Painting a picture of the creative mind

Birth of the New Man
Salvador Felipe Jacinto Dali
(11 May 1904 - 23 Jan 1989)






In the early 20th century, the work of Sigmund Freud helped cultivate Surrealism and other deliberate attempts by artists to capture the unconscious. With poet André Breton's 1924 plea for "pure psychic automatism" as their manifesto, Surrealists hoped to tap directly into dreams, fantasy and other subliminal churnings of the mind. Paintings by René Magritte, Max Ernst, Salvador Dali and others traded heavily in incongruous imagery -- a locomotive powering through the back wall of a fireplace, a pocket watch melting over the branch of a tree -- often rendered in a frank, almost reportorial style. Film director Luis Buñuel conjured nightmarish dream states in "An Andalusian Dog." Poet Paul Eluard and others experimented in "automatic writing," attempts to free the unconscious in streams of unmetered language.



Steven Winn, Chronicle Arts and Culture Critic

Salvador Dali & Gala Born From An Egg


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Dear readers,

My questions are: << The Creative Mind has unconscious possession of Universal rules? Is it possible for the creative mind to acquire complete consciousness of that rules? Does the Creative Mind potentially able to trascend the categories of time and space?
Does the Creative Mind travel consciously across the Symbolic to act new creactions
inner the time and the space of ordinary reality?>>.

Anna Laura Serra.

ArsScientia

Sorry for my English!

I searched on this subject in internet

Results are discouraging,the various theses are without any scientific foundation.
They are finalized to support several theories that create confusion,
theories that do not clear the field .
Symbolism, theology, art and science, are mistificate. Without
criterion. Animism, superstition and discoveries'science are mixed and served
to the people with one good sprayed of new age.

Is it possible to give birth to another analysis'system, to demostrate in a linear line, which are hidden constituents of Art, leaving out dangerous interpretations due to our atavistic ignorance?

What is the right route map to achive this goal?

Anna Laura Serra

Decagonal and Quasi-Crystalline Tilings in Medieval Islamic

Peter J. Lu1* and Paul J. Steinhardt2
The conventional view holds that girih (geometric star-and-polygon, or strapwork) patterns in medieval Islamic architecture were conceived by their designers as a network of zigzagging lines, where the lines were drafted directly with a straightedge and a compass. We show that by 1200 C.E. a conceptual breakthrough occurred in which girih patterns were reconceived as tessellations of a special set of equilateral polygons ("girih tiles") decorated with lines. These tiles enabled the creation of increasingly complex periodic girih patterns, and by the 15th century, the tessellation approach was combined with self-similar transformations to construct nearly perfect quasi-crystalline Penrose patterns, five centuries before their discovery in the West

Peter J. Lu1* and Paul J. Steinhardt2

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Dear Readers,


The Lu-Steihardt research raises new interesting hypotheses:

1) Is it, the work of all Arts, a shapes'mirror showing in a simple undiscovery way, the ethernal laws of matter and antimatter?

2) Is it, every Knowledge, expleined by Nature in endless multiform pattern?

3) Is it, every Knowlegde acted by Humankind unconsciously from
our origin trought the history's time?

4) Is it, the Artist truly consciously penetrated into the architetture of Cosmos?


Sorry for my English,




Anna Laura Serra.