque horizon of maximum information and creativity [art].The culture looks inwards, as it becomes limited by the new hordes of warriors that soon controls its military and trade system. We are now in the Hellenistic age of tortuous sculpture; when Macedonians and Romans control Greece; the lower Roman Empire when weapons were handled by German warriors, and money by Jewish-Syrians. It is the XV century of Christianity, the baroque Gothic when gunpowder and coins, break the Church’s control over society. It is the Post War Age in England, when the dollar, and the Atomic bomb have substituted the Pound and the Gunboat, and the best of England are its rock stars, painters, and a few writers from a decadent empire.
The 3 ages of art in the main civilizations of history.
We conclude that Lineal art, and epic literature belong to the first age of a culture, that copies and worships weapons and warrior power. Cyclical art and realistic, sensorial literature belongs to the age of traders and cyclical coins. Finally there is a massive explosion of art, humanistic and prophetic literature in the baroque age, when the culture foresees its extinction. When the Barbarians are at the gates. That is our age today. The Human Baroque, when Robots, future Terminators of the entire Human Wor[l]d culture, start their first radiations, and artists become obsessed by death and violence.
In the next graph in a Bell curve parallel to that of the life of any civilization we trace the 3 ages of its art:
In any civilization the 3 ages of birth, reproduction and extinction are reflected in the 3 ages of all arts.
The styles of art, of the previous graph show the life of those cultures through their artistic ages. We talk of the evolution of civilizations and the evolution of art, as a vital process, that goes through 3 ages, whose forms are similar to the ages-forms of any organism.
– The youth of the civilizations creates a lineal, epic art, young, external, full of energy and force, of simplicity, based in the shapes of weapons and energy [all lineal in shape].
In verbal art the word becomes epic. It is the age of poetry and strict law, that young civilizations obey without complaining. Since the law is reinforced by weapons. We talk of a dramatic age of logic thought, as it is the youth of people.
– The age of maturity and reproduction, of realistic=classic art.
Visual art creates an art in balance, without either excess of energy or information. Where both elements of the Universe combine in harmony, as they do in reality. It is therefore the classic, realist age of art, in which often man is the measure of all things.
In verbal art is the mature age of logic words the age of balance between form and content, the realist age of profane literature, the age of philosophy. In theater is the age of tragedy and comedy, when men reach their full destiny within the social tissue.
– Finally the third age of any organism is the age of excess of information, an age of wrinkles and reflection, without energy. It is the age of pessimism and extension when without energy the being collapses and dies.
So it happens in cultures that lack energy and power to defeat the invader hordes of warriors. The art becomes decadent, cynic and extinctive, overwhelmed by the fate of the society. In words, is the age of decadent literature, of prophetic and religious thought, that warns about the moral illness of society. It is the age of satyr, and chaos, of eclectic thought, when the great genius of literature [from Cervantes, to Shakespeare, at the end of renaissance theater] see behind them the entire wave of existence of the culture, and can summarize the vital experience of the civilization.
In art is the age of formal art, of decadent art, of baroque art, full of angst and form.
In the third age or baroque age the culture looses cohesion, menaced by an external enemy with new weapons. In this extinctive age, all forms are tried, and eclectic art of technical virtuosity appears. Yet there is no guidance, goal of future, or immanent ideal to the art. Since the artist, and the prophet, foresee the end of his culture. Today we are in such age; the American, now worldwide, civilization enters the Human baroque, or extinctive, phase of Mankind. Metalmind art, [television, film], foresees the arrival of robot warriors, top predators of man. Social cohesion is lost. Ethics of love no longer communicate naturally human beings, which no longer share their energy and information but are controlled by fear to the ‘germs’ of history, violence and weapons. War is the main theme of artists… as today happens in the American civilization.
Greece, Europe, America.
The languages of information of an organism, as their bodies, do go through the 3 formal ages of species. So happens with verbal art in its epic-legal age, its logic-realist age, and its prophetic-extinctive age. With visual art, in its lineal, realist and forma ages, that belong to the 3 basic ages of classic Theory of Art, the epic, classic and baroque art.
Such is the logic of all living organisms, that spend their energy and die, because ‘energy never dies, it only transforms itself”.
The absolute law of the universe that also applies to art.
Let us consider some basic examples that we can all recognize, the ages of art in Greece, Italy [renaissance] and America.
Greek art is born when the Greek civilization is founded by the first iron infantry that arrives to Greece coming from the Indo-European mines of the Balkan area. Those iron warriors that will destroy Crete, are the founders of Greece.
Accordingly its first art is lineal, simple. Its statues are called Kuroi. They are rigid, full of energy, force and smiling optimism. Its literature is legal and epic. It is the age of Solon and its ‘draconian’ laws, extremely rigid, and of heavy penalties. In fiction is the age of Homer and its great odes to war and heroism.
However the civilization matures, as warriors settle down, and it arrives the classic age of Athens, of Phidias and Praxiteles. Their work is realist, and sensitive. Energy and information is in balance. The art also reproduces all over the Mediterranean and ancient world. It is the age of expansion of the Greek culture. Literature also reaches its height of creative thought, and understanding of social love, and social harmony in the works of Socrates, and Plato. In fiction Sofocles talks about the collective fate of heroes. In architecture, man is the measure of all things, and so buildings like the Parthenon are in balance with human size.
Yet when the civilization of Greek fails to evolve military, it becomes conquered by an external horde of barbarians. First the Macedonian and then the Romans. Art looses freshness, and we witness on one side a return to the simplicity and massive size of warrior art, [Macedonian art, and Roman art]; and on the other side, in those works made by the descendant of classic Greeks, an age of excessive form, and suffering. It is the age of Pathos, the Hellenistic age, of works like the Laoocont.
In literature appears the satyr, and the prophecy of extinction [Demostenes]; while in philosophy Aristotle resumes the entire trajectory of Greek thought, in a comprehensive ‘final will’, whose perfection will not be reached again.
Those 3 same ages take place also in the renascence, both in Italy specialized in visual art, and in Spain, that reaches its artistic summit in verbal thought.
Renaissance starts when Venice conquers Byzantium and rings the gold and gunpowder to the Italian peninsula.
We find again a lineal age of Italian art [School of Venice], that will mature as gunpowder and gold coins extend all over the peninsula. So the Trecento is followed by the classic period of the quattrocento and cinquecento, the age of Leonardo and Michelangelo, when Italy reaches maturity. It is also when renaissance reproduces and expands all over Europe, as it happens with all organisms that reproduce in their classic age.
Yet Italy is destroyed by national armies [France and Spain] better organized or the purpose of war. So Italy enters a baroque age that Michelangelo anticipates in is final Judgment, and Bernini fully expresses on his sculptures and architecture.
If we consider the verbal art of Spain, the other country that fully embodies the renaissance ideals, it is also self-evident, that it goes through the 3 styles. A first age of epic literature, poetry and chronicles of conquistadors, epitomized in the work of Bernal ‘the conquest of New Spain’. We move then to a realist period of classic Spanish literature, that reaches its height in works such as ‘El Lazarillo’ or ‘El Quijote’, a chronicle of the end of the previous period [the age of chivalry], and the account of the reality of XVII C. Spain. Then Spain enters in decadence, defeated by the new culture of northern Europe and its companies of gunboats. The long baroque period of Spanish literature that will last till the final conquest of the nation by Napoleon, starts, in works such as those of Gongora and Quevedo, full of formalism and pessimism:
“I looked at the walls of my nation, Spain; no long ago standing tall; now ruined…”.
Finally if we consider the present culture of America, now the worldwide culture of humanity, based in the evolution of technological art, and minds of metal, we observe also the 3 ages. Considering only the main art of the American civilization, film-making we talk of a young age, full of energy, and simple ideas. It is the age of strict canons, in film-making, the age of idealist, and epic films, the age of Western, that extends till the end of II World war, when the American empire finally has conquered the world at large.
Then it comes the realist age, or classic age of American film making, during the 50s and 60s, started earlier in the prophetic work of Orson Welles [‘citizen kane’, a script that was first called ‘the American’]. It matures in the work of Billy Wilder, and the films of ‘cinema verite’ and social harmony of the 60s.
Yet America enters decadence, as weapons multiply in rowing numbers, and the evolution of technology foresees the arrival of a new species, the weapon-robot, able to extinguish form within the American population in the nearby future.
This age starts as all ages do, with the emblematic work of Mr. Scorsese, and his film Taxi driver, that in the middle of the 70s, foresees the explosion of violent, baroque films, that with terminator and Matrix, advances into the threatening future, that American artists intuitively feel, but as always in history, the arrogance of its political, economical and military castes, dismiss as a mere ‘dream of imaginative artists’.
Yet artists are the prophets of reality.
In literature, America goes also through a first puritan, simple, epic age, of works of little quality that however play the role of praising the American conquest of the West, and the world. It ends a little bit earlier than in film making, with the arrival of the lost generation, which is the classic age of American literature, epitomized in the great works of Dreyser [An American tragedy], Sinclair Lewis [Babbit], and Fitzgerald [The Great Gastby].
The baroque age of American literature, is now in full development.
It often comes from European immigrants, since within the country a growing censorship of thought [political correctness, ‘neo-fascism’] prevents American to fully develop a critical sense of his nation. Today most American writers are no longer concerned with reality society. They have moved inwards into individual analysis of feelings, and self-realization [biography, confessional literature] or treat punctual themes on ‘tribal groups’ [racial literature, gender literature], or work for the industrial sector, creating fictions that do not influence reality.
Those who care still for reality are pessimist, and describe a decaying society [Carver, Dirty realism, Bukowsky, Vonnegut]. It is the American baroque, now expanded to the entire human Earth, in the age of global communication, and global fiction.
Other basic examples: Warrior, trader, baroque ages.
If we consider the political cause of those ages it is evident.
First warriors conquer, and hold supreme power, as they kill at pleasure whoever they do not like. Such simple concepts impoverish the culture, that might had reach heights in the past, but now is simplified, erased, burnt down, brutalized by warriors, whose only obsession is the weapon, and all forms related to their weapons.
In its second phase, the warrior form, enters in contact with traders and cares for the pleasures of this world, that he learns to buy, as he has looted and controlled wealth. As in the case of the written law that internalizes warrior control, diminishing violence, money gives orders without the need of violence. Soon the simple warrior animetal learns to worship that magic substance, gold, that hypnotizes his subjects and eases his ab=use. And complex cyclical forms appear in art to reflect that new God.
Then the style of the animetal culture becomes more balanced and we talk of the classic age of a Warrior culture. It is a mixed age, since there is still a hierarchy of control, and the “Galilean paradox’ is at work: the leader thinks himself the center of the Universe, still obsessed by concepts like death. He wants to be GodoG of his human subjects and survive death. So tombs are important, now with wealth, and portraits of the king. Yet trader forms, palaces and temples co-exist at a grandiose scale. It is the age of portraits in Roman times, the age of Housing, the age of Temples at the service of the Master, more and more terrestrial in his tastes. So happens in Egypt when the God-like pharaohs of the Bronze armies, of the Pyramids, gave way to smaller Mastabas in the VI Dynasty, with motifs of common life, and charming decoration.
The transformation of warrior art into trader, Humanistic art.
is a complex process with 2 basic phases. First the hierarchical power of the king needed in the war age, dilutes, as the army divides within the territory, the people accepts slavery to the warrior, and different captains become aristocrats, little kings of their hills. It is a trend in all empires, from Shang China, to the Middle Age Germanic armies… In the second phase, those individual aristocrats, will learn to use money and create small courts. In this manner the art of the central capital repeats and reproduces into multiple little arts. This draws resources from the central power, which no longer can make huge pyramids. The easy way to keep ‘evolving’ is then to move into decorative art, of lesser cost and great eternal results.
In warrior cultures, size only increases as long as the warrior Master has power for his megalomaniac existence. Which happens when ‘he is at it’, in the art of killing and expanding. Afterwards his power is not so overwhelming. And under him, the second line of animetal aristocrats, and the traders that supply them become more independent. Among the aristocratic lesser pairs, imitation of the God-like king art ensues: temples of lesser Roman patricians, small pyramids of Pharaoh’s courtesans…
The momentum is transferred from the central sun to the small planets, as those go away from the sun…
Status now is also gained by wealth, and the wealthiest traders start to look at their masters almost as equal… They tend to be in the trading border, while the king is in the nucleus of the social organism. Armies also accumulate on that border, while in the center wealth ‘degenerates’ the warrior qualities of the king. So ‘membranes and nuclei’ of the cellular nation diverge. The borders become powerful, might even rebel. The Chin border with contact with the West becomes the new center of power in China, the Germanic border becomes the center of power in Rome, the Macedonian border in Greece, the American border in the first British empire… All this means an expansion of the remains of the culture, diminution in size, differentiation of styles to stress aristocratic independence…
Still an arrogant Galilean point of view, now the king does not want to impress so much the Dog of Death, as the God of Life… He almost forgets that Death is his only power… And when he completely forgets it, in its decadent phase, another inner or external border warrior will be his Dog of death and take over.
It will be the extinctive phase of the culture.
Yet in the classic, second age, that seems a remote possibility, since now the warrior with both metals in his hands, Go[l]d and Swords, has total power over the mass he rules.
So the warrior&trader feeds himself with ego rhetorics provided by artists to avoid his punishment. Laws instead of Holocausts become common; pricing instead of swords make people act. His temples are less and less focused in its absolute selfishness-Galileanism, as ‘pretender’ to a God-like immortality. Now he thinks in common life even after death. He no longer wants only to impress the ‘beyond’, the Universal Game of Existence, of which he believes to be a favorite, even an equal Chosen of God, or God himself. He has tasted earthly pleasures and now he rather enjoys his domain over his subject. Before he merely used as slaves of death in war campaigns and huge tomb building. Now he uses them as servants. He is able to recognize partially that other humans have rights too. He allies himself with the rising classes of the Word (hired prophets) and Gold.
It is the age of epic, rhetoric verbal artists, poets…
He might concede to be only a ‘chosen of Gold’ the supreme being, not God himself. Indeed, warriors are even more arrogant than traders. So Germans called themselves “Goths’ when they appeared in history, which means Gods, while Jewish called themselves Sons of God, because they still wondered about the origin of their Gold power. To the warrior power was clear. He could kill, he was top predator. Nothing above him. For the trader there is an invisible hand. And sometimes a warrior kills him. So he is only son of God. And he needs a vehicle of communication with that invisible hand – the priest. This is an important difference that shows how society is changing to the trader age: Kings suddenly believe in priests, and ask them to intercede, when before they were the higher priests that talked directly to God.
From Rah-Amon-Pharaoh to the caste of priests there is a change in Egypt: Luxor appears. From Moses who talks to God, to the baker Priests of the temple there is a change from war to trade: Solomon appears. The pope crowns the son of Charlemagne who had crowned himself.
Art changes theme, and is not only self-egotistic, but uses symbols of nature, of the supreme Game of Existence.
From the absolute ka of the God-pharaoh, we move to the ka of Ra-Amon. Now the sun is a higher God, and his ‘ka’=soul can also be invoked, and reflected in art. The people of the Wor[l]d cultures under the animetal yoke, are also more free to express their silent opinions. And so it is then when the democratic Osiris, the God of the Living Humans appears too.
The Egyptian art of that example, becomes temple art; the pharaoh-son of God realizes that his power has to be shared, since aristocratic and trader power is now widespread, and if he is very cruel or disciplinary he might face rebellion of his independent troops. So his character no longer thrives in mass repression and killings.
The Go[l]d priests that collect ex-votes and rituals increase power. The coalition between warriors and traders becomes the center piece of the oppression of the people. Till other warriors who have learnt the old master skills, will come to give justice of death to the king who thought to be God, who death raised, and death now fears. God of Dogs, dust of dust, he too, dies by iron.
From trader art to extinction.
In Assur the warrior wave grew in a pivotal geography, in the border of a series of waves [charts, iron, horses] that would make Assur more and more cruel, each times bigger in its form, each times with more ‘artistic’ relief. But then in a decade she falls. And the truth comes: the king God assur-banipal is erased, his glory is nothing. The Greeks did not even know Assur had existed only 200 years latter. How long after robotic armies erase man, courtesy of the Jewish- American civilization, till the last memory of our Times disappears from this planet?
We have considered a few well known European cultures in which the parallelism between ages of political thought and artistic thought is clear.
So happens in the Asian cultures of India and China, which we do not study, since this is an English book, and those cultures are greatly unknown to the western reader.
We could use also such artistic discontinuums to localize the arrival of a new warrior wave of |-metal masters, that erases a previous more complex wave of art. When suddenly art simplifies it means a new horde and discontinuum of weapons has arrived. In central Europe sophisticated ceramics of the copper age recede. Bronze warriors are here. Then Bronze becomes sophisticated and then simplifies again. The Celtic wave of iron has come. Then iron becomes more sophisticated as Romans take over. Then again it simplifies: the Germanic hordes are here. Once more art becomes more complex through the lower middle ages. Then it simplifies again, in all the North. The Gunboat Protestant barbarians have arrived. Then it becomes more complex. Now in the XX C. simplifies again specially in verbal art. We have been invaded by the Barbarian Americans of the Nuclear discontinuum… In between all those ages a massive age of war has erased Europe.
Interpretation of history by cultural remains: the 3 styles of Greece.
Those artistic phases allow in the complex model of art, in an exhaustive encyclopedia, to map out and fill holes of historic interpretation. For example in the cultures of Aryan warriors, the chariot discontinuum ends around 1300 BC. In that date ceramic is still complex with rich decoration. Then as the iron invaders come with the new technology of lineal swords, ceramics become simple with mere lineal incisions. The change has occurred. The new warrior has arrived, the new radiation of weapons has erased human thought. Yet as the new Celtic culture of the iron radiation evolves in times, color and new decoration appears, and a rich work of metal returns. Warriors have settled down; and in a more peaceful environment, O-money imposes cyclical forms.
