On the strange influence on the art

[mezon]

In the work of many human mysteries. The case of sudden illumination, a titanic work, the influence of other cultures do a variety of creative, endless and unpredictable. On the influence on art and artists of different spheres of mental activity, and conduct of the case I would like to talk in this topic. To start with Article V. Koshkin on the strange synchronicity of Physics and Art

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On the strange synchronicity of physics and art
V. Koshkin

                        Let's talk about the strangeness of love.
                        There is no other I can not imagine the conversation ...
                                   Pushkin, from "Gabrieliad"

I again brought the country seems to be an association: combined space and time, Picasso, and (quite differently) in Roerich's - and the combined space-time in the theory of relativity and the probabilistic sense of reality in quantum physics. Nothing in common insights Picasso - and Einstein, or Joyce, Monet - and Schrödinger, of course, no! Yet!
And yet there is a striking and significant, in my opinion, a coincidence. The latest physics - the theory of relativity, and even more so, quantum mechanics - forced (almost) give up visual images of physical bodies, inexplicably turned out to be simultaneous with similar events in the arts and in scientific and practical psychology. Time, our, the human being, our history, the history of mankind somehow dictated EXCLUSION OF CERTAIN IMAGES of the nineteenth and preceding centuries, the refusal to fix it this way (and only) at the moment. There was a need for new understandings in the film world, with the rejection of visibility, from the "household" visual understandings of classical painting - and classical physics. And classical music, based on the symmetry and harmony. Even the music at this time Schoenberg came with atonic, recitative, with dodekafoniey. Almost simultaneously: the joint space-time in Einstein and the combined image memory in the space-time with Picasso. Almost simultaneously: very different uncertainties and different interpretations are equally important reads of the same (seemingly!) Of the object by different artists and still-relevant interpretation of phenomena in physics and phenomena in the psyche. Freud's psychoanalysis and surrealism of Dali and Kafka. Soaring in the sky over Vitebsk love Chagall, timeless and extradimensional - almost abstract, almost symbolic.
  Symbolism Churlionis, which probably was one of those who opened their creativity abstract, yet figurative - but not copied, and synthesizing art. Existentialism Camus - fabric of life, composed of individual small little fact-parts. Impressionism of Debussy, who stepped down from integrating logic to short musical tunes smears emerging in the general emotional pattern of the play - just as in the paintings of Monet and Seurat with the ideology of separation "common color on clean, discrete colors ... and the quantum physics of Bohr, Schrödinger , Born and Heisenberg, which proclaimed the probabilistic nature of the physical world and the ongoing interpretation of physical states as the superposition (addition) of discrete "pure" states ... theory of relativity and quantum mechanics have shown that the observer, the subject of measuring the physical parameters essentially determine the measurement result. Subjective and objective in determining the mix of physical entities. The same revolution has taken place in the arts.
I am not in the least inclined to mysticism and do not intend to look at these amazing coincidences some otherworldly effect. But some incomprehensibly immense transformation of the human spirit in the creation and understanding of the arts (music, literature, painting) and in the constructions of science (physics, biology, psychology) really are synchronous and they probably are interrelated. I do not pretend to "inclusiveness" and even on the correctness of the following statements. Man forced to communicate with all the high-velocity change of circumstances in their lives. Art reacted to this synoptic abstract art, impressionist color separation, which merge into a single image when viewed from afar or at a fast glance. Physics "communicates" with more and more energy, and technology, which it defines, offering an increasingly fast pace of life and its rate of change. Well, people in the outer space for him psychologically to adapt: to keep pace grasp graphic symbols of objects and phenomena and generalize their very colorful palette. This is - an attempt to understand why the art and science of tectonic its manifestations in sync.
However, such changes in the synchronicity of different manifestations of the spirit of humanity has already passed before in its history. Renaissance SYNCHRONOUS - for three centuries - has manifested itself in philosophy and theology (Luther, Calvin, Giordano Bruno, Erasmus, later Francis Bacon), in painting and literature (Giotto, Dante, later, Petrarch, Rabelais, Shakespeare, Cervantes, Boccaccio) in science (Copernicus, Galileo). The last stage of the European Renaissance - the beginning of modern times. It replaced newest - when over a century, even less, while there have been dramatic transformation, and artistic and scientific mentality. This was the last twentieth century.
