Unification Theory: The Universe is a Fractal Organism of Spacial Energy and Temporal Information  

 

Evolution of human languages. Logic phases.

 

In the next graph, if we reduce ourselves to the human perception of mental languages, we can trace a scale of evolution of each of those languages according to the complexity of a few author's work. Because cultures devolve in the age of digital science, the best works of human linguistic nature are not by all means in the XX century: needless to say the graphs do not coincide with lineal time. They are set in the ideal time of human progress in each language, according to parameters of complexity that grow the dimensions of perception of languages.

In that sense we can consider an easier classification of the fundamental parameter of power of a language (dimensional depth) using common words of literary nature:

- Null dimensionality: fiction without relationship to the main facts and characters of society; gender literature.

- Minimal dimensionality: individualistic analyses of reality based in total subjectivity of the language (young, infantile modes of literature)

We call them dramatic thought. It is also concerned with the description of the lower senses, that go from sexuality to feeding, from simple, selfish emotions to body cult.

- Medium dimensionality: realistic literature that describes the complex relationships between members of a society through ideal 'canons' called characters that represent the different cells-roles of the social organism: logic, realist novel, cathartic theater, symbolic literature.

- Absolute dimensionality: Verbal science that explains the nature of historic social organisms (anthropomorphic religions) or the Universe at large (eastern religions, Theory of Evolution).

 

So as words evolved we moved from dramatic-body perception, into logic individualistic perception, into social bio-logic perception of man as a cell of history (religion, philosophy). The great linguistic artists of mankind reflected those growing dimensions of thought through the mirror of their linguistic style.

 

Unfortunately the arrival of analogic pricing  [coins able to price all forms of existence with numbers, including human verbal thought] and the scientific method of perceiving reality through numbers and metal senses, started the devolution of human languages, both verbal and writing languages.

Money substituted them. It became ever more powerful, as it reproduced in greater numbers, adding to the valuation of human actions [now subject to a price-wage], all kind of beings, all kind of objects that could also be priced.

Money was a hypnotic substance [gold] that appealed the human eye, erasing our verbal mind.... Soon in the age of the press, all other languages became subservient to pricing that was now hyper-abundant and could value all things. Words became corrupted, and finally became marketing and fiction.

 

 

 

In the graph some individual examples of the different levels of quality and complexity of human languages.

The first language to appear were visual languages which went through a first age as top predator language of the Homo Pictus, who believed in images (magic age) to an age of realist depiction of individuals (sculpture, portrait) to a symbolic age of sacred art, that reached its height in the renaissance. Yet as machines evolved, the mathematical languages preyed over the image language that became devolved again to dramatic forms (expressionism), destroying the human figure (Picasso) and imitating mathematical thought (geometrical painting, industrial design). We study that final age of pictorial thought in our 4th part.

 

 In words we moved from an age of individual, dramatic thought of limited truthness (capacity to reflect reality in all its complex levels of organization) and great subjectivism, during the Paleolithic , into an age of non-fiction thought and 'verbal science' in which words are able to explain the Universe of man (religious words), or the total Universe (Eastern religions). As digital languages substitute verbal languages, however we go back with few interruptions (Theory of Evolution) to an age of new dramatic, individualistic thought, the present Neo-paleolithic of Human baroque in which individualism, dramatism and fiction dominate.

 

So finally digital thought controls all systems, through pricing, and mathematics, in scientific systems of knowledge... Yet computers are in those visual and mathematical languages better than men, and so today they have become the dominant top predator linguistic species of this planet, even if they have not yet acquired a robotic, living form.

 

The present age of fiction: third age of human languages.

 

Look at the present world, when digital languages have taken over verbal languages, as the tool of power, that rules through science and money, through polling and digital images, reality. What the verbal masters of the past, the writers have become?

Fictional writers. You might be surprised. You might think that fiction existed always in verbal thought. This is not the fact. Verbal thought was the language top predator of reality. It was the language of MAN. MAN with Capital letters. SUPERMAN, the ruler of the Earth. In the Golden age of verbal thought, ethic prophets said the truthness of words. Words mattered. Ethics mattered. Words were the nervous system of humanity. Words were us. And we took us very seriously. We were Galilean. We thought we ruled the Universe. We were God. God, the word came to live among mankind, said Saint John. And it was truth. Words ruled the Earth, and what man said, it happened. The Pharaoh had a scribe to write. The Pharaoh had said it, I have written it, it shall happen. Legal codes were obeyed. Laws created reality. Fiction did not exist. When fiction appeared in the verbal language? It did so in those societies where money, a digital language took over laws, and verbal ethics as the ruler of society. Fiction appeared first with certain importance in Greece, the first society ruled by money, the society which had invented coins, and mathematics, as the language that ruled business, that bought reality, that organized war. The fiction dwindled as the Christian ethics took over again. And there was only a truth, the canon of ethics, of social love, that followed the laws of social evolution. For most of the ages of man, words were only one. Words were truth, because they carried the sacred information, needed to survive. So man believed words.