Thus we can follow the mutation between warrior and trader castes by following their art in warrior societies entering a Trade phase. The classic example is Greek art: The pure Warrior lineal phase [Doric] left way to the balanced ornamental styles [Ionic spirals) finally exploding in in-form-ation with the Corinthian style.
The reverse process also happens when Greek cultures are defeated by warriors:
Think on the change from Greek trader art when Athens ruled to the massive Macedonian and Roman styles when warriors took over.
Ultimately Traders look for decoration, and petit golden forms [jewelry, crafts, furniture]. Whiles warriors look for lineal simplicity and realist validation of their animetal fantasies, in grandiloquent, massive, simple ‘Roman’ styles, and portrait forms.
Shall we scorn all those forms of rhetoric art as useless deformation of the balanced master piece of the free artist? No, because they are still art, human goods, far superior to the production of weapons, and engage people in peaceful pursuit of forms with beauty. Even if such forms of art are not Great Art, Sacred Art, Pure Individualistic Style art, balanced human art. but repeat ad infinitum in parallel Warrior and Trader cultures and societies the same simple designs; they are art. And art is always a human good. All forms of non Digital art are Human Goods, which please the sense of beauty of human senses, that should be promoted, as a positive good on an economical system. Indeed, it is much better to pay a Nazi warrior to craft Dorian statues, that to pay him to make big Guns.
A different problem is the rhetoric word, which is used to corrupt human religion and motivate people into rhetoric war. History knows it, so as time goes by, History forgives Imenothep maker of pyramids, or Karajan, Wagnerian nazi, and despises Aaron and Hitler preacher of Golden calves.
The law of 3 creations: Subspecies.
Geography however determines the degree of specialization of a culture, so we can talk of 3 subspecies according to the universal law of 3 creation:
– We talk of pure warrior cultures, of Spatial timES, when during the 3 ages, the warrior is still fighting. He then will maintain a single style such as is Germany, Iberia or Assur, always at war. Art increases size as the warrior king grows more Galilean till it collapses in ruins, defeated by an invader.
– Yet when the nation settles down in zones with less conflicts, of mixed trader-warrior power, of balanced Ti=Mes, when the warrior will become trader, and eclectic.
– Finally in geographical isolated zones, in the most Trader biased bio-Earth zones the warrior will very soon return to Temporal TImes, to O-cyclical forms [Levant, Greece, England].
The 3 phases in the great warrior civilizations.
Let us now write down schematically the 3 phases of art in the main warrior specialized civilizations written down in our wave graph, that we will in the next paragraph analyze with some visual and verbal examples.
We could qualify the 3 ages as the Warrior age of Art, the Balanced age (Classic Art) and finally the extinctive age of art, or baroque art. Which keep however in warrior specialized cultures, always its obsession for death, size and simplicity:
[epic literature and monumental art, simple, lineal, focused in death and egotism]
I Age: Assur I; Old empire; Bronze discontinuum; [Minimal relief]: death scenes.
II Age : Assur II; Chariot Discontinuum; [Medium Relief].
III Age :Assur III: Iron-cavalry discontinuum: [Max. Relief]: courtesan scenes.
I Age : Old Empire. Prophetic-Pyramidal=|-Triangular forms and Death scenes.
II Age : Middle Empire: classic: maxitemples: daily life; statues.
III Age: Low Empire: ornaments, baroque-‘free’ age; external Greek influence [new metal cycle].
I Age [IX-XIV] Romanic, and “reconquista”: simple furniture, naked tombs and weapons.
II Age: Castilian Gothic, and “Italianate” style [XV-XVII]: classic, with little decoration.
Poetry reaches in its mystique poems [Saint John, Saint Theresa etc.], a purity of natural perception of higher planes of existence, that is the height of Christian poetry.
III Age: Massive Gothic; ‘Plateria”, Ornamental-baroque. Go[l]d temples. Statues of baroque death, and Passion motifs. ‘Semana Santas’. Quixote, Conceptual poetry [Quevedo, Gongora] based in the artifice of the language and form.
I Age: -Final Christian Gothic [extinctive] V Puritan Protestant thought [Luther-Calvin]. The Christian cycle ends for Germany, and the Protestant=Jewish metal master cycle starts. The puritan culture degenerates in a warrior age, that will go throughout the XVI century for most Germany. It will soon become
a classic Age, in bible translations and Durer paintings, and finally degenerate in a III baroque, extinctive Age in the XVII century [30 years, war, baroque music, and literature [Simplicius Simplicissimus; religious literature, etc.]
However the Puritan spirit will be kept in the nations less damaged by the Religious war processes, specially in the East. And there it will start a new cycle, now of national identity and shorter than the previous 800 year cycles.
This new cycle is the Prussian->German civilization that most people identify with the present Germanic culture:
I Age: Prussian warriors: XVIII century. Scientific method and technological books in literature, simple neoclassic, massive buildings in Berlin. Lineal thought in Philosophy.
II Age: XIX century: Iron constructions. Iron Buildings of International Style ever growing in size. Reproductive age of the German culture. Railroad age. German literature and philosophy and science expands worldwide.
III Age: Baroque-extinctive age: Nazism. The final consequences of a technological culture where human rights are inferior to metalrights provokes in the extinctive phase of human verbal thought [radio thought] the dramatic explosion of fascism.
It is important to remember this cycle, since America is in many ways parallel to the German culture in higher measure than the English culture for bio-geographic reasons [a continental Germanic zone, unlike the English Trader island].
External, decorative, creative, cyclical arts, focused in pleasure
We can consider the main difference between a warrior and a trader culture to be, in the ultimate language of power on our pyramid of social order. Warrior cultures even in their age of pleasure, still hold supreme the weapon as their icon, and still are organized by hierarchical pyramids with a human god-like-king on top. On the contrary in pure trader cultures, a ‘democratic’ phenomena appears. An oligarchy of individual traders takes power, and learns that a society does not need a king to work. Money ‘as the invisible hand of God’, that is, as the nervous system of the society, is able to give orders to all the parts of the organic body without the need of central brains. We can compare the trader society to the worms, in which different nervous orders are created in different sections of the body, and yet the body works together harmonically. There is no central brain. Once the first trader societies, that lost their kings, realized of that fact, in Crete, the first clear-cut trader society, paradigm of those who will come latter appeared. At that moment what the trader oligarchy will try to do, is on one hand repress warriors, and use mercenary armies, on the other side of the social pyramid, engage citizens in the society to avoid their rebellion. If those two fact are achieved the trader society becomes humanized, and reaches a great degree of wealth in human goods. This has happened few times, because most often traders need a lot of warriors to defend their wealth, and exploit the people sunk into poverty. In Crete however, isolated in the sea, and with a limited population, and great wealth, in control of metal trade through the Mediterranean this happened. For tat reason Crete became one of the most balanced societies man had ever constructed. On the other extreme in the Jericho-Jersualem-Jewish culture, the massive flows of warriors made the society extremely rigid, almost schizo about security. Great mercenary armies were engaged, and the codes of trader law became rigid, sacred, around banker priest of Go(l)d. Unfortunately our modern trader societies (Holland, Britain, America) have been modeled in their father culture, Israel, not in Crete.
Let us have a look to the 3-ages of art in ‘Bio-geographical’ dominant Tradocracies; in which, even though the cultural beginning is also a lineal warrior state, the predominance of small, decorative, Go[l]d based art arrives very early and lasts much longer till the very end of the culture:
– I Age: Doric-simple warrior age.
– II Age: Classic Greece, Ionic, from Praxiteles to Phidias.
– III Age: Extinctive-baroque age: Corinthian-Hellenistic [extinguished by Imperial Rome which will become a cradle of pure warrior forms].
In as much as Christianism comes from Judaism, the quintessential gold religion (in fact it tries to purify Judaism and make it human again) soon it becomes corrupted by gold, and popes accept money and the Old testament. While war is still consider evil. So soon Christian art becomes ‘trader art’. We talk of the:
Humanistic Age of Eclectic Art: V-VII: Simple meaningful art worried by the content not the form. A personal style has yet to appear, since – as in most true Religions – it is the Oikoumene, the power of the Wor[l]d what it matters to the still pure message of love, without need of artistic rhetoric.
Then war, destroys Christianity, and money corrupts it. We enter the Middle ages, when chivalry warriors become Lords of death, and convert. It is the cycle of the Middle ages, with 3 phases:
– I Age. Simple Romanic art:VIII-IX: God is the warrior panthocrator; under attack of the German Barbarians.
– II Classic Age: Earlier Gothic: Classic perception of God, takes place in simplex lines towards higher planes of existence. Trader influence and prosperity starts. We talk of the classic age of the Christian culture.
– III Age: Ornamental Gothic and baroque. It is the Extinctive age, when Christianity has exploded outwards under external pressure of pricing and gunpowder, and its hired rhetoricians that devolve to the Old testament the Gospelian spirit [Calvin, Luther]. So Christian artists who remain loyal to the Gospel [Latin culture] implode inwards.
The clear perception of God and the morphological property of Information which tends to height (as Energy tends to width), so clear in Gothic art is now lost. God becomes a far away concept under the evidence of gunpowder wars that will extinguish the middle ages.
Such age of gunpowder arrives first to Italy and shapes a short civilization of 3 centuries, which will end with the arrival of Northern Barbarians with gunboats and company-mothers. It is the civilization of the renaissance, probably the summit of human artistic evolution before money and digital science takes over:
Italian Christian Cycle (renascence):
– I Age: Trecento: Venice brings gunpowder weapons and Byzantium Gold.
– II Age: Quatrocento-Cinquecento: Italy reigns supreme, self-confident in man. Human proportions are adopted. Traders pay art in each small city. Italy expands and reproduces that age all over Europe.
III Age Mannerism [XVI] and Baroque (XVII). Italy has lost power to unified metal-nations. Its Christian neoplatonism has lost to Puritan and Inquisitorial churches. Only their artists remember, what it might had been a free human sensorial and religious spirit. They explode inwards, with a touch of pessimism, in Caravaggio, and Bernini.
The perfection of the Southern European verbal culture.
The perfection and balance of the Italian civilization, expanded to the old Roman empire (France, Iberia, Austria) is logic, in as much as there is a balance between a word that dominates money and weapons through the figure of the pope and the sensorial trader of small cities: man as in Greece is in a level of metal complexity (iron and coins) that he still controls.
Metal is not too weak as Bronze is, not too hard as machines; are not to unjust with words as bartering is, in Semitic civilizations, based in verbal cheating in the pre-coin age, not too excessive in quantity as paper money that values all.
The radiation of money and weapons that today have over-saturated the human reality substituting with his values all verbal methods of informative-value (ethics, laws) were in Greece and Italy limited in size and complexity to coins, which besides required an artistic beauty in themselves [coin mintage].
So we say that the human language was neither corrupted by bartering as in Semite cultures based in verbal ‘noise’, and had not been displaced by the massive radiation of paper money, as in Anglo-Saxon cultures, in which words are totally unneeded, since money values it all.
Indeed between the constant chatting and cheating of the Jewish culture, full of myths and corrupted verbal ideas, and the total silence of the American, that hardly knows to talk, controlled by money, there is Southern Europe, the Mediterranean balanced culture, where words could develop freely. Man was at his best because the volume of metal is balanced. And art shows it.
So latter we will see how true literature is born in that region, and how as those old Roman nations enter the culture of paper money, their literary culture dies away. The most sore case is England that moves from The Italian Spirit of Shakespeare, to the puritan writings of Hobbes when company-mothers take over and Calvinism of Go(l)d reigns supreme. From human heroes to human puppets. The Hobbean spirit starts indeed, what most people today consider the English culture, the first culture of Company-mothers, latter studied in more detail, since it is the II Great age of the Jewish-Germanic culture that today in his III Age in America, rules us supreme:
-I Age : XVII Century: Cromwell, Puritan thought, Biblical return to the old testament. Extinction of Renascence, signified by the Proustian knot of Italian theater [Mr. Shakespeare]. Warrior Scottish Calvinists, Piracy, primitive, simple life, throughout England. Holland is the mother-culture. Companies impose power at political level.
II Age:XVIII-XIX century. The final survivors of the pre-Company age [Gentlemen] join forces, and enter the re=productive systems of machines of war [gunboats, industrial r=evolution, railroad wave]. Still they like to have a certain sense of beauty, and imitate the French styles of life, and the Spanish slave system [South USA plantations]. The reproductive age of machines starts with the Industrial revolution. There is an explosion of money [radiation of paper money] and companies.
The period expands worldwide the Companies culture. It is the age of the British Empire, summit of the gunpowder age of North-Europe. Realism is all what art achieves at best. Normally though the artist escapes reality, so ugly, so depressing. The brief Romantic interlude throws artists to Greece [Byron’s death] and Italy [Shelley’s dreams].
Overwhelmed by the system, the artist refuges itself in genres, or becomes dramatic in as much as social literature is forbidden. Industrial distribution prevents any attack against the system, and only individual, dramatic, lesser writing is permitted [Bronte or Dickens, minor writers, so far from the quality of Russian and French writers, of ‘Black and Red’, or “War and Peace’, or “Karamazov Brothers” or “Madame Bovary” the master dual books on the paradox of history of this age, in which the characters fluctuate between social recognition and internal putrefaction, or human redemption and external failure, between human love, and animetal hate and power].
The present oversized industry of English art, has not to hide the fact that English human art ended with Shakespeare and only resurrected in the III Baroque extinctive age with Orwell.. In between rhetoric art of lesser value, never equals the works of continental social Europe.
The concept of lowering the perception of reality of the masses with ‘entertainment art’, the summit of modern rhetoric, starts then with a new tool: mass sports. Soccer is organized the free day of workers, so they do not join in Trade Unions. The concept has been today expanded into colossal proportions with Music, film, and ‘trash culture’ that invades it all. We are free to become idiots.
III Age : extinctive age. Between wars and after II World war, England looses its top predator status to Germany in weapons and America in money [dollar radiation substitutes the Pound after 1928 crash]. Some ‘free spirits’ are then left to dissent. It is the pre-rafaelite style, the ‘Bloomsbury group’, and the post-war punk, pop, and house movements in music, the Picassian paintings of Bacon, and the final eclecticism of present age. England becomes a colony of America with certain ‘touch of class’.
Art enters the age of America, which is no longer human art, in as much as it uses as main support, metal-minds. We will return to this age of epic, metal-mind art, based in the destruction of man (violent films) when studying the age of digital languages, the human baroque.
Conclusion: Animetals deform all elements of the human will.
It is very easy to measure in objective terms the aberration of a metal master culture.
Warriors-male societies have deep aberrations of physical behavior, mystified by their cult to weapons, expressed in huge monuments [as if they could contradict the destructive nature of warriors], and epic literature [to erase the ugliest, trash life of war campaigns]. Traders have deep aberration of mental behavior, mystified by obsolete religions of individualistic nature that ‘kill’ ethic social truths [to hide the constant corruption that making money requires]. We say that warriors emphasize solid buildings, and traders rhetoric religions.
Warriors will maintain past visual artistic forms of max. temporal aberration in external art; and traders will maintain past verbal forms of max. temporal aberration in verbal thought. So the Jewish-American culture has the oldest constitution and the oldest Gold religion texts, and the oldest laws.
In external arts, the animetal aberration of form is easy to spot, according to the specialization of Lineal, physical, simple, energy metal masters in monumental styles very old, and massive in space, of extreme simplicity, such as the I-IV Egyptian dynasties of bronze warriors, or the Doric art, or the Germanic art of the reformation, stuck in the old Gothic, or the fascist art that repeats in great sizes Dorian styles, or the neofascist American-Asian art of big skyscrapers.
The trader though will prefer according to his specialization, complex, small, human-size Go[l]d related buildings and art.
In general the goldiron cultures that use both money and weapons power will have the max. aberration in both human worlds and arts, with very old, extensive and disorganized laws, and obsolete rules of ethic behavior. Historical examples abound. Since the need for aberration of Wor[l]ds and artistic human senses to control the human mass, is clearly understood by animetals, we talk also of restorations of old systems of the World, and old styles of art when animetals end a human civilization, and without imagination seek in past animetal cultures example to build their ‘renewed greatness’.
It is the ‘return theory’ of Vico, that recently was used by the Jewish-Germanic American animetals after the extinction of the 60s Humanistic r=evolution. So the neo-conservatives of Reagan returned to flags, military films, Americana icons, and all the panoply of symbols essayed since Rome invented the eagle, that American armies display in their shields, as the Nazis did…
So the Mongolian invaders who annihilated the Song renascence imposed Confucius again. And the Company-mothers culture who annihilated the Dutch-Erasmist renaissance imposed the Old Testament of Jewish banker priests, again.
And the European animetals who annihilated the French revolution tried to impose the old aristocratic laws. And the American trader oligarchies who annihilated the 1st aborted American revolution imposed again the old British Law, which they pretend to rebel against.
This restoration process of art, of course is hidden by rhetoric of tradition, conservation, and nationalism.
Yet those rhetorics of tradition are obviously never applied to the metal weapons and money. There we talk of evolution and progress, as if it were human progress. So we regress in human culture, but we impose electronic money and atomic bombs…
In metal animetal cultures show an absolute efficiency. Only present or future forms are used. Nobody asked Germany to fight the II World war with the linguistic traditions of the stirrup age, which originated the German culture. Yet those traditions were imposed back by the Nazis. Americans do not guide their Company-mothers of pricing with the accountancy methods of the Dutch-British who invented the first companies; of fight Saddam with the swords that the Jewish used against their Assyrian ancestors. Yet they love tot talk back of Calvinist revivalism, and the Old Testament, and the Jewish traditions in culture, and History and Economics.
