Known as The Renaissance Man, Leonardo da Vinci’s Theory of All Knowledge is recognized as the foundation of the modern age of mechanistic science and technology. The key to this work of great genius was the human eye. Leonardo’s optical key was associated with Sir Francis Bacon’s vision of a great empire for all men based on all knowledge through the eye. Thomas Jefferson, inspired by this concept, depicted the Egyptian concept of the all-seeing eye on the great seal of America.
The term Renaissance refers to a revival of the lost classical Greek science of life. The Great Italian Renaissance of the 14th century was an extension of the School of Islamic Translators that settled in Toledo Spain during the 11th, 12th and 13th centuries. The School of Translators was about the recovery of several centuries of ancient Greek science that the Christian Church had mostly destroyed as heresy. During the Golden Age of Islamic science, the writings of Al Haitham, known as the father of optics, have since shown that Leonardo da Vinci’s status as the Renaissance Man is simply a great myth. Recent optical discoveries have shown that this is so.
Al Haitham had corrected Plato’s optics, but retained the warning that using the eye as the source of all knowledge could only lead to an ignorant and destructive scientific view of the world. The vital energy discoveries of the engineer Buckminster Fuller, derived from Plato’s spiritual optics or holographic optics, are now basic to a new science of life being developed by the three 1996 Nobel Prize winners in Chemistry.
When a sperm cell makes contact with the egg cell membrane, the function of its liquid crystal optical construct focuses the life within that cell. There is no eye present to participate in any knowledge gathering process. Technology developed from the theories of liquid crystal optics by Pierre de Gennes, who won the Nobel Prize in Physics in 1991, revealed, through nanotechnology observations, life science energies that completely defy belief. Leonardo’s mechanistic vision of the world. As Al Haitham and Plato had advised, viewing the eye as the key to all knowledge can only lead to a limited, mechanical, lifeless, and ethically empty scientific worldview.
The internationally recognized science book titled The Beauty of Fractals-Images of Complex Dynamical Systems, warns that the current understanding of the geometry that underpins the technology belongs to a doomed civilization. A chapter in that book under the title Freedom, Science and Aesthetics, written by scientist Gert Eilenberger, contains a reference to some remarkable computer-generated fractal artwork.
Professor Eilenberger wrote about the emotion surrounding these fractal images, stating that they demonstrated a bridge between rational scientific perception and emotional aesthetic appeal. These images can not only generate surrounding emotion, but when viewed through 3-D ChromaDepth glasses, they can exhibit vivid hidden holographic images. The late Royal Fellow of Medicine, (London) Dr. George Cockburn, correctly predicted such artistic phenomena in a published book written in 1984 entitled A Bio-aesthetic Key to Creative Physics and Art. After his death it was discovered that the reproduction of some paintings, painted over the centuries, also contained hidden holographic images, which had been unconsciously generated by the artist.
Dr. Cockburn’s correction to Kantian logic was found to echo the theories of the 19th century mathematician Bernard Bolzano, whose Theory of Science had also been based on a correction to Kant’s Aesthetics. Recently, German scientists rediscovered Bolzano’s work and extrapolated his reasoning into the modern format of fractal logic, commenting that Kant had not even grasped the logical meaning of the important problems Bolzano had solved. Edmund Hurserl’s book on pure logic, published in 1900, considered Bolzano one of the greatest logicians of all time. It is of further interest that Professor Eilenberger’s chapter also contains a correction to Kantian aesthetic theory.
Dr. Cockburn’s work was used in 1986 to correct the optical key to Leonardo da Vinci’s Theory of Knowledge. While da Vinci’s brilliance in mastering the laws of artistic perspective is not in question, it has now been superseded by the evolution of artists’ innate optical ability to create holographic images, which is now relevant to the development of new supratechnologies of human survival.