Transformation, we were talking about - this is a paradigm shift of consciousness of a tectonic scale. There are no such large-scale changes, which also is no less astonishing synchronicity in completely different activities of communities. Economists are used to predict the law of long waves in the economy, found in the thirties of last century by the eminent Russian scientist N. Kondratyev (he died shortly in Stalin's camps). Kondratieff cycles have a period of about fifty years and are found in all economies. Later, a famous mathematician Maslov showed that the architectural style of churches ( "classicism - the Baroque") in Russia for six centuries underwent periodic changes - with the same fifty-year period. V. Petrov, K. Martindeyl and your partner independently and with different co-authors have shown that the same fifty-year period found in the styles of music, painting and literature in different countries and also simultaneously. You will find links to these quantitative studies in the book. In the second part of the book you will find the analysis of why the style of the manifestations of culture, fashion, for example, as well as political preferences change periodically. Now - just the coincidence of periods of different manifestations of human activity - from economics to music and literature. S. Maslov said that "a spirit" even a little ahead of changes in the economy. My colleagues and managed with the help of statistical analysis to confirm that changes in economic indices, at least not ahead of changes in the cultural sphere. Spiritual change "in the consciousness of society ahead of the economic, material? It seems that this is the case.
First word? - First word!
The nature of the periodic changes can be understood and described. It took another N. Kondratiev (and his followers) in the economy, later I tried to propose a more general mechanism of these oscillations using a phenomenological model taking into account feedbacks in a statistically tied systems. You will find links to these works at the end of the book. But changes in the synchronicity of universal self-awareness and economic life of the human population at the tectonic level - is a manifestation of such deep connections, the nature of which I was not given to recognize.
In the mid-twentieth century, Charles Snow, a prominent physicist, writer and politician, saw the trend: the representatives of humanitarian and natural scientists are no longer understand each other. Here (from memory) quote from Snow: "the humanities are accused of physicists in ignorance, but they do not even know what a" second law of thermodynamics. "(This physical law is important for understanding the general trends of development). But does" physics "are able to project ideas Jules Verne, Camus, Kafka, Dali, Magritte, Strugackih or Stanislaw Lem in the understanding of Nature? "However, Einstein was well aware of Dostoevsky's work and thought that this writer has influenced his art physics. (You can read about it in a beautiful book, BG . Kuznetsov, Einstein and Dostoevsky "). And yet: in the intellectual life of mankind during the past century and a half developed" two cultures, two different cultures - the culture of scientists and the culture of the humanities - read independent of each other. Even the "inside" the natural Science has no understanding. among psychologists and chemists, for example, though it has long had a chemical Pharmacopoeia for neuro-and psycho-pathologies. between physicists, chemists and biologists, although there has long been the successful allied sciences (biophysics, physical chemistry, molecular biology). Between mathematicians and linguists, although it is mathematical linguistics and statistical study of literature. In ancient Greece (in ancient Rome in part), science and art were seen as a whole. Then there was differentiation of knowledge, and through many centuries - again, an integrated knowledge and integrated work. Impersonate this Revival of the spirit of ancient Greece - Leonardo da Vinci, who again combined in one person every conceivable manifestation of human intelligence. "Leonardo - a symbol of greatness for all time. The eighteenth, nineteenth and three-quarters of the twentieth century was again brought to the differentiation of narrow professional, to rule the specifics of of the aspirations of not only themselves intellectuals (mostly poor people), but because of "social order" money masters of life who understand that intelligence - a reliable scope of capital investment. Businessmen rarely make mistakes. And their choices in the twentieth century was not a mistake. I I think - I am convinced that the twenty-first century will be one integrative knowledge and the triumph of interdisciplinary sciences. In them will be "investing." telecommunications, became a sign of the end of the twentieth century, has radically altered the possibilities of universal integration and mutual influence. I have recently published with colleagues book "Introduction to Natural (Koshkin Sinelnik, Shkorbatov, 2006), which attempted to identify the need and possibilities of this approach to education that provides a common understanding of science in general, including the human sciences - in a single context. Here and now I I only want to emphasize the unity of nature in all its manifestations and the probabilistic nature of the implementation of its laws - and in physics and in art.