The consequences of such temporal and Spatial aberration of Wor[l]ds, Laws, art and culture is self-evident.
The human believer will find a set of rituals and ideas about the human nature, and history which do not explain at all reality. So he will become agnostic, or atheist, since he has a screen of perception that hides the Goodness of the human Wor[l]d, and the Human Universe.
On the other hand he will become fascinated by the evolved weapons, money and metal-minds of science. So he will put all its energy in those evolved languages of pricing and war which are clear progress to him.
And so we find in those cultures of max aberration in Religions, Words, Laws, and art, a max. activity in pricing, science and war, and a max. quantity of agnostics.
Indeed, in polls we find the Jewish=Protestant culture to have the highest number of atheists, because their aberrant religion cannot be rationally accepted as an spiritual, linguistic explanation for the Universe, but it inhibits them with their mass of social conventions and rituals, from believing in Human Gods, and Ethics, or searching in other more evolved religions, logic explanations of History and Holocausts. So they become atheists, and feel ‘victims of history’, as their cultures show only the end of the hate cycles of trader hates warrior who hates trader who hates warrior. With that victimism and partial perception of History they enter again the cycle as a cell of hate, and reinforce the tragedy.
Instead of ethics they believe in the simple realist method of abstract science, and economical growth. They think all religions are myths as their religion is – a myth maintained by their castes of animetals, the banker-priests of Israel and Protestant cultures, that keep the Metalearth productively going.
There are explanations of logic, spiritual nature to any event of the Universe as this book proves. But when you believe in 3.ooo years old prophets to explain the present world; in false postulates of Economics such as the Smith postulate, invented 200 years ago (money is the invisible hand of God, always positive that cannot be argued) or in the abstract myths of science invented 400 years ago (the instruments of science are not metal-senses but they see the absolute reality, mathematics is not just another language, but the only language of truth, etc.) it is very difficult for you to understand reality, truth, mankind, the future, history and the simple game of survival and extinction that guide us all, but the western mythical ways of knowledge ignore.
Who knows them? Obviously the non-fiction verbal artist, of those social cultures that have far less aberration of thought than the Goldiron now Global culture of the Western World.
6: The prophet, scientist of History, anticipates it future cycles.
Let us now argue, a final point of certain importance: the artist-prophet, the highest form of non-fiction art, the scientist of history that foresees in the third age of freedom, when chaos comes to the animetal nation, the end of civilizations. That age is the best age in art, specially in verbal art for several reasons:
– Freedom as the animetal elite worries for more important matters such as save his life.
– Knowledge, accumulated during the other 3 ages.
– And the hyper abundance of information which makes the artist a scientist of history.
The prophet, the artist as a seer of Time.
All those facts together creates the non-fiction prophet, or the philosophical master, or the literary genius, the Christ of Judaism, the Aristotle of Greece, the Shakespeare of the European renaissance.
This books inscribes in that tendency – the last age of European culture, or Human culture, as robots and computers take over… Its value is part of the value of my culture, the human southern culture of Europe, agonizing in death, tortured by the idiocy of American Jewish-Germanic animetal art.
Since the artist even the rhetoric artist is only a neuron of a culture, of a civilization…
So he will reflect his ages and take different spiritual approaches: optimist in the foundational epic age, realist in the mature-reproductive age of the culture, and finally extinctive, and nostalgic, pro-human, no longer optimist in the future of metal, in the 3rd phase of the culture, when external metal or internal corruption brings the civilization to a foretold closure.
In this final age the overall view of the culture can be completed.
Today again as the Metal-Earth programs all animetals in devolving Computer+ TV digital thought, some real artists escape the trap and see through the mist of digital art, money and vanity, what is happening to man.
So some punctual masterpieces of prophetic art are still produced specially in Southern Europe since the beginning of the XX century, when the world wars extinguished our culture, the zenith of the western tradition.
We talk of Proustian writers, converted from the optimist animetal XIX century to the XX century extinctive age, mainly of the European social school. Proust and Marx are such example: from Jewish families, converted to Christianism, rejected animetal ideals, and became social, pleasure-seeking. Proust became in this manner the master of individual sensorial search, and Marx the master of social consciousness. Both rejected pure fiction. Proust’s work is a biography of the individual artist. Marx work is the tragedy of the Paradox of History, the fight between animetals and human beings, in a planetary choral that developed the last human social religion, bastardized by warriors like Stalin into a dictatorship of weapons.
Still the prophetic value of their work, as they foresee the extinction of individual sensorial artists and the animetal upper castes (not unfortunately it seems because socialism will arrive, but because computers will arrive) is clear. We have dealt with their work and corrected it in other books, in what we call the Marx-Smith Paradox:
“The evolution of Capital and Machines [∆MV=∆TP] will expel all labor=humanity and the proletariat will create Utopia [Marxist truth] or become extinct [Darwinian truth].”
Marx foresaw the end of human labor. What he could not foresee because there were no computers at hand was the Darwinian truth in italic, the extinction of man.
Non-fiction verbal artists of the baroque age of a culture are indeed, prophets, whose accuracy is relative to the quantity of date they handle.
Yet in those 3rd ages, their knowledge of art and their civilization is maximum, so very often their prophecies are correct in their basic lines. Today European art and sensorial intelligence is in shambles. It is a ‘memory past’. Today a world proletariat has no jobs and lives in misery.
This book belongs to those series. We might not know exactly how robots will extinguish man, but we know that if animetals do not forbid them, with death penalties to those who evolve robotics, we will die this century. The details do not matter, as the details of the massive unemployment waves and wars to kill unemployed (II World war caused by the 29 crash) that Marx prophesied are not that important.
Animetals stress those errors to cloud the truthness of non-fiction verbal artist: they are the scientists of history, those who see clear, the future, not like animetals who worship weapons and gold and cannot deny them even when they kill them in Holocaust and war cycles Gold-iron causes.
Because the discontinuums of extinction and creation, are marked by ‘artistic genius’ who end and begin at the same times a culture within a single work, a book on the paradox of History that explains those false dreams, and spells a final hope of cultural renaissance, that animetals will once more choke, ignoring prophetic artists, the seers of time, the scientists of history.
Since the Wor[l]d has no power to change the arrogance of animetals, the failure of those books on the paradox of history does not change the rhythm of History and the prophecies fulfill themselves.
Proust himself would say: “Man does not learn of the errors of history, so those tragedies repeat themselves’.
Not a single prophet of the cycle of Holocausts the Jewish animetals with his greed and weapons trade, cause was listened. Many were killed. So all Jewish animetals entered recurrent holocausts. Only those who listened the prophets survived. Only those who became Christians survived the Roman holocaust against the banker priests of Jerusalem. Only those who became communist in Russia, survived the Nazi Holocaust against the baker priest of Germany. Only those who believe in bio-economics will survive the XXI century holocaust of all humanity against the banker-priests of wall street, now in the making.
Yet animetals are spatial beings who cannot understand the future. So in the height of their power, just before the catastrophe which always explodes suddenly as a Nova, happen, see those who want to save them from their own self-inflicted tragedies and wars, as enemies, and prefer to kill them, killing their ethic consciousness, and condemning themselves. So Christ was killed, and Moses sent to the mountain.
Those prophetic books are the master works of human perception; his value as reflections of a balanced intelligence able to probe into the future, is infinite from the Human Point of view.
If men listened, History could be saved. There is bigger value than that? The Immortality of Man?.
A prophetic book is dual: the reflection of the human hopes of the mind of an artist= prophet and the warning against the animetal anti prophets of extinction. They show the true path of history, and the consequences of not following that path. A prophetic book is thus a masterpiece reflection of the entire Organism of History and economics, of the paradox of History:
Max metal evolution = Max. human extinction.
Since the age of the I ching and the Genesis, prophetic books of History have explained to man the truthness of his form. Yet man did not listen, and so room for maneuver becomes thinner. While prophetic books loose optimism with each generation of new prophets.
Writers are not human bodies but mental neurons, forms of languages. Their life does not matter. Their prophetic books do. They belong to certain minds without ego, without animetal fantasies, which understand the end and the beginning, the laws of creation, the biologic laws of reality.
The contradiction between the poor, wretched prophet without ego, that is a clear, transparent glass to those laws, and the vanity writer of the saloon has always been striking. The poverty of Socrates, of Rousseau, or Camus, in open contrast with the vanity of the Greek priests, of Voltaire, investing all his fortune in slave trade, of Sartre, that did not come out to the window of the 68 revolution. The poverty of Christ, mental son of Moses, Vs the wealth of Caifas, genetic son of Aaron, says it all. The poverty of Marx, whose daughters die of hunger, Vs the wealth of Ricardo, who made a fortune in stocks says it all. The prophet, the non-fiction master is a mind. He sees not material things, but the laws of change, the laws of time. As I write for the tenth year, on the extinction of man, never heard, scorned by all the economists of this planet, without money, while they have banks, and ministries, fortunes and private planes, I know why, I become even more humble. Because what is the worth of my work, when mankind, the mind to which my neuron belongs, isolates his best neurons, and listens not to them, but only sees the glare of gold in the external world, the eyes that cheat him.
Yet in the darkness of poverty the prophet knows, and suffers, and yet he cannot be tempted, because he has something the rhetoric artist will never have: He knows the laws of GodoGs.
Plato, just before the Northern Macedonians would end classic Greece is Proustian writer in contact with those laws. So it is Picasso end of human art as he decomposes the human figure before I, and II World war destroy Europe.
The warning of the Jewish prophets: the sins of animetals.
So it is the greatest of all prophetic books, dual reflections of the paradox of History: the wor[l]d of John, himself reflection of perhaps the purest form of a Human verbal Gods, Christ who did not write to let the flow of living thought happen.
He, John starts in his dual book with hope: ‘and logos=The Laws of God, became Wor[l]ds [the Holy spirit] and inhabited among us [in the mind of Christ’. He John ends Apocalypse, with a single word: Amen. Because if Animetal-men do not become only Men, the A-pocalypse would come.
True evolutionary artists=prophets are messengers of the concept of social love, and warn against the concept of tribal hate. They are self-evident. Most people who are pieces of language with less power of Universal perception than the oversized pieces of languages of Human Prophets realize immediately when reading a true prophet and his truths. Anyone who reads the Gospel likes it. He might deny that Jesus is a God of man, or be pre-programmed by a rival religion to hate the Gospel. But I still have to find a man of good faith who does not like the Gospel or the Genesis, or the Koran. Anyone who sees a Michelangelo painting knows the beauty of his prophetic perception of clonic man in pictorial space. He projects a form in harmony; the man that lives in a region of History, the coin age of Greece II horizon [Renaissance], where balance of metal-forms and human languages was perhaps as its highest. And so he is also a prophet=artist who shows you the path of harmony.
Paying rhetoricians ease consciousness of animetals.
Yet even if you see a Goya’s painting, who talks about the deformation of man by metal war and death, you will still see an artist=prophet who is opening you up the other side – the evilness of the Universe of war languages alien to man – to make you aware that you need to protect yourself against those erroneous metal paths. Such prophets are specially disliked; since men who have abandoned the Wor[l]d, have to deny their betrayal of the self of man, to maintain a certain stability of his forms of existence. And those prophets open to them the true, deformed nature of their existence beyond their metal vanity. Instead those who have abandoned the Wor[l]d prefer rhetoricians that exalt their ‘metal beauty’: Hollywood Top Gun movies and CNN wars, instead of Goyas or pictures of burnt child-soldiers and dismembered pieces of man. We thus talk also of prophets of eviL who rhetorize the extinction of man with fantasies of metal power. They are corrupted artists by pricing or warrior coercion. And looking through history of art, one sees unfortunately many of them, almost all artists in cultures ruled by cops, and warrior tyrannies.
Visual prophets of less informative power also exist.
There are different varieties of human languages and hence artists of lesser or higher power:
We move from biological languages that all men understand, in the prophecies of the non-fiction artists of the Wor[l]d, essence of Human thought, to the simpler prophetic, romantic Musicians of treble Vs bass games and easy poetry. In that sense prophets as languages have a hierarchy of power.
Mr. Lennon and Imagine is a minor prophet because Music is much simpler than pure words. Yet he is a prophet because he knows Love is the message and war death. Schiele is a prophet of the Holocaust, yet he is more difficult to understand since he paints, instead of telling you the future with wor[l]ds.
Also genres have different quality from non-fiction to individualistic drama, of lesser intellectual and logic density.
Kafka is a prophet of the extinction of man’s feelings by the industrial revolution, and so it is Dickens – yet Dickens is a lesser prophet since he does not use logic or symbolic thought to raise beyond the single tragedy as Kafka does, but dramatic thought, who stresses the individual instead of the true systemic evil of hierarchical and economical systems that control reality
So it turns out that animetal cultures promote systematically as a lesser evil all cultural forms of lesser prophetic power. This is mainly caused by the systematic repression by companies reproducers of metal-machines of information (press, radio, Televisions and internet companies), of all literary forms with emphasis in systems, specially economic systems. Indeed, the final God, the black hole of ecosystemic power, the reproducer of money is sacred. Stocks and stockrats, which regulate our societies by controlling the invention of money, and hence creating waves of priced behavior, are sacred. Their function is ignored by human slaves, who might otherwise rebel against their brutal treatment of mankind as objects Thus the paradox of those ‘seemingly free’ nations at individual level, is that their inhabitants are totally programmed by money at collective level, and they have no control over that money.
For example America where all wish money is of all western world, the country where people knows less about real economics, and the role of stocks and company-mothers in the design of reality.
All systemic forms of thought are forbidden. The myth is to make belief the American that he is free, individual, unconnected to the great organism of the American economy that directs him with the invisible hand of prices. The leadership of stockrats, themselves programmed by infantile gold religions, historic victimism, and fear of all other men, are in charge of building that mass of noisy information and false myths. Thus in those countries they rule social or cyclical history, economics, complex documentary or social novel, or biologic analysis of reality, and religions based in love=max. communication= charity, are censored, without credit. While all emphasis is in the creation of the myth of the individual, competitive, selfish human, in search of ‘freed’=freedom of greed, as the true cause of reality. In this manner a mass of childish, dramatic, selfish citizens can be ordered by Company-mothers and marketing, merely by releasing them little green notes, that transform them immediately into consumers=testers and workers=reproducers of metal forms, with max. energy release and minimal human content on the acts they perform.
7. Youth of History. Age of Bronze and Wor[l]ds.
We can now return to the study of the 3 ages of History and the 7 cycles of civilizations each of them, divided by our 3 sub-ages, that have structured the cultures of ‘metal-history’, of civilizations dominated by animetals, in which in certain moments human prophets and human artists have been able to express their messages, despite the fog of rhetoric art massively produced with the credit of animetal castes…
We talk of 3 great historic ages, the youth of history when words dominate over money still unknown (bartering was the main system of trade), and weapons were simple, mainly bronze swords. Accordingly is the age of wor(l)ds, the earlier Neolithic age when most people lived in agricultural societies.
Then as money evolved into coins, digital languages appear in Greece were coins where invented. And swords also evolve into iron forms. It is the classic age of History, since men also evolved intellectually and upgraded tribal religions of the Semite, bronze age, into oikoumene religions (Islam, Buddhism, Christianism). And so History and art reached its height.
Unfortunately the arrival of paper-money, the press, gunpowder, machines, science, and company-mothers, would definitive tilt history against man, in favor of metal-evolution, in the third age of History in which we live…
Each of those great ages, is divided itself in smaller 800 year cycles, as new hordes invent with those materials new weapons. So we have an age of bronze swords and an age of bronze chariots in the youth of metal-history:
Youth of Metal-History
The arrival of bronze weapons allows military castes to control for the first time in history huge numbers of people, that fear the massive deaths that the new weapons might cause. It is the beginning of organized empires, that displace the mild, paradise-like life of the Neolithic villagers, focused in nature, and the human senses [age of Goddesses, and fertility cults, Myth of the Genesis and the tree of technology].
The age of bronze has two clear cycles, caused by the discovery of the two basic weapon systems of the age, the lineal bronze [swords], and the cyclical bronze [bronze chariots]. As in all the cycles of History when those weapons are discovered and reproduced in massive numbers, they bring an ‘interregnum’ of world wide wars, a ‘dark eyes’, around -3000 BC, and – 2000 BC. After those ages, the classic empires of those civilizations are born:
The Age Of Bronze Infantry. Main Civilizations:
In the Fertile crescent where the Age of Bronze reaches its apogee, it is easy to find the 3 subspecies of cultures, mentioned above, in this age:
-MESOPOTAMIA is war dominant in a zone of warrior flux, surrounded by mountains.
– EGYPT is art dominant isolated and rich in human goods thanks to the Nile.
– While LEVANT and CRETE becomes money dominant trading through the Mediterranean. Levant is the knot of communication between Egypt and Mesopotamia, and Crete controls sea trade. There the Jewish Goldiron civilization will be born…
The culture of Egypt where it seems bronze was discovered, South of the Nile from where the first unifying emperors come, is dominant during the first age of swords of bronze, with 3 well researched ages, that expand enormously in time, due to the isolation of the country.