 

Digital languages have caused the fictional, third age of words.

 

Yet in the XVII century money and company-mothers reproducers of machines took over. Science as a language of mathematics took over. And verbal thought decayed. Fiction grew. The first novel, 'Don Quixote' was written. Many novels followed. As science and mathematics grew in power, fiction grew in importance. Then in the XX century, not even men became the masters of numbers, but machines became the masters. And our eyes became secondary to the eyes of machines, televisions and cameras. The chip came, and the chip controlled the workings of reality with digital numbers. So fiction as words died away became the absolute rule of verbal thought. Today all is fiction. Today words do not talk about reality. They become fiction, comedy, drama, genres, escapism, films, songs. They become submissive to the images of a film, to the music of a song, to the market, as propaganda that deforms truths, in order to sell machines. Metal-communicators lie systematically and present us a fantasy world, the "American dream', that happens nowhere. Words are false. Laws are corrupted. Ethics do not exist. We are in the dying age of the verbal language. Yet man is the species of the Word. So as words die, man dies away. We are in the human baroque. We are in the dying age of man. Long life to the machine, that even man heralds today and welcomes as the top predator. Look at America, where the masters of words, the Supreme court has said that it is against the Human constitution, to count with human hands, the votes of their citizens. Even if machines have eliminated 40.000 votes and count them not, the supreme court, the just verbal men, have the cynicism, the falsity against the laws of their country, to affirm,  that only machines can count the will of man. That if machines fail they are right, but if men fail, they shall be punished.

The process of death of a language, that we will study in this book for all languages of men, as machines and numbers take over our lives and ecosystems, means that the language looses all the properties that made it an efficient tool of survival.

The language stops to control a mass of individuals by simultaneity. Today people are ruled by money, no longer by words...

The language stops to carry truthness, but becomes deformed, fiction, subjective. So happens today to verbal thought.

The language stops to order reality in a fast and efficient manner. Look at human laws, how they drag for ages in courts, how they are corrupted and interpreted according to the money of those who appeal the law.

The language stops to become selective. Everything works. Every thing is said with the language. All irrelevant noise, irrelevant information appears. Such is the nature of the baroque not only of verbal thought, but of all human languages. We are in the baroque age of all human arts, and senses of perception.

Finally the language looses capacity to inform, it becomes blurred. So nobody believes any longer in the language, as the information the language carries diminishes. Hear radio, TVs, films. What they say to you that is real information? They repeat once and again the same shallow news, with minimal truthness, and information.

All what made the language a classic tool of survival disappears.

This however does not mean a language has not the capacity to say the truth. All languages when they are in the classic age, say the truth, and are perfect mirrors of the Universe.


 

CHAPTER 6: WHAT IS ART? THE EVOLUTION OF THE MIND

 

1: Social evolution, The languages of the collective human mind. 

 

Social, linguistic evolution in man

 

Regardless of the chemical mechanisms that transform sensation into perception, it seems rather evident that perception is the process of absorbing relevant information about the space and time parameters of the Universe. Such process requires to take only a part of the total energy and information, available in the Universe. This is achieved using an intermediate 'mirror', called a language.

We are not interested so much in the chemical processes, that permit the human mind to exist,  [in the hardware of the mind] but in the software of the mind - our languages.

Languages are the template that the mind uses to perceive the universe of time and space, in a reduced yet still meaningful manner, to help the organism to move and interact with that Universe. The languages of the mind are the software of the brain. In an external universe that constantly selects its species information is needed to survive. The role of languages is to process constantly such spatial and temporal information. You need information to survive in a Universe. You need information to escape enemy species, to hunt energy species, and to find similar species to yourself,  communicate and gather in social herds, that are more efficient than individuals.

