"The mind is a compact, multiply connected thought mass with internal connections of the most intimate kind. It grows continuously as new thought masses enter it, and this is the means by which it continues to develop."

Bernhard Riemann On Psychology and Metaphysics ca. 1860

"It is clear that the minds are the most important part of the universe, and that everything was established for their sake; that is, in choosing the order of things, the greatest account was taken of them; all things being arranged in such a way that they appear the more beautiful the more they are understood."

G. W. Leibniz

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Monday, March 04, 2013

The Subversively Ironic Joke of the Diotima Principle in Art and Science

In Shakespeare's the Merchant of Venice, Portia, like Mozart's Pamina in the Magic Flute performs a service that is emblematic of dissolving the obscurantism of superstition of symbolic magic of that particular time and era. This recurring principle reverts to all so called mystery religions from time immemorial worship of a infantile belief in the Sibyl in mythology. In every instance great artists have exposed the oligarchic use of "mind control," or perhaps better "below the belt" control.

For Shakespeare the target is the then current Cabalistic (with a capital C) Rosicrucians of the Tudor court. For Mozart it is the ritual of masonic Magick (with the obligatory ending "k.") So too did Cervantes utilize Dulcinea del Toboso as the joke against the Spanish soap opera quality in romantic fantasizing.

As I have attempted to advance from time to time in these pages a rebirth of method of anti symbolic truth seeking reverts always to the classical radical anti oligarchy philosophy embedded in Plato's method of questioning the underlying hypotheses of society's ruling assumptions. So too, properly situated, did Bernhard Riemann's Hypothesen, lead to the undermining later of Bertrand Russel's symbolic (or magical) logic by Riemann's acolyte Gödel.

Just as in Dante Alighieri's Beatrice and Beethoven's Fidelio, so too in Plato's Diotima an overturning of the oligarchy's hold over a superstitious and manipulated audience evolves. Here, as with LaRouche, from the adumbration of what Leibniz held as sufficient reason, does the categorical separation of art from science become inconsequentially meaningless.

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