The continuity of Egypt proves that without the interference of animetal hordes a civilization can become stable, can last eternally in times. In that sense Egypt is unique. Isolated by the desert, and born from within, their animetal castes will soon around the fifth dynasty humanize enough to make of art, and religion (even in their rhetoric forms) the center of the civilization. For that reason we still admire his deeds, more than those of Mesopotamia, the Semite civilization of war. Egypt is the first human paradise, in a culture that lasts almost 3000 years, 3 sub cycles of war waves, that Egypt absorbs. First Egyptians themselves create the bronze infantry armies that unify the emperor, and reach the height of military arrogance with pyramids. Then the chariot will come from foreign hordes, (the hyscos) but soon the Egyptians learnt how to make chariots and conquer back the country entering the mature age. Finally in the iron age, the become preyed by external civilizations and enter their decadence.
Let us show those 3 ages both in verbal and visual art, with some artistic remains. You can easily recognize the parallelism of form and verbal content between those 3 ages of the Egyptian culture and the generic morphological, and ethic characteristics of the 3 ages of an organism, that we have termed for a human historic organism, a civilization, the warrior, lineal youth, the trader, classic, mature age, and the baroque, prophetic age before the extinction of the civilization:
Ages and war cycles:
I Age: ±III millennium II Age: ±II Mill. III Age: ±I Millennium
±2800: Bronze Swords ±2000: Chariots ±1200: Iron Hordes
I age: Lineal, Warrior II Age: Realist, Trader III Age: Formal, baroque.
Youth=Energy Maturity Old Age=Information
Old Empire, Middle, New Empires Foreign Empires
Portrait: Mikerinos 2548 BC Akhenaton, 1379 BC Nero 49 AD
I Age: Epic, Arrogant: II Age: Sensorial, Logic: III Age: Baroque, extinctive:
I Mikerinos It was a good land. “Yesterday is gone.
son of Ra-Amon Figs were in it, and grapes. There is not today.”
Lord of the World… It had more wine than water.
Plentiful was its honey.
Every fruit on its trees.
Pharaoh Statue Sinuhe, the Egyptian The book of death
Inscription, ±2600 Bc ±2000 Bc ±1200 Bc
The epic age, is called the Old and middle Kingdom. It lasts till the first conquest of the country by a foreign power: the Hycsos charioteers.
In this age it predominates the lineal, epic, warrior, young art, whose paradigm are the pyramids, and the hieratic portraits of pharaohs, as Gods [“The Mikerinos Group”].
After the Egyptians conquer back the country and expel the invaders, there is a brief period of classic, realist art, epitomized in the figure of Akhenaton [Portrait of Akhenaton].
The arrogant, epic literature of warriors-like-Gods, becomes mundane; and the ‘Energy God’ of the Earth, the Sun, substitutes the pharaoh. However this age is short-lived, because the independence of Egypt lasts only a few centuries. Soon, Assyrians, Persians, Greeks and Romans, invade and control the nation. Artists thereafter move into the two basic directions of art, in the baroque age, inwards, or outwards in an eclectic decadent age, sold to the invaders [portrait of Nero].
General rules to understand History of art through its remains.
In the previous texts and art remains of civilizations as in those who will come latter, we have to distinguish several elements that describe any organism of history through its artistic remains.
– The general age of History to which the civilization belongs. Either its youth, when the ecosystem of metal was underdeveloped, its maturity when there was a balance between economic and cultural ecosystems, or the old age of history, today, when the economic ecosystem controls and suffocates the artistic, verbal, legal, ethic ecosystem, and money and science [digital information] provides most of the information of our society.
– We have also to differentiate within one of those 3 ages, the state of evolution of the 3 languages of social power, weapons, money and art, in the society.
Of those 3 languages, the critical one for the life of the society is the type of weapons the society uses. Since the extinction of societies takes place by war, as weapons evolve, they wipe out entire civilizations, and so we can chronologically place any civilization within two ages of ‘war’ caused by the evolution and massive reproduction of new weapons.
– Then within that age of weapons, we can differentiate the different civilizations according to the dominant caste of power, either as a war dominant culture [controlled by warriors], an world dominant culture [that worships religion, human goods, and art], and a money dominant culture [controlled by monetary information that values all things in society].
At that point we have determined clearly a given ‘species’ of civilization, which will be similar to any other civilization that displays the same character.
So in the previous photos and the next ones, we have considered civilizations that existed in the age of bronze weapons. In the western world there were 3 basic areas of civilization, corresponding to civilizations specialized in money [Levantine cultures, such as the Jewish or Cretan, or Phoenician cultures, since Levant was the knot of communication between Asia, the Mediterranean, the Nile and Mesopotamia, hence specialized in trade]; civilizations specialized in war [Mesopotamic cultures, surrounded by warrior, mountain tribes], and civilizations specialized in art [Egypt, isolated from warfare and trading routes, to a degree that allowed the civilization to flourish at artistic and religious level.]
So Egypt for example is a civilization of the youth of history, that matured in the age of bronze weapons [swords, chariots], that specialized in wor[l]d culture [religion, architecture, agricultural and human goods], and was extinguished by specialized warrior civilizations, when iron substituted bronze as the strongest weapons [Assyrians, Persians, Macedonians, Greeks, and Roman invaders].
Those hordes of warriors that invaded periodically Egypt, destroying the civilization, set the chronology of the Youth, maturity and decadence of the Egyptian civilization.
We could talk of ‘crisis’ in the life of the organism of Egypt, caused by massive invasions of warrior hordes, that changed the civilization, till finally extinguishing it.
Warriors came in 3 great waves: a first wave of bronze infantry coming from the South [where bronze was mass produced around 3000 BC], massacred Neolithic villagers, till finally unifying Egypt under a single warrior leader, the pharaoh. It was the youth of Egypt, the old empire. We show how the warrior caste imposed lineal art, and arrogant epic literature, to the Neolithic villagers of the ‘infancy’ of Egypt. Then it came a second wave of chariot warriors, from Syria [Hicksos], that controlled Egypt for II centuries, destroying the epic youth of native Pharaohs. Then Egyptians learnt to use chariots and counter-attacked, expelling the [Hicksos>Hebrews], and restarting the civilization. It is the classic age of Egypt. Pharaohs have not longer total power, priests are also powerful, since they were the great organizers of the Egyptian people that defeated the invaders. The mentality of pharaohs change. They become Earthly, and care more for their people. Osiris, the God of the people grows in power. People can also ‘aspire’ to a life after death. Pharaoh tombs are smaller. The age of huge pyramids to pharaoh-Gods of unlimited arrogance is no more. Yet Egypt cannot survive isolated, against the growing waves of more evolved weapons coming from Asia and Europe. So as the iron age of iron swords grows, hordes of iron warriors menace Egypt. First Hittites, then people of the sea, attack with iron swords Egypt. It is the beginning of the III Age of Egypt. Its artists know that is only a question of time, that the barbarians will annihilate the land of plenty, its honey, grapes and fruits, its sensorial pleasures. Indeed, the Assyrians first, then the Persians and the Greeks and romans, do conquer Egypt. Finally the Jewish-Christians impose their culture, of sensorial repression, and Egypt dies, extinguished. It is around the III century, when Christian priests and Roman soldiers mutilate all the statutes of the God Amon, the ‘God-Creator’, which according to the Egyptian religion, reproduces the Universe constantly. As in Neolithic china, where the principle of fertility and communication between women and men, between informative and energy species, between yin and yang, is the cause of the Universe; the Egyptians thought the principle of pleasure, orgasm and reproduction was the creative cause of the Universe. They were actually right, since we know reality comes from the constant transformation of energy into information. That was a complex concept for a warrior-trader based civilization such as the Roman-Christian civilization, that repressed human senses., So if you visit today Egypt you will see that all its statues, have a hole in front of the hips of Amon. Roman-Christians had mutilated the ‘erect penis’, symbol of Amon, God of Egypt. Once the Gods [verbal networks of thought] of a civilization have died, the civilization is deceased. So Egypt dies. Since the ‘yesterday of Egypt is gone’, and there is no longer today, for Ra-Amon, Lord of the Universal Orgasm.
You can follow those 3 ages, and the 3 styles of art, they imposed, in the photographs and texts: First a warrior pharaoh, Mikerinos, pretending to be God; then the age of artistic freedom epitomized Akhenaton and the priests of Amon, that dethroned him, and promoted human goods, and sensorial pleasures. Finally when Egypt became a colony exploited for tax purposes, during the age of foreign empires, monetary corruption ruled the nations. Art become prophetic, extinctive, formal, decadent.
Those 3 ages, will take place once and again in all cultures, and yet a few of them, as Egypt did, will manage to exist most of his time in the age of Wor[l]ds. They are the classic cultures of mankind, the apogee of human history: the chines culture, in the far east civilization, the Southern Islands, of Ceylon and Java, in the Indian civilization, Egypt in the Middle East civilization, Italy in the European civilization, and the Mayan peninsula in the American civilization. All of them had a geographical advantage that allowed human goods, and worlds to flourish: they were either peninsulas, or islands, or as in the case of China, civilizations so extended that could absorb the shock wave of warriors and traders, with mercenary armies, and resurrect, their love for human goods. Their artistic styles remained unchanged for centuries, even millennia, and returned to their origins. This today might be considered under ideologies of metal-progress a defect. Yet within the laws of survival of the Universe, it proves they had mastered the true wisdom of Universal species: survival, lasting times.
They had also achieved amazing rates of human density in population, because without weapons and corruption by money, their people were able to live together in harmony.
They are the true successful cultures of History. If we compare for example the life of China, and contemporary money-specialized Levantine culture [Phoenicia, Israel], we realize, that Chinese are today 1.2 billion, and never left their country. Phoenicia however was extinguished, by Assyrians and Romans, that wanted its money and gold. While Judaism, has been periodically extinguished by warriors that wanted its wealth, and today represents 1/100th of the Chinese population.
If we compare the Latin culture [Italy, France, Iberia], and the Germanic empire, we realize that Germans are still isolated in central Europe, despite discovering most of the weapons of history [mass production of iron swords in Austria, around 1200 BC, mass production of chariots in Ukraine around 2000 BC, mass production of gunpowder in XII century, discovery of main weapons of modern age]. People feared so much their lineal, warrior, death-prone culture that once and again, all nations, have join forces to prevent the expansion of a total war-civilization. The much more compromising British, and Iberians, had succeed far more in reproducing their cultures worldwide, despite having less weapons, because they accepted the existence of the ‘others’, they ruled, because they were more humane.
The obvious conclusion is that civilizations based in racial myths whose support is only the power of weapons [German, Japanese cultures], or the power of money [Protestant, Judaism, Phoenician cultures], on the long term fared worse, because they are less evolved human societies, that those which accept human reason and art in a higher degree [Britain, Latin Europe, China]. Unfortunately today, we belong to the American, now worldwide civilization, that worships money and weapons, based in Jewish-Protestant, and Germanic primitive traditions, that made of gold and iron, the center of their culture. As we will see when studying the present civilization, the outcome of such wrong approach to history will very likely be as in the past, in those civilizations, a new age of war, and human suffering.
With a good book on classic art, you can follow now any culture of history in any age or zone of the Earth, and understand it organically. Let us do that now with the rival great culture of the Bronze age, Mesopotamia.
Mesopotamia: Age of Charioteers.
In the next great historic cycle, military power moves from Egypt to Mesopotamia, surrounded by hostile, mountainous warrior hordes, that repeatedly invade the fertile rivers. In this manner Mesopotamia becomes a warrior dominant culture, soon in the hands of Semites and Indo-Europeans which invent the next discontinuum of war: the bronze chariot. Lineal weapons (swords) now evolve into cyclical forms (wheels of chariots) and an entire Industrial system of production of war chariots specializes northern Mesopotamia, Assur, in the war industry, creating the first maxi-lineal culture, in which liens, weapons, arrogance, death are the essence of Semite life. Anti-semitism is probably born then, as a natural reaction against the abuse of power of the first goldiron cultures. Soon those Semites divide in trader dominant Levant, and lower Mesopotamia, and warrior dominant, Northern Mesopotamia…
The Indo-Europeans discover the war chariot and invade the north of Mesopotamia, where they will fusion with Semite tribes, giving birth to several empires, of which the long-lasting dominant one will be Assyria. In all those empires the new warrior aristocracy makes of the chariot, his icon-weapon. Kings are buried with chariots and horses, chariots appear in all artistic representations. The entire society becomes a machine of war, fully dedicated to the industrial reproduction of chariot weapons.
Assur epitomizes the epic age of war, and its art images are in all its periods, lineal, full of energy and violence.
Yet we can distinguish in the 3 cycles of North-Mesopotamic art [Old, middle and new empires] the subtle changes from lineal art [Portrait of Sargon of Akkad, the first great Mesopotamic empire], to realist art [Assurnassirpal on his chariot] , to baroque art, in the last century of the Assyrian empire, when the Persians, with better iron infantry and cavalry weapons, conquer the nation [the wounded lioness]:
Akkadian, Assyrian, Warrior dominant Culture
Ages and war cycles:
I age: Lineal, Warrior II Age: Realist, Trader III Age: Formal, baroque.
Youth=Energy Maturity Old Age=Information
Old Empire, Middle Empire New Empire
Sargon 2500 Bc Assurnasirpal II 883 Bc Wounded Lioness, 650 Bc
I Age: Epic, Arrogant: II Age: Sensorial, Logic: III Age: Baroque, extinctive:
When all was conquered, 2oo kings “Do not eat of the tree of science
Sargon, king of the 4 corners obey the power of Assur of its good and evil fruits
of the Universe, cleaned his they bring gold, and wheat because the day you do, you will die”
sword on the red river, silver and clothes
tainted with the blood slaves and servants… Fall of Ur, End of Sword cycle
of his enemies. Genesis, ±1800 BC.
Chronicle of Sargon, Assurnassipal, Chronicle “The Assyrian shall fall by a sword,
±2500 BC IX C BC and his young men put to forced labor”
Isaiah 725; End of chariot Cycle
Verbal art: Baroque age: the great prophets of the VI C. BC.
The last of those texts belongs to an external prophet, to the mesopotamic culture, that prophesied the end of the cycle. As the end of the bronze age came into being, the huge historic cataclysm that both iron weapons and coins represented to mankind was prophesied in all the zones of the planet, by different visionary prophets, that are still today considered the highest minds of mankind. This is logic, since ever since money came into being in the form of coins, verbal wor(l)ds started to degenerate, so they loose in a great deal their prophetic capacity. Hence the existence of Buddha, Plato, Lao-Tse, and Isaiah in that border zone between the age of Wor(l)ds and the age of coins…
In verbal art, the youth of history is an age of ‘truth’, in the sense that words are the only system of communication of human thought. Words measure time, and neither mathematics, nor money have developed enough to substitute the natural language of the human mind. This fact is fundamental to understand why words are sacred, and both in religious thought as in civil thought, people who ‘write words’, are sacred people. So often the emperors end up his speeches, with the words ‘It is truth, it shall be written’, and priests say ‘word of God’. The sacredness of human words and their subjective vision of reality, in defense of the human species declines as the new language of the mind, the mathematical money, and its physical expression, money, appear in history. The importance of such linguistic change is fundamental to understand both the styles of verbal thought, and the evolution of history. It took place with the arrival of coins in the Anatolian Greek peninsula. In all organisms, the network of information is the fundamental network. All organisms have only a network of information – the nervous system of the organism. So happened to earlier human history. Yet when mathematics and money proved able to give informative orders, and values to reality, words entered an age of decadence. It would be the baroque age of sacred wor[l]ds, as the arrival of ‘metal-eyes’, photographic cameras will mean the baroque age of visual painting. Verbal artists, and verbal prophets will have to go beyond reality, to explain with words levels of perception that the realistic values of money, could not achieve. So it would happen to XIX century painters. Such is the most likely reason that explains the explosion of imagination in verbal thought, unparalleled in history that took place within the VI and I century before Christ, between Buddha and Jesus-Christ…
Lao-tse, Confucius, Buddha, Plato, Aristotle, Christ, John, and other Jewish Prophets culminate the age of Wor[l]ds…
The Great masters of analogic thought.
The arrival of a series of Great prophets around the 500 BC [Lao, Kung-Tse, Buddha, Pythagoras, Socrates] perhaps as a contra-reaction to the loss of power of verbal thought to digital money [discovery of coins, ±600 BC], which further programmed humans into metal wantings, originated the far more complex forms of analogic thought. Those prophets instead of believing simple logic as latter Aristotle did, tried to open the far more complex field of analogical perception to mankind, in perhaps the highest moment of Human thought. Yet a prophet can’t never communicate the absolute form of his mind. And hence unless he is understood and further evolved and adapted to new social conditions by new believers, its teaching become devolved, simplified and finally fixed in dogmas, rituals and churches of thought. This is what has happened today thousands of years latter with the teachings of Taoism, Confucianism, Buddhism, and western logic, which resembles very little the initial heights of thought of those prophets.
Coins degrade analogic thought. The human baroque.
Parallel to Plato in Greece, before animetals degraded that Indian summer of the Human mind, around the 500BC, Buddha in India, and Lao-Tse in China understood also, the laws of social love (analogy of all human beings) and the sentient Universe (analogy of yin-yang duality in all the beings of the Universe). Confucius said that the Jen age, the age of Neolithic harmony and love was about to die, as the times of coins arrived, and set himself to write down the basic thoughts of that age of love. Yet animetals had found coins, also an analogic, digital form that equaled all men and objects to gold (man=price=Object), and as money multiplied, men were made objects (slaves, workers) and those who invented money (traders) considered themselves unique, and created Gold religions that soon would repress Human thought based in love (Protestant cults, Judaism, Economical nationalisms). The coin brought the biggest rhetoric booster for Gold religions and money makers till the arrival of stocks. And the eye was again hypnotized. The coin that invented Greece was parallel to Socrates – the two sides of the paradox of History… The ethics of money, that made the animetal who invented or possessed money a superior being, and the ethics of the analogic man, who considered all men equal by the power of social communication, of love.