In this manner languages help individuals to survive. Social evolution is caused by languages of communication. When languages are as in the human case, very sophisticated, they allow such a wealth of information and communication among similar individuals, that trigger the evolution of 'social organisms'. Those social organisms improve the capacity of the species to survive, because as a herd the species is stronger and bigger than individual species, which men hunt in group since the Paleolithic. In this manner humanity has progressed thanks to his verbal and visual languages. It has become socially organized, and it has dominated all other unorganized species on Earth.

For all those reasons we say that languages are the software element that dominates the brain, and the body of human beings.

It is not the chemical and genetic systems of mankind, but its visual and verbal processes of information what determines the power of man. So it is logic to think that languages determine, adapt and evolve the brain's software.

 

Linguistic memories: learning.

 

How the brain adapts to the evolution of the languages is obvious today:

The brain through learning processes designs neuronal networks, making human minds to adopt certain ideas, certain 'software connections', certain linguistic Universes. Those neuronal structures are the genetic memories of languages.

You have memories and mental programs in your mind, based on languages and cultural knowledge. You have Religious programs, semantic and grammatical programs, sexual programs, all kind of software that makes you behave in one way or another, speak one or other language, that adapts you to the environment.  Those languages are essential to your survival in the ecosystems of history - in human societies. So cultural ideas suffer also a constant evolution, and selection, [to which the neuronal software adapts], as any other species of the Universe.

Languages do exist, do have a physical support as a brain's software, able to evolve, and become selected, by their quality, and capacity to help the 'speaker' to survive.

We talk in fact of 'two material supports of languages': Internal neurons, and external, artistic remains.

For example, if you have a linguistic image of an ax, which is accurate and allows you to create an ax, you will increase your hunting capacities. You will survive in the Paleolithic ecosystem. So that software of your mind will survive, and become 'stored' as verbal and visual memories, as well as in real axes.

You will teach your son to make axes, transferring that 'genetic verbal memory', to him, both in neuronal networks and cultural remains. His neuronal networks will adopt forms that memorize that software... He will keep the ax you presented to him.

In this manner we can treat linguistic evolution, mental evolution like any other process of evolution in the Universe. As a selective, genetic process that improves constantly the capacity of the linguistic species to control its ecosystem. The chemical details are accessory. Indeed, in the same manner we learnt the laws of evolution of species, in the XIX C. well before we knew about the chemical mechanisms that store such evolution in genes, we can understand the evolution of the human mind throughout history, without the need of mechanical, rather irrelevant knowledge about the specific 'neuronal networks' that store a certain language and a certain cultural memory. It suffices us to know that languages are not 'magic', neither spiritual, but material, made of neuronal networks and that we can apply evolutionary laws to those networks and external remains, based on their efficiency as 'universal shapes', submitted to the external test of the 'survival of the fittest'. The 'spirituality' of languages, is an error caused by their 'lesser volume', and their 'faster capacity to mutate', as a species, compared to other 'genetic species' such as chemical information. Verbal and visual information is far more dynamic, and that fact has traditionally made it 'spiritual', since we men ignored for very long their physical origin. Today, thanks to scientific research, and thanks to our parallel understanding of computer software, [the mind of machines], we are able to understand better the meaning of languages, as physical species.

So we can apply the concepts of physical evolution, and 'the struggle between species', not only to 'bodies' of living beings, but also to 'brains' and their mind-software.

The Universe selects bodies of energy but also minds of information. That process of selection is the very essence of the process that has taken place in nature, among different mammal species, favoring the human species; and  in History among different human cultures.

You can compare that selection, to the selection of software that takes place in the market place.

 Software evolves and mutates, making obsolete old software. The hardware remains but its software is erased and changed, every new perfected generation. The robot or computer will then perform with the new software, and design different objects, depending on their software - if it has adobe photoshop, or corel draw. So happens to your mind.

The human brain does not change much. Yet his software constantly changes, and so it changes the actions the human being:

You will act differently depending on your mind software. Your acts will test and select that software which makes you perform better in the external Universe.

Other humans will repeat - will create genetic memories - of a new mind software only  if those ideas and tools are efficient to control the environment. In this manner linguistic acts and culture become selected as genetic memories that are transferred to other human beings through books, art remains, culture, education, and neuronal transcription, (from your mother's brain in the last months of pregnancy.)

So genetic-cultural memories, suffer a constant process of selection in the natural ecosystem of mankind, the Earth's ecosystem of History.

 


2: Art, the evolution of human languages.

 

Artistic remains: the genes of the mind

 

It is in that evolutionary and social context, where the importance of verbal and visual languages, acquires their full perspective. The evolution of verbal and visual ideas, is the key element, to improve the well being and survival chances of a human society. Who is in charge of that evolution of ideas?