[natacha_m60]

On this subject very well written S. Zweig in his book "Star Hours of mankind" (such as history of the Marseillaise), I recommend reading.

[mezon]

Continuing the theme of the relationship of physics and art was revealed to me more depth of their relationship. I hope it will also help you in understanding the interaction of classical, contemporary art and people.

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«Most philosophers of science recognize that any explanation of modern science, particularly physics, is a separate phenomenon can not be absolutely true, because it can not be unambiguous. Absolutely true, it would be description of the phenomenon through a unified theory of all reality, but as to create such a theory, apparently, can not, any description of physical phenomena will remain only possible (and so can explain), acceptable, like truth, suitable for our purposes, calculations, etc. In Greek, all these definitions can be expressed in one word eikos. And then can not remember that Plato described in the "Timaeus" its arguments about the sensually perceived, that is, in fact physics, eikos logos.
Interestingly, in mathematics this is the case, apparently, quite different. There is no need to seek a unified theory of mathematical objects to using it for the first time to see the triangle in its true light. Suppose that Euclidean geometry is only a special case of a more general geometry - all the same sum of the angles of a plane triangle will equal 180 °, as well as do not change, and other properties of plane figures.
How would physics has not tried it, says Plato, can not go beyond the credibility and reach the truth, because it reveals eikos on things that exist in the way eikones - similarities. "Talk eikos" means to speak through the likes of, to create images (icons), as do artists and poets. In the understanding of Plato, physics approaches rather with art than with science (mathematics). In contrast to science, the thing intelligible, like the art of studying the physics of the sensual world. But the sensually perceived not know it can be represented or, at best, create. The artist, says Plato in the "State", depicts not the idea of a bed, a bed, made a craftsman. The same way a physicist describes not intelligible cosmos, and his visible incarnation, created by the demiurge. Therefore, the arguments physics, as well as pictures of the artist, the essence of "similarity of similarities" and "shadows of shadows", situated on the "third place on the essence, ... from the king and the truth." They are the product not of reason or rationality, as the five listed by Plato Mathematics and the lowest psychic abilities "eykasii" (eikasia - assimilation), the ability to create a similarity or guess at them on are like. »
In the physics of the nineteenth century it was believed that the body motion can be represented as savokupnosti material points which move along certain trajectories. Just describing wave processes which constitute the movement of energy in dense media. To understand what the question was enough to present in front of the sea: the particles (drops) move it vertically while the energy moves in waves. In the early twentieth century it became clear that the motion of particles in the microcosm (electrons, photons, protons, etc.) can not provide such unambiguous as it was in classical physics. If we continue the analogy with the sea, the elementary particle (drop) is already some real virtuality, namely: the sea is like in our imagination, and the particle can manifest itself in any part of it with a probability as to whether it is any drop of the sea . If a person wants to determine its location and for this sail to it - it is a sea change and thus alter the probability of finding a particle in one or another part of the sea, ie their presence will affect the structure of the sea and the wave field of the particle. This property became known as kaspuskulyarno particle-wave duality, ie particle at the same time inherent properties of solid point and wave. Failure to determine the true location of the particle is considered to be its inherent properties, the observer affects this property changing uncertainty.
   Now let us follow a similar phenomena in the art. Until the nineteenth century, artists were simply craftsmen, able to tolerate the creator of creation on canvas, paper and imprinted on the stone structures. In the early nineteenth century, the observed images have been insufficient, because artists turned to the study, descriptions and images of the spiritual world. Thus they showed karpuskulyarno wave-particle duality of art, where "karpuskula - solid" - it is the classical art, and "wave" - is energy, the spiritual part - contemporary art. Thus karpuskulyarno wave-particle duality in art - a unity of opposites, the unity of classical and contemporary art as a manifestation of the underlying laws of matter: a particle has the properties of waves (energy) has a unity of body and wave energy (spirit), the cosmos is matter and spirit. And here the same way if you want people to define what art is it objectively affects the wave, the energy essence of this notion. Thus each person becomes an independent creator, in his own way to express their vision of the truth. But the objective contradictions between contemporary art and classical no - it is one entity with a solid foundation and spirit of the virtual.