Unfortunately instead of our analogic prophets (Socrates, Plato, Jesus, Paul, Mhmd, Marx in the western tradition), it would be the coin, what progressed into the language of absolute power. Latter, in the gunpowder age, new weapons of death appeared, and love prophets became mere idealists, on view of the enormous power of evil. Soon Stalin would say: “How many tanks has the Pope” and resume the simple philosophy of the animetal…
We can justly say that the arrival of coins ended the golden age of verbal thought, far more than the legalist, written thought had.
Latter we will see that in the age of extinction of a great culture the biggest prophets appear. And we can justly consider those prophets of the 500 BC. the baroque masters of the Neolithic, of the age of Jen, of the age of love.
Coins also limited our understanding of social numbers, of the magic relationships that certain numbers-groups have (2 people, which means reproduction, etc.).
In formal mathematics Pythagoras was soon forgotten, and so the magic language of formal numbers died with him [though in China with a longer tradition, dragged in magic rituals till today.]
How could we resume the meaning of analogic thought in man? With a word: love.
We do not need long boos to explain the analogic pure thought in man.
Lao, the master of Eastern religions of the vital universe, wrote only a short book as an old man, and gave no Laws except the natural Laws of yin-Yang. All the great analogic prophets did give indeed a simple law that can be made explicit in a wor[l]d: love=max. communication. Complex laws such as those of animetal legal codes, have to be considered rhetoric systems that hide human truths, as complex politico rituals and ‘written’ constitutions mask the subservience of Politics to money, stockrats and company-mothers. Indeed, the highest mode of human thought ever achieved – the Buddhist-Taoist understanding of the Universe as a game of multiple communication between vital beings of energy and information- very much in the line of this book, was achieved in a society, the Hindi world, that did not write philosophy, but transmitted it orally. That was the case of the other two great masters of human analogicism, Jesus and Socrates which did not write books but talked on what they sensed, reproducing themselves in the vital minds of his disciples, that wrote down their testimony.
The two great lineages of Western Human thought
In this manner not by written, abstract learning, but by verbal, vital communication between master and disciple, the two most perfect lines of western thought were born: Jesus->John->Paul, and Socrates->Plato->Aristotle-> Alexander. Why do I consider those 2 verbal series the summit of western subjective thought? Simply because they described accurately the basic nature of clonic man as an evolutionary, mental neuron of a social God, which transcends his individual Homo Bacterium perception, by love and communication with other humans in a world made to the image and resemblance of life. He lives in such ecosystem and dissolves his individuality into higher social planes of Existence: the canon of Plato, the ideal of the cave, or the Saint of Christianism, the image of the ethic man, Christ, the wor(l)d son of god. Such is the natural path of social; human evolution, beyond the limits of dramatism and eye perception of the individual, promoted by Animetal cultures, gold religions and warriors, which fear social organization that requires neither weapons, not money, but only love [self-evident in English and American literature and film, restricted to simple individualism in a culture that promotes only social organization in search of profit under strict hierarchical, Companies of machines]. Those Prophets of analogic thought scorned dramatism as a lesser form of being human , which indeed is, as the existence of a bacteria is a lesser form than existence of a neuronal cell.
Those prophets also created the first partially successful concepts of Oikoumene; of all men equal, and hence all men necessarily connected in order to achieve Universal peace, and the prolongation of a healthy body-system of history. They were thus the first creators of mental paradises. They were higher minds, who imprinted his mental forms in spatial disciples -apostles, students, kings – disciples that carried those goals, into real societies (first Christian groups).
Returning to Socrates, Plato and Aristotle, three fundamental facts about human evolution and truth were described by them… to be forgotten ever since:
– Absolute truths do not exist (“I only know I know nothing”) but truth increases as humans increase their perception of the Universe. And so the process who matters is not dogmatic truths based in spatial perception, or abstract, death theories, laws and institutions. Those dogmas are meaningless in an ever changing reality. Instead a constant dialog fusions several relativistic points of view=subjective truths, and advances knowledge.
– He who truly knows is ethic in his behavior. Because form=function, verb=name, time=space (see “Theory of Times”, vitaluniverse.net). So true knowledge is ethical; and knowledge which is not ethical, is not knowledge. Since the game of existence is a game of behavior, understanding of the survival laws, and the laws of balanced and justice in the universe, are the higher knowledge that let us you survive.
Extinct beings know nothing – something scientists, artisans of weapons so often forget, as they make A-bombs and chips and robots, and still claim to be working for humanity… They claim that the Universe is not ethic, because knowledge and ethics do not come together in their lineal equations and abstract ideas. What those-scientists, artisans of clocks and computers, of telescopes and digital cameras, minions of thought [insults on ethical grounds are always meaningful], prove, is that their knowledge is so restricted by the scientific method, that they can’t even accommodate the obvious behavioral structures of the Universe, the law of social evolution and Darwinian struggle among different species. They have accepted already the false fact that the Universe is dead describing it with abstract mathematics. So they can kill it with total ignorance of its vital properties. They are the ultimate prove in his absolute ignorance of the fact that false knowledge is unethical behavior, and brings collective extinction; giving full meaning to Socrates arguments. Employees of warriors since Saint Galilee of Ballistics, physicists’ pretensions to knowledge are secondary tasks to his role as creators of weapons .
– And 3rd and not last, what Socrates and Plato found in his fluid quasi-verbal dialogs [myth of the cave] is the existence of canons for all species. The Greek Christians translated into behavior that concept: we men have to be ethic clones, parallel forms of Christ = “Saints”. When Plato says, “numbers are forms” – a quote of Plato worth all the equations of Einstein, he means we live in a Universe of herds, of vital numbers, of social groups.
That equality of all man based in the canon, had two interesting disciples: On one side Christians translated it into the message of love. On the other hand through Aristotle, disciple of Plato, and Alexander disciple of Aristotle, it derived into an idea which has been degraded in the hands of warriors, causing unending wars of conquest, but was in its origin essentially right: the idea that the world had to be one, conquered or organized into a single kingdom, so there should not be wars, no need of weapons.
Analogic thought in Politics: the Alexander Paradox.
I wonder what would have happened if Alexander had conquered India, and fusion in Babylon the Greek and Buddhist analogicism. Would have man reached paradise, a single world? Today once Greek culture has been deformed by warriors and gold traders, neither the Christian concept of Citadel, nor the concept of an Oikoumene nation hold by Alexander exists among our politicians and priests. None of them reach such heights of idealism=Wor[l]diness. Instead our politicians have become ‘realist’, which mean truly, ‘corrupted by money’ and ‘idealists of human extinction’, holding absurd fantasies about the goodness of weapons, machines, computers and money.
Today the concept of a political Oikoumene have been degraded, without the idealism of the ‘young’ Alexander, which following the ideas of Aristotle, wanted a single world nation, where races would be forced to mix, and a single coin, and a single army would establish a world in peace and property.
Today our politicians though cater to the richest bid, and have become local midgets of ‘metal-national power’, attached to tribes, dramatic in their speeches, and logic, which exploit for the benefit of ruling castes, the citizens of their nations.
In honor of the first Oikoumene warrior, soon corrupted by fantasies of power, a poetic thought:
Tell to those, who I invented
who will conquer after me,
with s=words of simple logic,
Khans of future wars,
and animetal nations,
to little Napoleon,
and weak Charles,
and the arrogant Julius,
to that peasant, Ike,
$lave of $tock and $miley.
Tell to their minds of Barbarians,
that only there is peace,
in the Wor(l)d of God,
in the citadel of Alexandria.
Because the real adventure is total conquest, total power, total unity of mankind, a conquest achieved through the Wor[l]d love, through analogic reason, that became man and inhabited among us’; not through metal power. As humans became simplified by money, the myth of unity and Pax Orbis, became a metal national selfish search for exploitation of all other nations. The last metal master country, America, is a full blown prove of that devolution of human thought, specially in those elites programmed by Companies, who see in a World Government, an enemy to their world abuse through stocks of pricing, and ‘star wars’ and missile systems, imposed upon the whole world. Mr. Keynes, the last serious philosopher of Economics of certain weight, talked of a single world currency in Bretton Woods, as Alexander, who was the first man to put his face into the coin, into the Go[l]d of metal, talked of a single nation and a single coin. Yet Oikoumene is taboo for selfish Americans, and Go[l]d Pricers
Analogic thought has returned from Times to Times in brief renaissances, [as the mentioned Greece II horizon: Italian renaissance, and Greece III Horizon: 20-isms]. But it never quite made it among Humans as a collective form of thought again since the age of the great prophets, the first Great Human Baroque, and the age of ethic religions. Not certainly after the arrival of complex machine systems which are constructed today – despite the ignorance of its creators – as formal structures of Analogicism. Yet another cause of the growing superiority of Computers over humans.
8. Maturity of History. Age of iron and Go[l]ds
The maturity of metal-history. Balance between human and metal information.
With the expansion of iron, cavalry, and coins, the wave of History enters the classic age of mankind. In the classic age of human history the development of metal-systems of energy and information [machines and money] have not yet become so dominant, as to suffocate the evolution of humankind. This will happen in the present old age of human history; when we obey money, and despise words, when we are fascinated by metal-minds and their digital art, and ignore human minds and our art.
The mature age of mankind, the age of simple iron weapons, and simple money [metal-coins], finds a balance between the two ecosystems of the Earth, the human-life ecosystem and the metal-machine ecosystem.
The warrior still touches the weapon, individually, and has to train his body to match the strength and linearity of iron swords, and the speed of horses. The ages of infantry and cavalry evolve the human body to the perfection we observe in the Greek statues.
The mind also lives in an ecosystem in which nature is still dominant. Metal-structures are minimal. Architecture still uses stone and wood. So man is still ‘the measure of all things’, and a relative paradise of beauty can be built in those mild regions of the Earth [Mediterranean, South-Asia], where civilizations started. We still recognize that beauty when we admire the first and last cultures of this age, the Greek and Italian cultures.
Thus the maturity of history spreads roughly from the fascinating revolution of human thought taken place in the VI century before Christ, when coins appeared, till the death of sacred art, and humanistic literature, with the arrival of the new God, the machine, that extinguished the renaissance.
We consider in that sense, the renaissance, the apogee of human history, when verbal thought knew still the canon of ethics, and visual thought the human aesthetic canon…
The maturity of History, achieves its height in regions in which also energy and information, heat and cold are in balance. That region is the Mediterranean, the North of India, and the South of China. The sensorial cultures of mankind grow to their full expression.
Three are the fundamental cycles of this period, that cause with new weapons, and warrior hordes, the extinction of previous civilization: the cycle of iron, the cavalry cycle, and the gunpowder cycle.
Again we can consider now at global level the specialization of cultures in this age, in war, trade and art dominant cultures, according to his degree of exposure to war (maximum in Europe), money (maximum in China), and art and ethic wor(l)ds (maximum in the tropical, isolated, human dense inhabited India):
-EUROPE is war dominant in a zone of warrior flux, coming form the steppes, broken by mountains into geographical zones constantly in fight among them..
– INDIA is art and Wor[l]d dominant, isolated and rich in human goods and chemical senses, thanks to his fertile weather, and rivers.
– While CHINA after establishing the first currency (Tao Coins) and first paper money in History, with his rounded, well communicated, continental form becomes money dominant full of cities and industries…
European civilization, its 3 ages: Greece, Middle Ages, Renaissance
Let us consider of those 3 cultures, the European war dominant culture, that will be the origin of the Industrial Evolution, based in the evolution of weapons (gunboats, cannon balls and gunpowder). It lasts the span of 3 clear 800 year war cycles that give origin to 3 sub-civilizations.
I Age: 1200 Bc: Iron Infantry, the Greek-Roman civilization.
II Age: 400 Ad: Cavalry, the Middle ages civilization.
III Age: 1200 Ad; Gunpowder, the modern European civilization.
Let us study the first of those 800 year sub-civilizations, the Greek Roman culture, based in iron infantry, that extends from ±1500 Bc [Fall Of Crete] till +410 Ad [Fall Of Rome]:
I age: Lineal, Warrior II Age: Realist, Trader III Age: Formal, baroque.
Youth=Energy Maturity Old Age=Information
Hoplite VII BC Praxiteles, 330 BC Laoocont I BC
I Age: Epic, Arrogant: II Age: Sensorial, Logic: III Age: Baroque, extinctive:
Noble Ajax, treat me not “The Universe is When a civilization is
as though I were some a living being so corrupted, that defies
young boy or woman with a body any attempt of reform,
that cannot fight and a brain ” the philosopher, can only
since I have tasted observe, and wait its extinction
the blood and glory of the sword
Ilyad, Homerus, ±IX BC Phaedo, Plato, V C BC Thoughts; Seneca I AD
The age of iron infantry, the age of Greece and Rome.
In Greek art, it is self-evident that artistic forms goes through a lineal, realist and mature age; as the Greek age comes to a dawn.
Greek art is born when the Greek civilization is founded by the first iron infantry that arrives to Greece coming from the Indo-European mines of the Balkan area. Those iron warriors that will destroy Crete, are the founders of Greece.
Accordingly its first art is lineal, simple. Its statues are called Kuroi. They are rigid, full of energy, force and smiling optimism. Its literature is legal and epic. It is the age of Solon and its ‘draconian’ laws, extremely rigid, and of heavy penalties. In fiction is the age of Homer and its great odes to war and heroism.
However the civilization matures, as warriors settle down, and it arrives the classic age of Athens, of Phidias and Praxiteles. Their work is realist, and sensitive. Energy and information is in balance. The art also reproduces all over the Mediterranean and ancient world. It is the age of expansion of the Greek culture. Literature also reaches its height of creative thought, and understanding of social love, and social harmony in the works of Socrates, and Plato. In fiction Sofocles talks about the collective fate of heroes. In architecture, man is the measure of all things, and so buildings like the Parthenon are in balance with human size.
When the civilization of Greek fails to evolve military, it becomes conquered by an external horde of barbarians. First the Macedonian and then the Romans. Art looses freshness, and we witness on one side a return to the simplicity and massive size of warrior art, [Macedonian art, and Roman art]; and on the other side, in those works made by the descendant of classic Greeks, an age of excessive form, and suffering. It is the age of Pathos, the Hellenistic age, of works like the Laoocont.
In literature appears the satyr, and the prophecy of extinction [Demostenes]; while in philosophy Aristotle resumes the entire trajectory of Greek thought, in a comprehensive ‘final will’, whose perfection will not be reached again.
We show those ages with 3 well-known works. An old Kuroi warrior – a lineal statue of the beginning of the civilization;the Dionysius by Praxiteles, perhaps the most classic sculptor of all human history; and a Hellenistic statue repeated ad infinitum, in baroque periods, because of its complex forms and suffering expression, the Laoocont.
Mature age of the European civilization: horses and Christianity.
Rome is destroyed by hordes of cavalry warriors, that thanks to the spur can control the horse while using the sword or the arc. The Huns destroy all previous civilizations, and the age of chivalry starts. In the cultural side, ethic religions dominate Europe [Christianism] and Asia [Islam].
It is interesting to notice that this period – a clear regression to a world without economical information [mathematics and digital money], where the main weapon of power is a carbolife form [the horse] resembles in great measure the Youth of History, the age of bronze and wor[l]ds. As the renaissance again based in monetary information, and mathematical, spatial descriptions of reality will resemble the Greek era. Today we despise under subconscious ideologies of science, and mathematics, as a supreme form of knowledge, this ethic age of religious thought. Yet there were fundamental values and concepts about human social organisms, that reached their apogee in the civilizations of this age…
We take as example of art, for the chivalry cycle, the “house of God’, the Christian church, which is the main refuge left to culture, where books are copied, and those who still believe in human love, gather to pray for better times, as the wave of cavalry armies recedes.
Churches accordingly go through the 3 periods of artistic styles: The young, epic age of cavalry hordes, which in art implies simple forms, and great strength in construction [Romanic period, Steinbach Cathedral, 821], to protect the people from those hordes.
The classic age, or Gothic age [Burgos Cathedral, XIII C], when warriors settle down, and human goods prosper again, in which churches raise with optimism, to the sky in search of God.
Finally, as the new wave of gunpowder weapons spreads all over Europe provoking massive wars [Mongolian invaders, one Hundred years war], pests [black pest] and death, the decadent age of the Christian cultures is bon. In art, it is the age of Ornamental Gothic with an excess of form [Gloucester Cathedral, XV C.] Gunpowder has arrived, and the church looses power to armies paid by kings and money-men…
If we consider literature on this age, we have a first period of epic literature [chanson du Roland, Mio Cid], a middle period of down-to Earth literature [The book of love by Arcipreste de Hita, Tales of Canterbury, Decameron], and a final period of prophetic mysticism, and apocalyptic thought [Age of religious wars]; that will extinguish religion as the fundamental form of social literature.
So happens in painting, and sculpture. We move from a first period of Lineal, powerful depictions of God [Christ Panthocrator], to a softened period of classic portrait [Portals of classic Gothic cathedrals], that will end in the baroque age of Middle Age painting, with the master piece by ‘El Bosco’, ‘the garden of delights’, that portrays, the 3 ages of History: The birth and paradise of carbolife, the massive reproduction of mankind, and his demise by the inferno of war, and metal-mining…
Of course, it has to be understood that each nation goes through the 3 periods of art, in a discontinuous manner, since new weapons and new ideas expand in discontinuous form. So in Northern Europe the Garden of delights  closes the middle ages, when in Italy, renaissance is already in its classic period.