A certain type of human beings, which have brains with higher capacity to process verbal and visual information. We call them artists, and define them as a special type of humans: "I think more with words, and see more with eyes, therefore I am a human artist".

Artists are the evolutors of the human mind, and art is the external, genetic memories, of that neuronal evolution of languages.

The languages of the mind, verbal languages, visual languages, mathematical languages, evolve first as forms of art. Sooner or latter those forms become the tools, and weapons, ideas and social networks, the elements of power of a civilization. So art melts and helps power to establish the systems of power of the social organisms.

Indeed, artists have shaped our environment, cities, customs and behaviors. Artists have designed the first forms in metal that became weapons and destroyed entire civilizations and animal species. Artist designed the coins that became money and created the most powerful language of power today.

Artists evolve languages, and humans use languages to create tools and organize society to control   the Earth.

This book studies those languages of the mind, their creation by artists, and the selective processes of those languages and ideas caused by History and evolution.

 

Individual art, and collective art: the mind of civilizations

 

Since all arts belong either to the realm of images [painting, sculpture, architecture], or sounds [music, literature], or combine both sensorial elements [theater, film], it is obvious that art is basically a product of the software of the space-time brain...

In that context is easy to analyze art, as the 'external evolution of the human mind'. As such art, goes beyond the biological constrictions of the human brain, and thanks to the dynamic capacity to mutate that the linguistic mind has, art can create new images, and new forms in verbal and visual languages. Those new ways to describe the spatial rules of the universe [aesthetics] , and its temporal laws [behavioral ethics] help humans to survive, and organize themselves in social herds.

So we can define the individual style of art as the evolution of the mind of the artist, and the collective styles of art, as the evolution of the collective mind of civilizations...

We will analyze in our book how art through history has evolved that human perception of the Universe, not only at individual level, but also at collective level. Since collective art as the mind of social organisms becomes the fundamental brain-element to understand those processes of survival and extinction of civilizations...

 

The social function of the artistic word.

 

In that context it is much more easier to understand the meaning of verbal art. Verbal thought, is the mind of civilizations, the collective subconscious. As such it has the same function than the nervous system of a body has: to gather all cells together, and harmonize the fight for existence, for energy and information, that each cell needs to survive.

In a society, humans also require a system of communication of social orders, that should allow the society to survive as an organism.

We talk of harmonic social organisms, when the verbal system, of religious ethics work in such a manner as to make the society just. That is, a society where all cells receive energy and information and survive together.

It is for that reason that the Ethic Law has been considered a sacred way of thought, and most religions [Islam, Christianism] consider the words of the prophet, the true pace to construct the Wor[l]d of the society. All those religions and ideological systems of power, have considered traditionally the word, as the nervous system that creates harmony in a society and allows the society to survive...

 

The quality of verbal art

 

We already explained why words such as bad=extinctive, and good=survival, are scientific:  In biology we say that weapons "extinguish" or wipe out humanity. In the old jargon of religions we say that weapons are bad. Both sentences mean the same. They carry the same scientific information. Both are valid scientifically speaking.

Thus, in the same manner there is truth and lie in any statement about biological evolution, there is good and bad, which says the truth or lies about the social nature of mankind, and the correct behavior of men, within the organism of history.

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 their 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. 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...

 

 

 


3. Market product Versus sacred art.

 

Today the concept of art has expanded well beyond the classic meaning of art in history, which will be the concept used in this book.

This extension of the 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].

 

The human mind, the Universe, the World and the world of artists

 

This second definition is what interests us here: Art is a form of knowledge because it is related to the more complex senses of the human mind. 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 acts of mental perception that 'evolved' the human mind, beyond its natural level of perception and creativity.

It is important that you realize, your mind creates constantly the reality you perceive.

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" [1]

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 visual and verbal perception are 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.

That is 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.

Yet 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 his 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.

 

Word Art and Sight Art, perceptor 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. 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 his 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.

 


4: Artistic styles: the mind of the individual, the mind of the society.

 

The style of an artist, and the style of a society.

 

The present earth is changing from a historic ecosystem of human organisms [civilizations] into a single ecosystem ruled by metal organisms [company-mothers, machines, 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 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.

So art, as the social networks of information of civilizations, was not so much an individual phenomena, but a collective phenomena. 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 his 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 their 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 Televisions, internets, and all other forms of industrial information, 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 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.

