A warning to the reader: This article argues that modern science has been turned upside down, revealing the remedy to Steven Hawking’s observation that the greatest mistake humanity has ever made was to invent artificial intelligence. The correction to that mistake necessitates an up-to-date familiarity with Buckminster Fuller and C P Snow’s third culture, in which human survival is about gaining a new perspective on the unification of Science with Art.
Rather than this new perspective constituting an attack upon science, it draws attention to the crucial importance of Fuller and Snow’s synergistic Science-Art concepts. The effort to place those concepts within the perspective associated with very recent, crucial scientific discoveries, will allow for a better understanding of the nature of reality, in particular, relevant to carcinogenic growth and development.
The Feb-Mar 2016 issue of Philosophy Now contained an article by Magdalena Scholle about how the philosopher, Nietzsche, inspired Dali. Her observation that Nietzsche’s first book The Birth of Tragedy deserves particular attention by art critics, is now one of pivotal scientific importance. Evidence exists to demonstrate that Dali’s intuitive assessment of Nietzsche’s Two spirits of art, as he diagnosed it, included one spirit being an expression of an inner stereoscopic evolutionary phenomenon.
Scientists argued that Dali’s well known obsession with what he called “stereoscopic art” failed to resonate directly to the viewers’ vision. During 2003, asymmetrical electromagnetic 3D viewing glasses were manufactured and later sold along with their patent (USD669522 – 3D glasses) to the entertainment industry. The scientists that created them noted that some of the paintings by the artists, Vincent van Gogh and Paul Cezanne, when viewed through their glasses, depicted stereoscopic images. The philosopher of science, Immanuel Kant, laid the ethical foundations of the Electromagnetic Golden Age of Danish Science. Both he and the philosopher, Emmanuel Levinas, had diagnosed Plato’s search for an artistic ethic as being an asymmetrical electromagnetic vision belonging to the creative mind.
Dali’s passionately felt inner stereoscopic artistic inspiration has now been made visible and measurable, as an evolutionary process. This fact warrants the critical attention by philosophers of art that Scholle advocated. Asymmetrical electromagnetic visual observation now reveals that artists all over the world, during the 21st Century, unconsciously paint much more dramatic 3D stereoscopic images than artists throughout recorded history. The critical attention to this by philosophers of art will involve overcoming the severe culture shock of medical science being turned upside down by the new stereoscopic awareness. This is ethically preferable to the entertainment industry ignoring it.
Eminent epidemiologists have noted that an acceleration of the commercial manufacture of stereoscopic 3D information and communication devices has brought about a dysfunctional 3D global epidemic. This problem was summed up within an MIT Technology Review by David Zax July 29, 2011 entitled, Does 3D Hurt Your Eyes? Yes, Says Science – ï»¿Now how do we fix the stereoscopic mess we’ve gotten ourselves into? Zax refers to a paper published in the American Government’s National Institute of Health’s Medical Journal of Vision, July 21, 2011, in which it states “ï»¿The paper almost treats 3D like a strain of some virus that can’t be contained, only treated. The assumption appears to be that 3D is here to stay, and that as good epidemiologists we must do what we can to mitigate the damage it inflicts.”
The natural evolution of stereoscopic inner vision and the stereoscopic epidemic explains Nietzsches’ ‘two spirits of art’, referred to by Scholle. The above mentioned culture shock embraces the same problem that C P Snow attributed to the functioning of mainstream science’s mindset.