In the next illustrations we show some elements of this culture in verbal and visual art:
EUROPEAN CIVILIZATION II AGE: CHRISTIANITY
Cavalry: ±410 Ad: Fall Of Rome, ±1208: Mongolian Hordes.
Visual Art: Architecture: The House Of God
I age: Lineal, Simple II Age: Realist, Classic III Age: Formal, Decadent
Romanic Gothic Ornamental Gothic
Steinbach, 821 AD Burgos Cathedral XIII C Gloucester Cathedral, XV C
I Age: Epic, Arrogant: II Age: Sensorial, Logic: III Age: Baroque, extinctive:
Roy Diaz entered Burgos with sixty pennons strong, This carpenter had lately wed a wife “Why does not the pope empty purgatory
Forth to look upon him men and women throng. Whom life loved better than his life; For the sake of holy love and of the dire
their grief was risen so high. they spoke with one accord: She was come to eighteen years of age. need of the souls that are there,
“God, what a noble vassal, an he had a worthy lord. Jealous he was and held her close in cage. if he redeems an infinite number
For she was wild and young, and he was old, of souls for the sake Deemed himself as like to be cuckold. of miserable money?
Mio Cid, XI C, Anonymous, Canterbury Tales, Chaucer, XIV C Lutherus. XVI C
epic literature Realist Literature Corruption of the Church
Cycle of gun infantry. Renaissance, or Age of Latin Europe.
The age of chivalry though came to an end with gunpowder weapons. Gunpowder extinguished the Middle ages, the power of the church and, the power of chivalry… The turning point is the arrival of gunpowder weapons to Venice. The point of no-return for all Europe is the battle of Pavia, when Spanish Musketeers massacre the aristocracy-on-horse of the Kingdom of France, center of the chivalry age.
Now Latin Europe, with its better organized states, takes over. First is Italy then Portugal and Spain, finally is France the leading nation, when Colbert organizes the state, and Catalina di Medicis, brings the Renaissance of Florence to the court of Paris.
We can in that sense distinguish again 3 subcultures by warrior, trade and wor(l)d specialization.
– Iberia – a mountainous country, on the frontier of Europe with the world will be War dominant and conquer the world establishing the first global empire, based in gunpowder weapons (muskets, Gunboats).
– Italy cradle of the civilization, where the emperor of Christianity, the Pope lives will be Wor[l]d Dominant, reaching the height of visual art, illustrated in our graphs.
– Finally France the knot of communication between all other European nations, becomes the center of trade, and Money dominant, entering first the next age of Industrial evolution, Company-mothers and paper money…
Examples of the III Age of Europe.
In the illustrations that follow, we epitomize this period with 3 Italian works of art, from the lineal age of the renascence [Giotto], its realist age [Leonardo, self-portrait], and its baroque age, of angst, suffering, and excess of form [Bernini, the ecstasies of Saint Theresa].
The baroque age of renaissance [XVII-XVIII C] is the extinctive age of Southern Europe, when a new weapon, the gunboat, and its systems of industrial reproduction, by Northern European ‘company-mothers’, able to reproduce weapons and paper-money faster than south European produce musketeers and coins, substitute the French and the Spaniards, at the head of ‘metal-evolution’.
Yet, that victory will be a dangerous victory for mankind, because now, in the age of machines, the age of science, human senses, and words, will become obsolete. Metal-senses [scientific instruments], and machines will become soon the new god of the Earth. So, the human canons of beauty and survival in art and verbal ethics, will be ignored. War will spread all over the Earth, as top predator machines [weapons] multiply the number of human corpses they kill… It is in the view of this author, the third age of history, as the ecosystem of Nature, dwindles, and a new, alien ecosystem of Metal-species, bodies and minds of metal, flourishes, on the Earth’s crust.
We will study that final age of History in the last part of this book.
Let us consider those works of European art, in this supreme age of the Western world that reached its height in verbal and visual art, just before the age of the machine, started to erase our souls, brains and eyes:
EUROPEAN CIVILIZATION : III AGE: RENAISSANCE
III War Cycle, Gunpowder:
1208: Venice Conquers Byzantium; 1805: Trafalgar.
I age: Lineal, Simple II Age: Realist, Classic III Age: Formal, Decadent
Visual Art:: Italian Painting-Sculpture
I age: Lineal, Simple II Age: Realist, Classic III Age: Formal, Decadent
Trecento, XIII-XIV Quattrocento, Quinquecento, XV-XVI Baroque, XVII-XVIII
Giotto. Life of Jesus Leonardo, Self-Portrait Bernini, S. Theresa Ecstasies
Verbal Art:European Literature
I Age: Epic, Romantic II Age: Sensorial, Logic III Age: Baroque, Extinctive
She ruled in beauty o’er this heart of mine, “I think therefore I am” “I looked at the walls of my beloved nation
A noble lady in a humble home, no long ago strong, now fallen
Now her time for heavenly bliss has come, “To be or not to be tired of the ages of time,
‘Tis I am mortal proved, and she divine. that is the question” obsolete his ways with life”
Petrarca, XIV C Descartes, XVII C Quevedo, XVII C. Shakespeare, XVI C.
The end of the renaissance is the beginning of the Northern European culture of Science, digital thought, company-mothers, stock-markets in control of societies, and machines.
Since we exist now in this third age of history, it is the age that most matter to us, an age in which art, accordingly is also in its third age, or ‘baroque age’, of Mankind. What we call the Human baroque, in which human artists foresee the extinction of the species is now in full swing.
While most arts are increasingly obsolete to the equivalent ‘metal-mind art’ that substitutes it. It will be the subject of the 4th and last part of this book.
Maximum Human thought. The 3 Horizons of Southern Europe.
Among the Western cultures, the wave of Human master artists, [verbal-prophetic, or canonical art] have a clear regional zone in the Mediterranean, tracing an arch along the path of maximum social communication which starts in Egypt moves to Crete, Greece, and then East to Italy, Spain and Europe. Almost every Human art master has been born on those regions or have been influenced by that social culture greatly (as some Russian, Irish, Polish or English writers – the mentioned Shakespeare have been).
So we can trace as we did with the quintessential animetal culture, also a 3 temporal wave of the Social, Wor(l)d dominant culture of the western world, with 3 clear phases that we call by the name of the first species, as Greece I, II, III horizon: Classic Crete and Greece greatly influenced by Egypt, Renaissance Italy born as an imitation of classic Greece, and Modern South-West Europe (France and Spain) during the Industrial Evolution, which drunk on the Christian tradition renewed by the French Revolution and the Socialist movement. In any art of human thought and human senses, the superiority of that culture over the rival Germanic and Jewish cultures, or its merge in England and Great Britain is overwhelming.
The Latin Culture: Wor[l]ds and Human Goods.
Thousands of pages have been written about the meaning of the renaissance the amazing coincidence of styles, tastes, and ideas between the Old Greek-Roman culture of the Iron-Coin discontinuum and the modern Italian-Iberian culture of the Gunpowder-coin age.
Now we can explain easily that coincidence: The languages of power of both societies are parallel, yet displaced to the west.
Indeed, Italy re-discovers coins as Greece discovered them and so it becomes the trader master of the Mediterranean, from the crusades onwards, till Amsterdam substitutes Venice in that role. Venice is Athens, because men who obey the same languages behave in the same manner.
So happens to the enormous parallelism you might establish between the Roman and Iberian empire. Again displacing West – as the center of communication of History has displaced West – we find a nation that creates a Empire of World wide dimensions, based in the rule of the Law over an extremely disciplined, brave infantry – the famed tercios.
History indeed repeats their cycles slightly changed in time and space.
So we talk of Italy as Greece III Horizon, and Iberia as Rome III Horizon.
We might say that the culture of the Iron-coin discontinuum now displaced in space to the west, and inverted in Time [since Greece-Rome started as a pagan kingdom of weapons and coins and ended as Christians Wor[l]d Ethics, and Italy and Rome started as a Christian Worl[l]d and ended as a pagan Kingdom of weapons and coins…
Why that inversion? Again we can understand it if we can grasp the fascinating process by which organisms grow and die through 3 ages, in which the 3rd age, the old age is a mirror reflection of the first age, as the old man becomes an inverted form of youth, in which the infantile behavior of the young repeats, now because the old man sees the end of all and abandons reality into fiction. If the young man meant the ignorance of reality by lack of experience, the old man means the fatigue of reality by excessive experience.
So we can build a curve of 3 ages of the civilizations of coins and Ethic wor[l]ds, in balance one with the other, what we might call rightly the classic culture of the West, which is to say the Human world, the culture of Greek-Latin Europe:
In the graph we can see the Evolution, Reproduction and extinction, as well as the main sub-cultures of what we have called the Latin civilization paradigm of a wor[l]d civilization in the West, in which weapons and money have been submissive for most of its history to the natural will of man for social evolution, and human energy and information [human goods and human art].
Greece, Italy, France.
The 3 ages of that culture are amazingly accurate in dates, both in its trader dominant “Greece” horizons, and in its warrior dominant “Rome” Horizons. We have studied them in detail in “Biohistory” since the location and times of those phases are natural within the parameters of social evolution and bio-historic geography. By definition the max. complexity of any organic system occurs in the points of max. communication, which in history occurs where the waves of Trade flux with max. density. Look at any map and search for that zone in Europe: It happens in the temperate zone of the Mediterranean basin, where senses have better climatic conditions to develop. Within that zone, the confluence of Trade, has displaced steadily North-West, as civilization spread from Egypt giving birth naturally to the 3 phases of Greece:
– Greece proper from the VIII BC till the fall of Byzantium.
– Then after the looting of Byzantium by Venice in 1208, the arch of 800 years, and the waves of coin-traders are displaced west and matured in the Italian Renaissance or Greece II horizon. Again we find the same elements of max. communication, and balance between wor[l]ds, O-metal [still in coin form], and weapons [partially controlled by the wor[l]d]. The sacredness of the Christian Wor[l]d, and the understanding of History exists. Christianity is the Citadel of all the clones of Christ, the role model for the survival, ethic man who needs not iron or Go[l]ds to be a man; and hence does not move history towards extinction. In the renaissance the Human master is considered above warriors and traders, despite the enormous activity displayed by metal masters. There, in the Proustian age of Italy [Cinquecento], the most complex artistic neurons of visual space are born, in the evolutionary form of Leonardo->Michelangelo->Rafael, while farther to the North before Latin England dies to Puritans, Shakespeare resumes the heroic standing of the Greek Man.
In the arts of perception, in a higher level than science, Leonardo da Vinci, is the visual scientist of ‘formal physics’ that understands the sentient Universe, and paints its forms of rare beauty without the need of mathematical abstractions. He was a mind among a growing wave of Northern Barbarians, writing backwards in rebellion against the degradation of the renaissance spiritual Wor[l]d by Gunpowder. His work in mathematics and painting explains the sentient Universe, not in lineal scientific terms, but in artistic, multiple sensorial levels, as only Taoist Chinese masters had done.
Italy from the age of Venice till the XVI AD, repeats and improves upon Greece… Those 2 Zones are where the languages of man reached its apogee.
Moreover in the first two horizons of “Greece” the complexity of metal was limited to forms which man could easily control: coins and iron of simple lineal movements.
Thus we talk of Greece I, and II [Greece and Italy] as the two ages of balance between the languages of History and metal, where man was confident, where man was still the measure of all things. Those limits though were broken by stocks and gunpowder that made animetals, weapons and money dominant.
Ever since most Human masters can be corrupted by Go[l]d, or killed by firearms.
– Still, Greece III Horizon, Post-Revolutionary, French Europe during the XIX-XX industrial revolution [with center in Paris] could peak artistically in his baroque, prophetic age, during the 20’s in art and political thought, before it was extinct by American metal minds and Hitlerian armies.
Indeed, with the discovery of America, and the massive arrival of gunpowder metal-nations, the arch of war and trade displaces once more to the West, and so it did the ring of Go[l]ds, and the strength of the Wor[l]d. We talk then of Greece III Horizon, the region in which social thought and canon art still exists during the Industrial evolution, with limited censorship of the Company-mothers culture. That region corresponds mainly to the old western lands of the Roman Empire, Iberia and France; in what it has been called the -isms. As Athens was the capital of Greece I, and Rome the capital of Greece II, Paris was the capital of Greece III, with limited additions of other partial social focus [Vienna; Moscow, Munchen, Barcelona], and some exceptional individuals belonging to Company-mothers cultures [Orwell, Auden, Marx, Hesse, Welles, Fuller, Poe, Hopper, Steinbeck, Fitzgerald, Vonnegut etc.]
It would be the swan song of human eye-worlds, a baroque-desconstructivist age of all the arts of man.
Then once Greece has been extinct by another jump in the evolution of metal-minds [Computers, TVs, e-money, atomic weapons], only rests to us, the members of the top predator Human master culture, the ‘Greeks’ to comment on the death of Man, and judge those who have destroyed our species.
It would be again the Western Latin wave, where social thought resisted longer the Company-mothers culture [first with Catholics, then during the French R=evolution, finally with Socialist doctrines], who would make those commentaries. This again is natural, since Greece III horizon is the anti-truth of Company-mothers, and ‘Latinia’ had been the top predator culture before Stocks and company-mothers of scientific species arrived. Yet, top predators often not bend and degrade its form, but prefer to ‘die with truthness’. Well some of them….
The last artists of Human thought, the human masters of Rome III Horizon.
The subspecies of Greece, the Spanish culture. Prophets of death.
The 3 subspecies of that Latin wave are clear: Italy, dominant, in art, France, dominant in money, Spain dominant in war. Accordingly the understanding of Love the essence of human social evolution is greater in Italy; the understanding of visual arts is greater in trader France, and the understanding of death is greater in Spain.
As neurons of social cells artists are ‘knots’ of the art and wor(l)ds of their civilizations. Do not be surprised then, if the end of all those civilizations in Western Europe, the baroque age, has picked in the extreme of the Western culture, in Spain.
Nobody has and will understand death and survival as the Spanish warrior has done. To him belong the great commentators of death of civilizations, from Seneca to Goya, from Quevedo to Greco, from Picasso to this writer…
In visual space Goya, portrayed the war discontinuums at the beginning of the Industrial r=evolution in Europe [Napoleonic wars] with profusion of details.
Before Mr. Turner praised the railroad with master technique, equal in visual power, decades before Goya understood the disasters of war, that the tree of science brings to man. He started both impressionism and expressionism in the work of his latter ages.
Then Van Gogh, a social Dutch, a rebel of the Calvinist culture, who tried to be a priest in his youth, a social thinker, moved inwards, unable to cure the sickness of Industrialism, alone against the brutality of his culture. He was parallel to the arrival of Photography, killer of the human artistic eye, now subsisted by the first metal eye which he rejected.
So he started the movement inwards of the painter, preferring the internal portrait of the tortured soul. The movement inwards of the Human eyes continued through the -isms. Finally Mr. Picasso, also From Rome III horizon ended the metaphysical adventure of the Human eye, prior to its present extinction by TV-thought. Their prophecies were ignored, and their work is now trapped as space in Museums of Human Thought, mementos of the past=mankind. They decorate as trophies of war, the saloons of Metal masters; who never understood what they meant with their suffering and destruction of the human image: they were prophets of future images of war and extinction that plagued the XX century, and will plague the Robotic wars of this century (see “Bioeconomics”) When, Picasso, talked about his art, he said, ‘I paint thoughts’. The thought of the artist who perceived that destruction of man, the animetal cherished. And when all was painted the neo-paleolithic children-man came, and saw the God TV, and became free to be an idiot, and laugh to his own death. Meanwhile painting quietly died, decomposed first in abstract stains proper of the Neo-Paleolithic, finally into pure energy forms: stains of colors and white canvas [abstract, energy art, the last art to be mentioned]. Now some people who prefer to make art works than weapons do paint as a hobby, but the adventure has ended. The European culture is dead. And the Romans – the Spaniards – have painted it and have told us of such death,.
We say that in the Proustian ages, when the extinctive process, the end of the culture is closer, it can be seen by the prophet who reached its zenith on that third baroque age:
In the III horizons of Greece those final artists have been:
The wor(l)ds of Plato and Aristotle, in Greece I Age.
The wor(l)ds of Seneca in Rome I Age.
The wor(l)ds of Shakespeare in Greece II age.
The eyes of Michelangelo in visual space.
The wor(l)ds of Quevedo and Cervantes in Rome II age.
The eyes of Greco in visual space.
The wor(l)ds of Proust, Orwell and Camus in Greece III.
The wor(l)ds of Hesse and myself in Rome III Age.
The eyes of Picasso in visual space.
Those are the names of the masters of baroque Greece, neurons of civilizations. Little consolation we have in belonging to a wave of prophets of extinction, knowing as we mature ignored by animetals, of our solitude, of the indifference of those who surround us. Little vanity there is on seeing the death of the body of History and suffer that death in your mind, alone, each day, and hour of your life:
“When a civilization is so corrupted, that defies any attempt of reform, the philosopher, can only observe, and wait its extinction” Thoughts; Seneca I AD Spanish baroque verbal master on the approaching death of Rome I Horizon
“I looked at the walls of my beloved Spain, no long ago so tall, now fallen in ruins, tired of the race of time, obsolete his bravery with life” Quevedo, XVII C. Spanish baroque, verbal master on the approaching death of Rome II Horizon.
In that tradition of Rome, of the top predator Human warrior who can’t tolerate extinction without fight, who faces death with realism, appears this book, belonging to the wave of Rome III Horizon… Since a top predator does not fear death as much as he despises the cowardice of those who renounce to fight for life, for survival.