"The adjective eikos uses in his poem Parmenides, in the place where the Goddess, completing the" true word and talk about being "starts the story about the device space. It appeals to the youth-Parmenides with:
  "I tell thee, This mirostroy quite probable,
Do not you obskachet a conception of death ".
Likely (eoikota) means here - possibly together with other views of death and, therefore, not true, but unlike them "appropriate", "appropriate" truth (as suits a nice outfit), then there is a decent enough mirostroy to be told the Goddess man will know the truth and being. In the poem of Parmenides also occurs word myth:
"There remains only a myth ways ...."
Most interesting is that these words begins the famous transfer characteristics of true being: "that exists is not born, not subject to death, tselokupnoe, the Only ... here it is not more than there" etc. "

[color="# 666686"]Added after 3 hours 51 minutes[/color]

Сообщение от natacha_m60

On this subject very well written S. Zweig in his book "Star Hours of mankind" (such as history of the Marseillaise), I recommend reading.

    I read ... Yes, and Rouget de Lisle, with whom there is a miracle, no more than the others understand the importance of what he has created a lunatic state
under the spell of a volatile spirit.

[K-Maler]

Сообщение от mezon

Until the nineteenth century, artists were simply craftsmen, able to tolerate the creator of creation on canvas, paper and imprinted on the stone structures. In the early nineteenth century, the observed images have been insufficient, because artists turned to the study, descriptions and images of the spiritual world. Thus they showed karpuskulyarno wave-particle duality of art, where

It would be nice now such remeslinnikov.Vasha extremely interesting article, but ... Determined yet - the art is a philosophical statement here in a way that whenever a certain world view. I refer to Aristotle - it is "not for profit" ... Those whom you call the artisans would understand the world and man's place in the world, and not fulfill shkolyarskuyu Studies for things like images ...

[Amateur]

I think that the evolution of fine art is not influenced by physics and other sciences themselves, and their practical results. It is unlikely then the artist versed in the best physical description of the picture of the world such as the theory of relativity, quantum mechanics, etc. But the emergence of photography in the XIX century, in fact, deprive artists work "on the exact image of reality: the picture has done much more accurately than any artist. However, the impressions (impressions) from seen picture, then black and white, is able to transfer to a much lesser extent than painting. Hence - etyudnaya manner of the Impressionists, and their experiments with color (which had begun at Delacroix). Artist's keen eye noticed and perspective distortion of photographic images by comparison with visual perception (Gauguin expressed on this issue clearly, Cezanne - his paintings). Emergence in the early XX century, color photography, with its first imperfect color causing cravings for pure colors in the painting (eg, Vlaminck, Marquet, Dufy). Stereoscopic picture with unsurpassed realism (born almost simultaneously with the usual, but experienced a real boom at the turn of XIX - XX centuries, by the way, it was a great admirer of Leo Tolstoy) resulted in the desire of artists to "renounce the visibility, an image refracted through their consciousness of reality (futurism, cubism, surrealism), as well as non-objective painting. All this, of course, only a plausible hypothesis.

Сообщение от mezon

I'm not in the least inclined to mysticism and do not intend to look at these amazing coincidences some otherworldly effect. But some incomprehensibly immense transformation of the human spirit in the creation and understanding of the arts (music, literature, painting) and in the constructions of science (physics, biology, psychology) really are synchronous and they probably are interrelated.

I was about 15 years to hit and has since been etched in the memory of the painting Burliuk "Atom" from the magazine "America" somewhere in 1970 (the painting itself is in the Metropolitan-Museum). She wrote, as I recall, in purple tones, dated 1911 year, but it shows the (conditional, of course) and the orbital electrons and the nucleus of an atom. But the orbital model of the atom was first proposed by Niels Bohr and justified only in 1912! How ...? I have long and so far unsuccessfully been looking for a reproduction of this painting and would be very grateful to those who have laid it on the forum.