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] their evolution [industrial research] and their 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 their company-mothers. While the biological freedom of the citizen, of the human being, were the ideals expressed by the art wor[l]d of historic civilizations.

Those facts have of course enormous political relevance, but our concern in this book is art not politics. We mention them, to understand why historic, social, religious art and his ideas, clash so deeply with modern ideologies and yet it was 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.

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.

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 his 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 his 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 his mind experience through his 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 organic 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 is 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 their 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 their 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. 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.  We cannot ignore the fact that ethics and religious thought have controlled mankind. 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 accept money and war, and repress sensorial love.

Since there is so much confusion about the value of verbal thought, and the canon of ethics in history [[the canon of beauty in visual arts is self-evident] we will analyze briefly the social role of verbal thought and religion in history.

 

We have now completed a logic, bio-logic we might say, vision of what human languages are, what is the role of human individuals in those languages, and specifically what is the role of artists in the evolution of languages.

Among those roles, by far the most important, is the role played by 'verbal artists', which are the fundamental 'nervous-informative network' of civilizations.

They are truly the mind that guides societies and their cellular individuals, through 'verbal ideologies' about what is right or wrong to do. Today their role is played by money which gives through salaries and prices, those orders to 'economic humans'.

 

Vested Interests: the promotion of individual art.

 

Recently I saw a surprising film by Tim Robbins, one of the few independent minds of Hollywood, on the work of Orson Welles, perhaps the best American artist of the XX C. during his theatrical age. He tried to do social art, a kind of Theater promoted by Bertold Bretch that both would amuse and educate the people on the nature of company-mothers, and their exploitation of human beings. As company-mothers counter-attacked and destroyed the Theater for the people, cutting down subventions, the 'winners' of the ideological fight between individualistic art and social art, gather together in a table. They decide to promote aesthetics not ethics, individual art, not social art, the egos of artists, not their social role. That meeting between Mr. Rockefeller and other moguls probably never happened. Yet the ideology behind XX century art was clearly reflected in the film. Company-mothers acting through their control of money design the reality of mankind in all matters including art. It is not needed the individual meetings of a few moguls, but the concerted, millenary ideologies of Gold cultures owners of company-mothers, working in the Head of each Jewish, American, or British stockrat that buys art, to create a certain market of art, and a certain fashion for one art and not the other. Arnold Hauser has analyzed masterfully the way society controls art, and we will show to which degree the control of society by 'animetal castes' for most of history has established the 'authorized art' of each époque.

Today the same procedure works to authorize systematically individual art over social art, aesthetics based in spatial art, over ethics based in temporal, verbal art, and the ego of artists as opposed to the morals of artists that boast the ego of mankind.

Those 3 clear characteristics of all modern art: spatial simplicity, individual concerns, and egotistic artists, have a clear goal: to eliminate the sacred, social role of art and literature, as the informative guide of human beings, to allow money and its ideologies of consume=test and reproduction=work on machines, to dominate the times of human beings.

The paradox of History - the control of the human ecosystems by company-mothers their machines and their evolutionary and reproductive tendencies against the will of man, our social evolution, education and promotion of carbolife ecosystems and human goods - is again at work in art.

Since the arrival of Company-mothers in Amsterdam, we assist to a radical change in the priorities of artists, that adapted to the new ruling power of society, the company-mother, the machine of science, and the monetary language.

The change was clear when comparing the work of artists in the last countries in which art was sacred, still ruled by Human verbal systems of power (Italy and Spain) and the first modern country ruled by money and company-mothers (Holland). Dutch art is individualistic, abhors sacred forms and social roles - to the point that churches forbade art in their temples - and becomes consumed by the individual Gold believer. Craftsmanship dominates Holland - clothing, chinaware, furniture. Painting of sacred subjects disappears to leave way to individual portraits, food, scenes of war and gunboats, and the first company-men in corporate portraits. The new power of the first Company-mothers of gunboats substitutes with his patriotic war scenes and group portraits, the old scenes of religious nature, and apostles. The Herren XVII - the boardroom of the first Company of History - portrayed by Rembrandt are the symbol of this age, sharply opposed to the 12 disciples of the Last Supper by Leonardo.

The canon of art, the role of art as the guide of human beings towards their perfection as cells of the social organism of History, that the master work of Leonardo represents is now substituted by a realist, even negative portrait of men driven by the coldest passions of money, greed, and despise for the human lot. The figure of Leonardo himself, as a man who is a top predator of informative languages, and believers he can understand fully the Universe, as Aristotle before him of this author after him believed, they could, is now substituted by the craftsmanship of the Dutch painters, who are conscious of their limited role, and make of money the ultimate valuation of their social status as artists.