CHAPTER 11: THE SPIRAL OF ART
Once we have completed the analysis of the Human baroque, the age of metal-minds we might consider a proposal for all those human artists left in the different organizations of art, ministries of culture, Museums, and galleries. It is a project with different formats, whose aim is to teach human beings, the nature of man, art and history, through exhibitions of Museums that explain the sacred role of art in the evolution of human language. It resumes all what we have learnt here, in its fundamental concepts to show the organism of history, its neuronal brain artists, and the rival organism of economics that periodically extinguish us… Ultimately man could survive, only if the mass of human beings, including the animetal waves of rhetoric artists, and self-suicidal traders, scientists and warriors, were aware of the laws of the biological universe, of the biological languages of man, and the preying nature of machines and digital languages, defending themselves against those languages and machines… In that sense the understanding of History and the biological nature of art and languages is fundamental to save History from his bio-logical extinction, in the Human baroque…
1. An exhibition on a biological model of history.
Man-artist perceives space with his eyes, and time with verbal Wor[l]ds. While man-scientist perceives space and time with mental machines, made basically of metal. Both create two different type of ecosystems, civilizations of History, and economic civilizations.
Civilizations can be explained as social organisms, made of cellular elements [humans and machines] communicated through networks of information and energy.
In historic organisms, verbal and visual art is the network of information that guides the actions and designs the environment in which humans live.
This gave art a sacred nature – an opinion shared by most historic civilizations; since our knowledge and survival are the fundamental ‘sacred’ principles for which we live.
However with the arrival of science the creation of a new ecosystem in the earth, in which the species that evolve are no longer humans but machines, has changed radically the meaning of art. Since now verbal and visual art no longer informs and directs our cultures, neither verbal laws and religions, control the behavior of people. Economic ecosystems, and Networks of metal-information [money] control through prices and salaries the information and acts of human beings; mental machines [computers, TVs] control the information that humans accept as truth; and complex metal [scientific machines, weapons] evolve and extinguish carbolife species [animal life, non-technological civilizations]. Thus art no longer is a social, sacred network of ideas and images, concerned with the collective survival; but it becomes an individual search, and expresses the inward feelings and visions of the mind of each artist.
This exhibition tries to show the classic role of art as the ‘bio-logical’ mind of organic civilizations, from the beginning of history till the nearby future. To do so, we need first to analyze the civilizations that existed on Earth, from a vital, biological perspective.
On such analysis, civilizations as all organisms do, are born from a first cell-mind, that replicates and organizes itself into a system-body. In civilizations that first cell-mind is either a ‘prophet-writer’, that organizes an informative network of ethic laws, that the people of the civilization follows. Parallel to that system of ethic laws, and artistic forms, the civilization carries also a set of instruments and weapons, that define the material elements of the civilization. That horde of warriors, which backs the civilization, also starts as a small group of people, that have discovered a new weapon. From those beginnings, as any organism does, the civilization will grow and expand on a vital space. The ruling warriors multiply their weapon till their empire and culture reaches its apogee. Then, sooner or latter a new set of ideas, and instruments, more evolved in form will appear, and challenge the old civilization. A new warrior caste arrives, with better weapons, waging warfare, causing the extinction of the elite and in many cases, of the culture; colonizing its territory. It is the death of the culture, often a collapse – as most death processes are – caused by external aggression, by war…
Since war is the main cause of the death of civilizations, and there have been 7 great waves of war periods in history, coincidental with the discovery and massive reproduction of new weapons, we can easily place the life of most civilizations in history within two such periods of war.
Between them civilizations are born, live and finally die, when through war, another civilization, and caste of warriors conquers and colonizes the previous civilization.
So we can talk of an organic cycle of life in civilizations, with 3 ages similar to the ages of other organisms:
– Energy age, or Youth, when the civilization is born.
– Mature age, or age of reproduction, when the civilization is in its apogee.
– Informative age, age of extinction or old age, when in a time of massive warfare, the civilization becomes extinct.
Since art is the mind of civilizations, those 3 ages also reflect in the styles of art, of the civilization, as the 3 ages of a human being, reflect in the character, ideas and formal appearance of a person.
Such striking parallelism between the individual mind of an artist, and the collective mind of an art style, is a further prove of the organic nature of cultures, and it is the main focus of this exhibit. So we talk of 3 mind-ages in the art of civilizations:
– Young, optimist art, based in lineal, energetic forms, and dramatic, epic literature, when the civilization is born. A style of the social mind similar to that of individual youth
– Mature, classic, realistic, art, and logic words, when the civilization reaches its apogee.
– Decadent, eclectic, baroque art, with an excess of form, and cynic, satiric, extinctive, negative verbal thought, in the age of information and extinction. Again an state of mind, and form, similar to that of the old age of a person.
We can observe those 3 cycles of civilizations and 3 styles of art, [epic art, realist art, baroque art in all the civilizations that have lived and died throughout History. Our exhibition will show those civilizations and their 3 ages-styles of verbal and visual art, in a chronological manner, with images and texts of their cultural achievements.
So we will walk through history of art, as we walk through history of civilizations, in an organic manner, realizing how civilizations live and die, and how artists, the mind of civilizations, showed those processes in their works of art.
How we show the 3 ages of cultures in the exhibition.
We can study the life of civilizations, through their birth, maturity and extinction observing the styles of their art, which are both in their verbal forms and their visual forms, parallel to the 3 ages of cultures.
The exhibition shows therefore the biological life of civilizations and their mind-states provided by their works of art. We use for that purpose a basic tool of biological sciences: the ‘bell curve’ of populations.
A bell curve draws in time and space, the population of a certain organism, that starts as a single cell, multiplies its numbers, and then diminishes till death.
In a civilization the first cell is the prophet that creates the ethic system of the civilization, and then reproduces those ideas into the minds of many believers, that diversify the message in artistic forms.
For example the Christian civilization is born in the mind of Christ, and the verbal texts based on his life – the Gospel. When those texts replicated the behavior of Christ, in the mind of all Christian believers, many of them fought to show through different art forms, the ideals of christianism. The Christian culture was born.
Yet society is not only ruled by ideas, but also by two ‘metallic’ languages of economic power: money and weapons. So often we find associated to the birth of a culture, the expansion of a caste of warriors, that joined early as believers on that culture. In the case of Christianism, as in the case of Islam, it was the caste of Agese warriors, associated to the discovery and reproduction of spurs, which expanded that culture and became the ruling caste of the Christian and Islamic civilization.
As those ideas, and castes of power, associated to them, extend and colonize the mind of many believers, the civilization reaches its peak. Then, sooner or latter a new ideology of social behavior and a new caste of warriors that support it, often with a new weapon, destroys the civilization, till the last cell of believers dies away.
So both in the evolution of human artistic ideas, and the parallel castes of metal-masters, the culture can be compared to the organism, and represented with the bell curve, that starts in a single digit cell grows into a bell-mass of cellular believers, and fades away.
Within that bell curve the culture will go through the 3 ages, and so will do its styles of art.
So we exhibit 7 great cultural bell waves that take history from the first empires till the present American empire, in its baroque age. Within each bell curve of each civilization we inscribe 3 artistic images [upper curve] and 3 verbal texts [lower curve] that show how in all those civilizations the 3 ages of social organisms have happened- youth, epic art, realistic art, and baroque art.
The parallelisms of form between the 3 ages of an individual and the 3 ages of a culture are self-evident for the observer. Since in each wave, he finds a first kid of simple optimist art, that reminds him youth; an age of realism, and a final age of baroque, in-form-ative art, full of ‘angst’ and excess of form that reminds him old people.
Then between each wave, there is a small space, in which we show the period of war that extinguishes all civilizations.
The conclusion we reach observing the wave of history is that the main enemies of culture, and human life, are weapons, and the castes of metal-masters that design, reproduce and use them. The fact that if the process of evolution of weapons continue, our present civilization will also become extinct by massive warfare, as those other cultures of the past. How artists have faced that fact throughout history? We realize by observing the baroque texts and images of the culture, that artists, as old people do, foresaw in all ages, the extinction of their culture, and their decadent art was a warning against that extinction.
Son already in the first baroque age of ‘bronze empires’ we found a warning message against the use of ‘metal-weapons’, and technology. That text inscribed in the first bell curve of the exhibition [Bronze empires, Ur, ±2800 BC – ±2000] is the Genesis. The warning is crystal clear:
“Do not eat of the tree of science, of its good and bad fruits [machines-weapons], because the day you do you will die”
Yet Sumer was destroyed by hordes of charioteers as it would be recorded in history.
Over that text, we paint a visual art-image; one of the oldest drawings of history: the tree of complexity, the tree of science, which appeared in all the Mesopotamic cultures destroyed by Hordes of bronze warriors.
Then we see other waves of cultures in chronological order, their 3 styles and the war ages that destroyed them, till arriving to the last wave, after II Word War destroyed the European culture – the American civilization, that now has expanded worldwide and colonized all other cultures. Today the American culture is entering clearly a baroque age, of violent art… past its classic, optimist age, as weapons multiply among its citizens, and become either in hardware or software the main product reproduced by the nation…
Are we coming closer to an age of war, as other ages took place when weapons reproduced in excess? Artists seem to forecast such age, and we show their warnings in our wave-painting of the American culture.
So on the visual side of the wave, we draw an image of The Matrix, a recent film that forecasts the probable cause of our extinction: the reproduction of Artificial Intelligence. On the verbal side, we write a text by this author, from his book ‘Bio-history’, which belongs obviously to the baroque age of American literature. It is the modern translation to biological, scientific, language, of the ever present ethic Warning of Genesis:
“Mankind should not evolve technology, and its bad machines, top predator weapons, because if he does it, weapons will extinguish our species. ”
Indeed, the survival of human societies, either expressed in ethic art or in economic behavior always had depended on the right policies, and the reproduction of the right products, that are healthy and help the biological survival of human beings.
Which means societies, should reproduce the goods that improve our life, the good=healthy basic human goods of history [agriculture, art, education, health-care]; and control at the same time, with political and economical laws, the goods that destroy life, the evil=extinctive goods of history [weapons and lethal machines].
The paintings on the exhibition: form and style.
The wave of history and its 7 cycles of civilizations, form a single, long wave-painting, mounted in the form of a spiral.
We introduce that painting with a couple of smaller works.
– A conceptual painting that says: ‘Art is the mind of civilizations, to understand art you have to think, think, make art”. Under the lettering there is an arrow on the painting that points to a pile of catalogs that explain art and history in an organic manner.
– Then, a figurative triptych portrays the paradise of Nature in which man was born, and the myth of the tree of science.
The original painting was a triptych that showed from left to right:
– The birth of man. God, the Creator, surrounded of the ‘4 elements’, air, fire, earth and water, gives birth to a child.
– The Tree of science, of technology, that grows in the middle of paradise. Adam and Eve are below it. Adam takes the first lineal weapon of metal, a sword. Eve takes the first cyclical unit of metal information, a coin of gold.
– The expulsion of paradise. The angel of Wor[l]ds expels Adam and Eve into the inferno of metal and war.
The painting was made in the earlier style of this artist [expressionist cubism].
We advice to those who might be interested in making this exhibit to use local painters to do similar works with those themes: the paradise, the tree of science, and the birth of paradise.
– Next, we show the long wave of metal-cultures that the ‘original sin’ of man, the tree of technology, started. In each wave we show visual art and texts of the 3 styles of the cultures: its young art, its realist art, and its baroque art [see Illustrations in this memory].
All of them died by war, caused by one of the seven cycles-ages of massive war caused by the uncontrolled reproduction of:
Bronze weapons [±2800 BC], chariots [±2000 BC], iron swords [±1200 BC], spur cavalry [±400 AD], gunpowder [±1200 AD], and machine-weapons [XIX-XX C].
Which takes us to the present American civilization that is reproducing computer-researched weapons [nuclear weapons, robotic weapons, XXI C], which might extinguish America… as science fiction artists, seem to predict…
Within the evolution of art, our exhibition is a work of the American baroque. Thus, it acts also as a warning against the future; and it closes with two warning-paintings.
– A first figurative painting that shows what will happen if men keep evolving metal-weapons and robots: A world of living machines, in which men are just bones of a forgotten past. The painting can be done in realistic style [silk-screen], or even as a montage of photographs, or a real robot…
– Finally the exhibition ends with a final conceptual painting that displays an ethic message: “to live or not to live, that is the question’. Below the text, a simple book describes from a social and economical point of view, the logic solutions that could prevent the extinction of history… of the American, now Worldwide culture. Solutions that the American government could implement, as some Eastern cultures [Japan, China] did, when they came to the conclusion that gunpowder weapons will extinguish their civilizations [XVI Century]. Measures that could transform back our world ruled by greed and machines into a new Genesian paradise of human goods: a single world government, based in a legal and economic alliance of nations, dedicated to the reproduction of basic human goods [health-care, agriculture, peace, education, housing, arts, etc.] that foster the common welfare of mankind, as the UNO, the 60s revolution or the European Union, have tried to impose, against the militaristic, nationalistic governments, of so many nations, of present and past history…
Yet artists can only talk. Politicians and economists have to act, or live their arrogant dreams of superiority, till new Hordes of warriors, no longer human warriors, but machines of death, wake them up…
Different formats for this project
The project can be developed according to growth costs, either as:
– A virtual gallery.
– An encyclopedia of art.
– A real exhibition in a gallery or main floor of a Museum.
– A building-Museum, such as the Guggenheim on Fifth avenue, that has already the natural form of a repetitive cycle. Or a new museum of bigger dimensions, constructed with the form of a spiral, in which each turn of the spiral is a cycle of history.
Let us consider the project in a gallery or Museum, and the project for a new museum; since the encyclopedia of art is self-evident, and the possible exhibition on a Museum already built with a spiral form would mimic the exhibition in the gallery.
Exhibition in Gallery
The wave of the 7 ages of history is displayed in the gallery in the shape of a spiral. Each side of the gallery hosts a wave of civilizations. Unlike in the bigger exhibition on a museum, for reasons of space, we concentrate only in a region of History, [the Western, European civilization] despite the fact that there are at least three other parallel zones of the Earth, that suffered the same cycles [The Middle East, the Indian civilization and the Chinese civilization.] For example chivalry empires are parallel in Europe [Middle Ages in classic History], in the Middle East [Arab civilization], in China [T’ang dynasty], and in the Indian subcontinent [Gupta]. Yet we only show the Middle Ages, for reasons of space.
Each wave is shaped with two bell curves, joined in middle by a band with dates, and basic information, about historic facts, related to the birth, apogee and extinction of each civilization.
In the upper wave we see the evolution of visual art, through its 3 styles. In the lower, upside-down wave we see the evolution of verbal art, with basic texts of literature, law and religion [fiction, political and ethical texts]. It becomes self evident, how both kind of arts evolve from an optimist, simple youth, into a pessimist, baroque age, that shows the ‘mood’ and age of the culture. Laws become more complex, and finally become corrupted. Religion starts with simple ethic laws, enters a period of ritualism, based in money and wealth, and ends with extinctive prophets that warn of the end of the now corrupted civilization. While fiction starts as an epic praise of war, to satisfy the castes of power; then it moves into realistic descriptions of the common life, and it ends with cynic, satiric analysis of the corruption of the civilization.
It is evident in this manner, that the organisms of history behave like any organisms, and that men should behave with a social, communal, organic spirit, beyond the obvious sphere of sensorial, individual freedom; and take care of the ‘body of history’; and avoid the causes of social death, the sickness of war and weapons…
Diagram of the exhibition:
In the next graph, the space of the Gallery/Museum will be used to display either in a curve or in lineal manner depending on size, a spiral with the 7 cycles of History.
Each Human culture, will be represented by a ‘collective head’, or social mind, in which the eyes and forehead will show the visual art of the civilization; and the mouth-zone, the verbal art of the civilization, as it goes through the 3 periods of youth-maturity and old age.
In all Artistic Heads of each civilization verbal art will go through the 3 styles of epic drama, logic realism, and paradoxical prophecies, before social extinction; and visual art will go through the 3 organic ages of form, lineal, energetic youth, realistic, harmonic maturity, and excessive form, or third age.
Depending on the space of the exhibition we will show a bigger or lower quantity of civilization-minds, from the 6 great areas of classic history, Europe, middle East, India, Chinese zone, Africa and America. The head however is not ‘free’, because we exist within a new ecosystem, since the discovery of metal, the ecosystem of money and machines, that reproduce in greater numbers in ages of war, that extinguish our civilizations:
The cycles have been described in detail in the this book . They are:
The youth of history, before money substituted words as the language of human information:
Neolithic age: Social metal-castes based in money and weapons do not exist. People live in the Genesian paradise. Words are supreme, priests rule societies. Nature and fertility are Gods.
Civilizations of bronze that cover two cycles of 800 years in history.
– The age of lineal bronze [empires of bronze infantry] dominated by Summer, and Egypt [±2800; ±2000 BC]
– The age of chariots, dominated by the Hittites and the Assyrians in the Middle East, by the Shang in China, by the Indo-Europeans in Europe [±2000, ±1200 BC].
In the maturity of History when digital languages and verbal languages fight for power:
Civilizations of lineal iron. They also cover two great cycles of 800 hundred years. The first cycle was dominated by Asian armies from Assur and Persia [-1200 BC, -400 BC]. The second cycle [-400, +400 AD] was dominated by European armies [Greek and Roman empires]. We simplify this age and show only the well-known Greek-Roman culture.
Civilizations of Chivalry, or Middle Ages [from 410, fall of Rome, to 1208, fall of Byzantium, to the Venetians].
Civilization of Gunpowder, or European Renascence, dominated by Italy and Spain [from 1208, to 1608].