[mezon]

Сообщение от K-Maler

It would be nice now such remeslinnikov.Vasha extremely interesting article, but ... Determined yet - the art is a philosophical statement here in a way that whenever a certain world view. I refer to Aristotle - it is "not for profit" ... Those whom you call the artisans would understand the world and man's place in the world, and not fulfill shkolyarskuyu Studies for things like images ...

    Each word, there are many values, and his interpretations more, but above all it must be understood in the context of the foregoing. The essence remains such that before the nineteenth century, the paintings depicted the nature and people such as they were in reality and what was the exact copy of this - the better. It is on this main feature of the artist emphasizes the word "artisans". From the word I can refuse, but from the point - no. Thank you for your comment

[color="# 666686"]Posted by 46 minutes[/color]

Сообщение от Amateur

I think that the evolution of fine art is not influenced by physics and other sciences in themselves, and their practical results. It is unlikely then the artist versed in the best physical description of the picture of the world such as the theory of relativity, quantum mechanics, etc.

  I would say to another: a revolution in art influenced the evolution This however, on the other. Often you can find arguments that contemporary art - it is supposedly not an art at all, or too far from the fact that just now. And what would such disputes were to be understood that the art before the twentieth century - is the art of image outside, and contemporary art - an art image of his spiritual world. In other words, it's different qualities akin karpuskulam and waves, matter and Spirit. Talking about what one is better and more significant simply makes no sense. Karpuskulyarno wave-particle duality in the art - is an inextricable link and integration of past and contemporary art, art external and internal. From the apparent contradiction - to harmony. In physics, recognized the objective existence of "two in one" as a third thing, though long argued that there are elementary particles - karpuskula or wave? It turned out that this "something" completely different, having karpuskulyarno wave-particle duality. In art, in my opinion, is yet to be targeted at. That "something" still in its infancy.

[color="# 666686"]Posted 2 hours 14 minutes[/color]

Сообщение от Amateur

I was about 15 years to hit and has since been etched in the memory of the painting Burliuk "Atom" from the magazine "America" somewhere in 1970 (the painting itself is in the Metropolitan-Museum). She wrote, as I recall, in purple tones, dated 1911 year, but it shows the (conditional, of course) and the orbital electrons and the nucleus of an atom. But the orbital model of the atom was first proposed by Niels Bohr and justified only in 1912! How ...?

Planetary model of the atom was proposed Rozerfordom in 1911.

[K-Maler]

Сообщение от mezon

The word I can refuse, but from the point - no. Thank you for your comment

I see that Aristotle is not enough, then Heidegger: "... in the world is not about playing any single determinate being, but about playing the universal essence of things."

[Amateur]

Сообщение от mezon

The planetary model of the atom was proposed Rozerfordom in 1911.

I did not want to go into the details of priorities. In this paper, E. Rutherford. "The Scattering of α and β Particles by Matter and the Structure of the Atom". //Philos. Mag., 1911, v. 21, p.669-688, it referred only to the kernel, open Rutherford in 1911, pro forma orbits of electrons as they say something vague and implicit. Boron supplement the model with circular orbits of the electrons (his work appeared in the first issue of that journal in 1913, but accepted for publication in 1912) and to substantiate its findings spectroscopy data. Therefore, the planetary model of the atom model, often called the Bohr-Rutherford. But in any case, if all this was the last word in physics. Hardly Burliuk read serious scientific journals, why ... How many artists does the reading now, for example, May issue of The Physical Review for 2009?
So whether syak there, but the question remains: how the artist could depict things that he could not even know? Or just a coincidence?

[Кирилл Сызранский]

Сообщение от Amateur

It is unlikely Burliuk read serious scientific journals, why ...

And maybe read. Burliuk was very educated, he studied except Russia, and even in Munich, in Paris ...

Сообщение от Amateur

So whether syak there, but the question remains: how the artist could depict things that he could not even know? Or just a coincidence?

Do you think that a coincidence? Perhaps ...

[mezon]

Сообщение от Amateur

So whether syak there, but the question remains: how the artist could depict things that he could not even know? Or just a coincidence?

  We will not argue here about physics. But it is in physics, there are examples where the same idea came independently completely different people. Ideas of how to fly in the air. It's one thing when it happens between a science and profession. And if the ideas come at the same time, people of different aspirations, professions ... What could it mean?