However even if the canon of ethics is substituted by the canon of aesthetics, and that canon is latter degraded loosing his human dimensions during the Industrial revolution, even his human forms with the Bauhaus, geometric and abstract styles of the XX century that imitate the forms of metal, it is a fact that the greatest artists of the age of Metal feel still the nature of art, as the guide of society, and the natural empathy that an artist, as a cell of a human society feels for the human kind.

So in the XVII century the biggest work of literary art will take place in Spain not in Holland, in the poetry of Saint John and Don Quixote, the parable of History defeated by economics; and in the work Shakespeare inspired by the Italian renaissance, and the Middle Ages, not by the gunboats and pirates of a newly founded England. And as we move into the next centuries again we will find that those nations where Company-mothers established their power first, in England and America, art looses all creativity, while the French and Russian writers with their social, catholic, revolutionary background become the great commentators of the human spirit. Again in painting, we are surprised to find that the Spaniards, a civilization based in the canon of ethics for millennia, with the colossal figure of Picasso, a communist militant, with their portraits of the suffering poor, his Guernica, and his tortured human figures assisting the destruction of mankind as a whole, raise miles aHead of the works done in that age by the British industrialist and their decorative art, from Beardsley to the pre-Raphaelites, or the academic works and good society portraits of the Americans. In that sense there is no doubt that there are 3 basic kinds of art, by their level of quality and importance in the human adventure:

 

- Animetal art, rhetoric of fictional art, that caters the needs of the ruling social classes, and their desire for self-vanity portraits, golden jewelry, huge homes, temples, palaces and fortresses, void of all significance and very seldom in touch with the real spirit and proportions of mankind. It avoids the accurate portrait of the greed, violence, and corruption, of Animetal cultures, for obvious reasons of survival. Since artists working for animetals tend to distort and idealize in an empty manner the works offered to their masters. So it is art rhetoric and fictional by essence, that escapes the human proportion. It is megalomaniac in size and content, deformed to cater the deformed mind of Animetal warrior cultures.  Or empty of significance, decorative and close to crafts in Animetal Trader cultures that consider art another product of trade. We find in this category most of the art of industrial warrior nations such as Germany, and Trader industrial nations such as England and America.

 

- Individual art, made by artists with individual genius, that explore either the basic laws of the Game of Existence, its harmonies and forms, or reflect with accuracy the inner and external nature of individual spirits, spatial forms, and organic shapes. This art dominates the last centuries and reaches in some works, such as those of Rembrandt, the Impressionists, Van Gogh, Flaubert, Dostoyevsky or Proust, an extraordinary quality in the analysis of man as an individual. It is created in those nations outside the main core of Industrial Companies, Russia, France, Italy and Spain.

 

- Social, collective art, which still is and will always be the supreme form of art. Rooted in the tradition of Social religions, it spreads in the individual work of several genius, across all nations, showing how the ultimate ideal and canon of the human spirit still lives and will live till the last human being speaks with words and sees with human eyes. If this kind of art was during centuries religious art, in the work of prophets and sacred painters, during the age of the machine appears rooted in social doctrines of international solidarity among human beings. The work of Tolstoi, Hugo, Hesse or Orwell in literature; the paintings and sculptures of the renaissance that establish the human canon in an age of balance between man and machine; and the paintings  and sculptures of the Spanish XX century school (Gonzalez, Gargallo, Picasso) which establish the canons of suffering of our species as it is degraded and destroyed by the machine, testify that the ultimate nature of art and literature will always be the same.

 

 

Since this book is about human art, not about economic nations, we are interested in the highest forms of art, that cater to the social informative networks of mankind - the verbal networks of societies; which have been expressed through literature, in its most complex ways, philosophy, and religion. So we will study in more detail the canon of verbal art: Ethics, that in all healthy societies should control the other canons and elements of the social organism, as it did in the classic age of mankind - the age of the Word.

 


6.The canon of ethics:Verbal information, the human temporal language

 

The Nature of social truths. Social truths exist.

 

There is an absurd belief, a myth in modern thinking that says truth cannot be found in any language of knowledge. That there are many truths specially in social sciences, or any science that uses words, unlike in physical sciences, where there is supposed to be only one 'scientific, mathematical truth', because only mathematics are real, are the language of nature. This is a myth about which we have spoken in many books. So it is the idea that we should respect any opinion about our societies on equal basis, because there is multiple truths, and none is better than the other.