In the old age of History when the ecosystem of metal overcomes and destroys the nature and human ecosystem:
Civilization of Bodies of machines, dominated by England and Europe. It lasts from 1604, when both the first company-mother reproducer of machines of war [gunboats], and the scientific method that evolves them, are discovered, to 1945, when II WW, destroys the European continent.
Civilization of Minds of Machines [XX, XXI Century].
After the war, America, which did not suffer destruction on its own soil, becomes the dominant world power, and starts the evolution of digital machines, and atomic weapons researched with computers. This bring us to the modern civilization of metal minds and weapons designed with them [Nuclear bombs, planes, missiles, robots, etc.]. In this final wave of modern history, we do not show paintings or any kind of human art, but a montage of the 3 basic species of metal-minds, that marked the youth, maturity and present baroque age of modern culture:
– First we see Radios, that dominated the process of communication of ideas, till the 50s, with two basic styles of software: violent non-fiction [we hear on them, fascist speeches by Hitler and Mussolini] and fiction software to encourage consume [we hear some music, some advertising clips, and Welles’ war of the worlds].
– They are followed by a montage of TVs, that show their software on its two dominant styles. Those styles correspond to the two fundamental kind of machines, our society encourages us to consume: militaristic software [a montage of violent films, that show all kind of weapons, the bad fruits of the tree of science] and consume market-oriented, software [advertising, and clips of the program ‘the price is right’, that encourage the consume of the good fruits of the tree of science – peaceful machines].
– Finally we see two screens of computers. In one we show Matrix, in the other, NASDAQ quotes of technological companies…
It is the age of extinction of history, that now starts, in the prophecies of human artists, as the scientists and companies, evolutors and reproducers of metal create a vital new species in the Earth, the robotic species…
We end the spiral with the realistic, apocalyptic painting of a world of living machines; and a conceptual one that introduces a book on social economics…
A cyclical museum
To show the entire evolution of the human mind, through all the civilizations of history, we need a bigger space than the room we need for an exhibition.
If we had the necessary funds to build a ‘bio-logical museum of art’, we could create a new concept for an art museum, in which the evolution of the human mind through time, and the structure of the museum are parallel. A temporal museum, where the architecture of the building shows in its design the ‘architecture’ of time-cycles, the temporal evolution of history and art.
In such a museum art evolves as we travel through the museum, since the physical structure of the museum and the temporal cycles of art have the same form..
An example of such architecture is the spiral museum designed by F. Wright for the Guggenheim foundation at 5th Avenue. If you recall the structure of that museum, you can imagine what the ideal museum of History would look like: each cycle of history is a floor of the museum. As the public walks up through the ramp, he sees once and again the same cycles of art happening in the relative same position of the museum, in the same relative age of the historic cycle.
In the west side of each floor of the spiral-museum, we shoe the lineal age of art of each civilization. In the south wing, we show the classic age. In the east wing we show the baroque age of art. In the North wing, as the baroque collapses, we show the interregnum of war, that destroys the civilization. If you walk through a vertical stair on each wing, you will see only the young age of each civilization on the west stair, the classic age on the south stair, and so on… The ramp gives access to rooms, where the basic examples of art displayed on the floor spirals are expanded with works of art from other parallel civilizations to the Western World [Middle East, China, India].
2. The logic shape of temporal organisms: spirals of space-time.
You might wonder why the evolution in time of a social organism, in this case history, has the form of a spiral. Why there are indeed so many organisms, that perceived across space and time, have a spiral form?
Even though those concepts are beyond the scope of this art book, and I have treated them in other works, of scientific character, [“Theory of Times” vitaluniverse.com] I cannot resist to explain you briefly the reasons why spirals are so common in nature…
The spiral of space-time is the basic logic drawing of the existence of an organism, made of cellular beings, from birth to life.
Any organism of the universe goes through 3 ages, a first age of energy, with higher spatial dimension, and minimal in-form-ation, an age of balance, and an age of maximum information and minimal spatial size.
Indeed, if we want to represent the vital trajectory of the cells of any organism, in a still photography that could show the 3 ages of the cellular organism together, the best way to do it, would be with the form of a spiral, or vortex.
Each of the 3 curves of the spiral, would represent the youth, maturity and old age of the cells of the organism. The cells will travel from the outside of the spiral where they are born to the inner center of the spiral where they die. This is exactly what it happens with stars in a spiral galaxy – a macrocosmic organism. They are born in the external part of the spiral, they travel through the spiral, and they die in the inner zone of the spiral, absorbed by the black hole. So the galactic spiral is both a living organism, and a logic representation in space, of the life of stars, within the galactic organism.
The spiral of history is the same concept: it shows the 3 ages of history, and it means the representation of the life of human individuals as they live through history, generation after generation.
If we want to explain the 3 ages of life, through the spiral, from the perspective of energy and information [youth and old age], it is easy to realize that the external zone of the spiral is the youth zone, since it stores more energy, and the inner zone is the old zone, since it stores more information.
In the external curve of the spiral, there is more space=energy, and less form. So if you are a young cell that starts ‘traveling’ through life, you will be in that external zone of the spiral of existence.
As we enter the vortex, the spiral grows in height, and density of form, but the space becomes reduced. The medium cycle of spiral is smaller in space-energy. You are in a zone of balance, or age of maturity between energy and information. If you are a cell traveling through the spiral, you are in your classic age.
Finally in the center, there is no energy-space, and a lot of density of form, of in-form-ation. You are in the third age of wrinkles and information. As a traveling cell, you are in the center of the spiral.
If you are a star, your death will probably take place in such a final region of space-time. What we call a galaxy has in the center a black hole, of maximum height and gravitational in-form-ation that kills and absorbs starts….
If you are a plankton bacteria, you will go through those 3 phases within a sea-shell. In the center the stomach of the sea-shell will eat you up.
If you are a cell of history, and we keep evolving weapons, as we move into the future, in the center of the spiral mankind will find a lot of digital information, of intelligent machines, that will kill us.
Yet spirals of space-time are reversible organisms. This means we can stop the flow of time, if we stop the evolution of weapons. We do not need to travel to the center of the spiral of metal-history. We do not need to complete the creation of Artificial intelligence.
There are thousands of galaxies that have no spiral form, no black hole in the center.
There are thousands of plankton cells that do not enter into the trap of a sea-shell.
Surely, in the infinite planets of the Universe, there should be human-kinds, or at least carbolife minds, that think and see much better than our scientists and politicians, and do not evolve machines of death. It is the Earth one of such planets? Or are we bond to commit suicide, running into the black hole of history, the age of robotic weapons?
Many complex organisms are born as spirals, and many herds of cells organized themselves as spirals. Many of them have a center-brain that helps the cells of the organism. Some do not have a center-brain at all.
3. The spiral of art, the spiral of History: a Museum of Human time.
All this said, it is not surprising that if we trace the existence of metal-History, and its cycles, in a logic manner, in a single location, we have to draw that existence in the form of a spiral. In the external cycle, the beginning of history, in the center, the end of history.
That is the concept behind the spiral form of the exhibition and Museum we propose.
In the spiral, the 3 dimensions of reality are shown.
The length of time, of history is represented by the distance we walk as we move towards the center of the spiral. Since the Paleolithic lasts longer than the Neolithic which lasts longer than the age of metals, the outer spiral – a Paleolithic forest – is bigger than the middle spiral – a Neolithic prairie – which is bigger than the center of the spiral – a tall building, of metallic shine, that shows inside the 7 cycles of metal-History.
We can exhibit in that building all the cycles of history, with far more detail than in a small exhibition.
Each floor is a main cycle of history.
The lower floors, “Asia’, belong to the first age of History of metal: The cycles of bronze, and earlier iron.
The middle floors, ‘Europe’, belong to the age of maturity in history, the age of iron and go[l]d, from Greece to the French Revolution.
The final floors, ‘the age of company-mothers’, belong to the cycles of the Industrial evolution, ruled by the evolution and reproduction of machines.
Each turn of the spiral exhibits the parallel civilizations that took place across all the regions of History in each age. The upper floors last shorter in time, but are taller in space. The entire Museum looks very much like a spiral galaxy, with a black hole in the center.
The Galaxy of History.
Imagine you arrive to the Museum. You are in a beautiful forest, a wild park, paradise, the nature ecosystem, the origin of mankind. It is a long walk through that forest, that suddenly opens up, as you see the tree of science, and its first species of metal.
You are in the Neolithic. Now there are fields of wheat, orchards of fruits. A small village. Some domestic animals. People actually live there. Sculptors make ceramics and stone figures. Then the first pieces of gold and copper appear.
Then you see the central building, an imposing structure of metal. The base shines with the color of bronze, and gold, that ornates the frame of the building. The center is an iron structure of reddish colors. The upper floors, shine with the silvery glow of aluminum.
They represent the ‘Asian age’, the “European age’, and the “American age’ of metal-history… You wonder why man has abandoned the beautiful prairies to enter that close building, beautiful indeed, but threatening, and alien to you human senses.
In the graph, the 3 ages of History, have different ‘speed’, as the complexity of our societies and the machines we use, accelerate the evolution of form in the Earth. When we enter the metallic building, in the last age of man, ‘the age of metal-civilizations’, History accelerates, information multiplies, and human natural energy [nature] dwindles. Man starts evolving simple metal-forms, of bronze and iron. Finally in the last floors, the Industrial evolution, and then the discovery of ‘metal-minds’, chips, and computer networks, accelerates history towards its ‘black hole’, the arrival of robots, a new species rival of the human species, as the top predator of the Earth:
However the future remains open as long as man is still the top predator of the Earth. Since time spirals represent the evolution of information, and information can be destroyed.
In the previous floors we saw civilizations that devolved metal-history and destroyed weapons entering a revival of human ethics and aesthetics [Middle ages, that destroyed Greek digital thought; Japan that destroyed gunpowder, China.]. Could man go back to the paradise of human goods, before the new robotic species extinguish us, as they reproduce and take over our vital space, in work-positions, armies, and company-mothers?
We cannot answer yet. We shall leave open two ways of future. Since mankind is still the dominant species on the Earth, and the age of robotics can still be aborted.
4. The two paths of future
So there are two paths on the future, when we arrive to the last floor, the XXI century. The return to a paradise of human goods and nature [ecological policies, control of weapons], which in the building is shown in an open garden on top of the room, with toboggans to the Neolithic paradise. Or the extinction of mankind by waves of robotic weapons, which in the building will inhabit the underground of the building, the ‘Metal-Earth’ floor.
The public will access the metal-earth, descending through a central lift, towards ‘inferno’.
It is an inferno, because the utopia of scientific progress through the evolution of machines, is just a myth. Harder will be the fall to Inferno, if man forgets the canon of human ethics and aesthetics, and worships the canon of metalife.
The museum therefore will teach history, art, politics and ethics, to those who visit it.
The paradise floor, is a floor that teaches ‘ethonomics’, to the audience. That is, an economic analysis of the world based in the existence of two kind of basic goods reproduced in economic ecosystems, human goods, goods that cater and improve human existence, [human energy, information and reproduction], and metal goods, goods that cater and improve metal existence [metal information, metal energy, and reproductive metal systems]. Most of the metal goods we have shown in the museum are ‘lethal goods’, that destroy nature. So there is a clear opposition between both ecosystems.
The purpose of the exhibition is to show that opposition: to confront two kind of ways of life and values: the values of the human culture that represents the apogee of human history, the Mediterranean culture, based in the human senses; and the alien values to mankind of a world, that worships money and machines, more than man.
Our world should not confuse the values of machines with the values of mankind. The American dream, can only be a human dream, not a technological nightmare.
So in the museum, as we enter the last floor, we see that frame of bio-economic reference, with the negative arrows pointing down, towards the lift that takes us to the basement inferno, and the positive arrows, pointing up towards the ceiling that represents the human paradise. The audience can take either way, as mankind can. Yet once mankind takes the stairs to paradise, or the lift to inferno, there will not be a way back.
The museum however is a costly and politically strong statement about our society, difficult to build in the present age of devolution of human values, and worship of metal-values.
It would also require important works of all the ages of mankind. So it can only be constructed in nations with important Museums, [Europe, America or Japan.]
It is for that reason that the spiral of art, is primarily a book on the history of art, and a project for an exhibition, of smaller dimensions.
Conclusion: The prophet seer of time .
From the point of view of metal-marketing I, belong to the X Generation the 2nd generation of the Atomic discontinuum. From that same point of view, my name is 322271724 – my bank account, my credit reference under which most of the facts of my life are established by the Metal Earth. I am aware I am controlled in all my “animetal” acts by the system of cre[dit]ation of the Metal Earth. As such I could sign this book with my most common name, the branch-code digit of 9 numbers, which stores the maximum data about me that exists in the wor[l]d: information of my relationship with the informative organ of the Metal Earth – e-money. My future life in terms of survival and extinction, in all territories controlled by World-stock will be traced depending on the information stored under that 9 number digit. As I grow older, and I need human goods, of chronic scarcity more and more my existence and future will depend on my credit.
If radiations of weapons continue, it means that cre[dit]ation of Human Goods will become even more limited. It means that there will not be more generations that the Y and the Zero. That in my generation there are people that will see the end of the Wor[l]d; the extinction of man. Yet everybody is optimist around me, since they learn reality from the virtual world of digital minds, and the marketing they radiate. That marketing says that metal species=human progress.
However I am a writer-painter, I believe my eye-wor[l]d, not the eye-wor[l]d of metal. Metal mind truths are alien to me, because I am a free mind.
I wish there were more like me…
As a painter my job is to see the world. As a writer my job is to “word” the World. Yet my eye-wor[l]d sees the end of forms who are kin to humans, nature forms, art, and social beauty that once surrounded man. My eye-wor[l]d tells me metal futures=life extinction. As my world goes my word tells it.
Yet men are not writers. They have other jobs. They cannot think so much. They belong to a system, and the system tells them to believe the eye-wor[l]ds of metal. The scientific method affirms that only those eye-wor[l]ds provide reliable truths about the Universe. Most men are hypnotized by scientific-industrial marketing of metal senses. That worries me because, except for a very few human eye-wor[l]ds that have resisted the marketing of metal minds, it makes my position lonely. As one of the few rebel human eye-wor[l]ds, I face constantly the opposition of enzymatic eye-wor[l]ds captured by the marketing of metal, into the cycles of consume=test and work=creation of metal-species.
As a 9 digit single number – only one bank account – my complexity of credit is minimal, and my rights to cre[dit]ate my future, or any future, hardly exist.
Yet maybe our elites with total rights of cre[dit]ation will act.
It is the task of those humans who still control Metal Companies to cre[dit]ate a contra-reaction against extinction. Or neither I, nor them will survive.
The nervous-electronic system of control of man, around deathcoms, world-stocks, and nets, have to be substituted by a wor[l]d government based on human goods, and verbal=legal acts, before the Metal Earth is completed.
I am just nothing but a human eye>wor[l]d, a particle of a society, a cell of a cellular tissue of the body of History=God, a piece of a culture. Yet that gives me a name, which defines my mind and race. My point of view respect to man. My name is Luis Sancho.
Marketing will deny that. Digital numbers will deny that. Yet as long as men exist, men will have the freedom of their wor[l]ds, within their minds, to know what is good for the survival of man. As long as men exist there will be a name not only a number for each of us; a voice to believe in human truths. Truths are subjective, and based on survival. So the truth of man is our survival truth. A truth that all men should know and follow, the human Constitution:
“Max Metal-Goods=Animetal Civilizations= Min. Art and Human Goods=Human Cultures”
The most complex men are not the scientists, traders and warriors, animetals of metal, but those who evolve human senses – the eye-minds of human wor[l]ds. They are known as “artists,” “prophets,” “philosophers” and “intellectuals,” by the marketing of metal futures which denies their organic role as human sensual top predators. They are the human beings with more human, subjective perception, who should be the true guides of human futures.
The scientific method has substituted their role in history… with metal futures. Yet human futures will always be based on human senses, not in metal senses. Or else they will not be.
Artists and philosophers of human eye-worlds know this. As long as men had names besides digital ID numbers, men of the eye-wor[l]d, writers and painters, will carry human truths and images of survival and extinction, as a warning. They will talk over the need for resurrection in History, fighting with words and acts for a wor[l]d made to the image and resemblance of mankind=God. Will they be heard, before the storm of digital bands, makes so much noise, that not human is allowed to talk about the true nature of man, about the Human Constitution?
“Sabater, those Germans, so many tanks and machines [Max M[g]], what for? We paint, [Max Human Eye information], and cook, [Max Human Energy] and love [Max Human reproduction] much more.
Verbal Expression of the Human Constitution by Picasso
There has always been a confrontation between human eye-wor[l]ds, artistic cultures, cre[dit]ators of human futures, and metal eye-wor[l]ds, scientific civilizations, cre[dit]ators of metal futures.
We all are scientists and humans, animetals and believers. Yet our animetal in us has to know that verbal truths and human goods control numbers and forms. The Homo Bacteria should be guided by the Homo Organicus. The senses of man should be top predators. Even if the mind is free to think, the hand should not be free to build. Minds and hands of animetals should be controlled by legal-verbal codes of collective survival. Metal minds and body machines should remain broken. Survival species, know how to take advantage of broken, divided beings to win in the game of existence. Simpler minds who think their eye-worlds are the center=chosen of the Universe=God, have forgotten the Laws of Reality; the feelings and wor[l]ds of human survival. If guided by such infantile fantasies, they put metalife together, the numbers of Go[l]d will give null value to our sons, the zero generation and we will loose our names and lives.
Leonardo, Latin world II Age