In essence they deny the possible existence of a science of history, and a science of economics, any science of survival of the human kind, based in accurate information about reality.

Those who hold that idea, add that if there were only a truth about social systems, there would not be freedom of thought.

They misunderstand the meaning of thought. We think in order to be efficient in the real world, in order to survive. We do not think (beyond the realm of imagination and fiction-writing), just for fun, or in search of abstract truthness, but we think as all species do, in our biological language, in order to know reality and to improve our lives, manipulating that reality. So we need to know the truth to be efficient and survive. Let us put some examples: we do not expect freedom of thought if we decide to have a coffee. There are certain steps to make that coffee and we follow them. We do not have freedom of thought when we drive in a road. It is considered primitive and dangerous to drive in the middle of the road.  You will crash and die. Roads are a system of distribution of energy, that require a certain design and certain laws of behavior to maximize the efficiency of the people that use roads [travel in minimal time and with minimal risks].

 

They are the organic network of information and survival of societies.

 

So happens with societies of human beings and their languages. We want to live in societies that are correctly designed and managed by laws that are just, and obtain the maximum satisfaction for all citizens. Such design of a social system - our nation - which basically is a macro-organism of human beings, organized to distribute among them energy and information in the best possible way, is not free, but ruled by laws, the laws of nature, the Universal laws that make certain social organisms more efficient than others.

In the same way a road system has certain optimal design, a society of human beings has a certain optimal design. A chaotic road system provokes many accidents and death. A chaotic social nation provokes social illness such as wars, poverty [lack of energy] and ignorance [lack of information].

It is then absurd to proclaim that we should not try to design a well-ran society according to the laws of social organisms, and instead arguing eternally in parliaments and campaigns about it.

Yet many people hold the right to say whatever they think about society and impose their opinion because they are good at making speeches and convincing the mass of population they are attractive, and honest people. The degree of amateurism among the politicians that run our nations always has surprised me. There is not such amateurism in any science, not even in companies, where directors have studied the science of economics, enter a hierarchical well-run system, and are elected by their merits, and have a generic goal of improving the production and profits of the company.

This does not happen among politicians because of the myth of 'freedom', and the passion of politicians to argue, not to think together in the best way to resolve and improve the nation.

 It seems for those politicians that men are outside the laws of creation, and human societies are not organic systems, whose behavior depend on the way we build up our systems of information and energy, but rather chaotic systems, of unconnected individuals.

Moreover for most politicians such chaotic systems should not be improved, or designed in a way that each individual achieves the maximum advantages from the system. We should be always quarreling about how to construct our societies, and let every body go his way, living in permanent chaos. Today, politicians have the freedom to receive bribes; and so they cater to a few wealthy individuals, not to the welfare of the entire organism.

We are rather talking of selfishness and abuse of power, not of freedom, when those facts are put on the table. Most people just want an efficient nation, where energy and information runs freely to all the cells of the social organism.

Not a nation where freedom is understood as the control of society for the betterment of a few individuals, politicians and industrialists that buy them, and control the law. They hold rights of control over the information and energy systems of the society, and want to keep that control.

Companies who invent money in the stock market talk of the need for a government without rights to invent credit [deficit zero]. They call that desire to keep for themselves the privilege of inventing money, (the informative orders of the nation), 'the freedom of the market'.

Mass-media organizations who control the information that runs through the systems of televisions, newspapers and books of our country want the freedom to say 'whatever they want', and deny systematically their outlets of information to people who have different ideas to theirs, who want to make 'documentaries' about reality, and inform the citizens. Instead they claim the freedom of mis-informing systematically the population with massive doses of irrelevant fiction, a systematic boycott to documentaries, and social ideas and massive doses of propaganda in favor of consume and violent behavior.

None of those organizations acknowledge an organic vision of societies, none of them realize that only a nation where the information and energy systems distribute enough quantity of human goods, and proper human verbal information to all the citizens, will be a free nation, a nation in which all citizens can maximize their lives, and work for the common good, for the evolution of our civilization, and the survival of our species, of history.

 

Truth exists in languages, mirrors of a single universe.

 

Truth exist in social systems. Social systems have to be designed properly in an efficient manner to allow the real freedom of their citizens. That is the truth of societies.

The idea that there is not a proper way to design societies is the idea hold throughout history by ignorant or selfish people. The reasoning that backs such ideas is simple: since we do not know the truth about organic societies, there is not reason, for any type of social behavior. Two arguments prove the existence of efficient, social systems: an organic system which is ill-designed is not efficient and it will become extinct by war, or conquered by a better social nation, submitted to the laws of evolution and extinction. Then it will not exist and its truth will cease. So efficient laws and efficient languages select nations.

On that view the present lack of well designed societies means that our verbal languages are decaying, and being preyed by new languages and new species:

The digital languages of company-mothers, machines and money, who rule and control human social organisms.

We have to conclude that the non-existence of social truths, and verbal truths, of ethic and legal truths, and a single ideal about how to run human societies, is the product of another system that preys and controls the verbal system of mankind, of another language whose truths are obeyed, and whose truths control the survival of species. That language is indeed the digital languages of sciences and money, not a higher truth about reality, but at truth that has imposed itself to mankind. When Money became the only language of power and information in human societies, it is indeed when ethics and laws decayed, and verbal truth became fiction. This happened first in Greece where coins and mathematics were invented.

Apparently in our digital societies, ran by mathematical orders, Verbal thought is free when 'freedom' means only chaos, fiction, lack of truthness, which is one. What happens is that in our societies, verbal thought is no longer the top predator languages. So it has not control of monetary information which rules the acts of governments and our citizens. To achieve that power 'animetals', who speak digital languages, company-mothers, scientists, and trades, have debased verbal thought, invented the myths of freedom as synonymous of multiple opinions and lack of truth in verbal words, and finally established weak systems of legal power, called democracies where many people rule. Any biologist knows that an efficient organism has only a Head. So happens to company-mothers today, with hierarchical systems of world power, and a single Stock-market network. They work as efficient organisms that prevent the Human Word system to rule our societies. Not so, the verbal politicians of monetary societies, who work in non hierarchical organizations [governments] of lesser power than their parliaments, in which castes of traders buy their political site, and act to favor money. So in digital societies the freedom of words and the will of citizens to rule societies is a placebo freedom, expressed by writers, and voters, without abiding power.

Such is the reason digital societies weaken the power of the social 'verbal brain', dividing verbal governments in different 'Heads' [judges, executive, parliaments], all of them ruled by company-mothers of machines and money.

Athens in old Greece is the classic example that perfected the system, of powerless verbal thought, which hides the real power of monetary castes. Athens was in fact a society that never worked politically and could not defend itself against real dangers. Finally it was destroyed by a militaristic nation [Sparta], far more efficient as a political system. So it happens with our democracies, so weak that whenever a militarist age comes [fascism, colonial empires, present technological empires] the will of people, the verbal will of man has no way to defend itself.

Moreover, people with power know this, so they tend to provide wrong information and hide information to control verbal, temporal truths. This is very useful, because we act according to the information we have. If we do not have information we do not act. If we do not see the bottle of beer, we will not ask the owner for a shot of beer... If we do not know that people invent money in the stock-market we will not ask for a fair share of that money as citizens of America... So historically there has been always a control of truths, by those in power, from the age of inquisitions, when the church controlled information, to the modern systems of control of information displayed by companies of mass-media attached to groups of power. Part of that strategy is to deny that truth exists in verbal thought. So people will not ask for truth and evidence, in verbal terms.

How can we correct those deficiencies of verbal truths?

First, by becoming aware that verbal truths are tendencially manipulated by groups of power.

Then by understanding that the against the manipulation of truth, there will always exist the laws of the Universe, the biological 'method', the capacity of multiple languages to contrast the truth, and overcome the myth, the power of reason, of the natural emotions of survival, feelings and beauty of words, which tell us what is right.

In a word, the canon of Ethics that all men have within yourself.

Trust your heart, your feelings. They will guide you to the truths of love and social evolution, of beauty in words, that have always guided the verbal masters of history.

 Against those ethics and forms of logic thought, the animetals, the arrogant, Galilean men, the myth-makers try to lower your capacity to reason, expressing lies about societies with myths, and tales of happiness, with infantile, dramatic ways.

You have to understand that the manipulation of truth, is systematic, and based in a few 'tricks' that tend to become repetitive in societies. And cultural tricks, myths on ethics and aesthetics are fundamental to that process.

Again we could put a visual example of such tricks. You can cheat on the colors of things, with a filter of colors, that transform them. However that crystal will transform those colors always in the same manner. You can diminish light on the scene, but light will be lost in all objects... Those visual tricks are known: We can light back the scene through computers, and put back the colors properly. Only when there is no information at all we cannot reconstruct the visual truth.

 

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