Human Survival Timeline to the 21st Century Renaissance

Human Survival Timeline to the 21st Century Renaissance

The following article stresses the importance of the fact that the Times Literary Supplement included Sir C P Snow’s book, ‘Two Cultures and the Scientific Revolution’, in its list of the 100 books that most influenced Western public discourse since the Second World War (‘The Times’ London. 30 December 2008).

Funding is now urgently needed for research into the Platonic Medical Science for Ethical Ends which has been derived from advancing Snow’s human survival theories. The following summary of research already undertaken by the Science-Art Research Centre of Australia, sets out a framework for further research and actions which could facilitate the funding required through the sale of relevant artwork.

The Pioneering of Platonic Fullerene Chemistry

Professor Robert Pope, born in Bendigo on December 1939, is listed as a Science-Art artist-philosopher in Who’s Who of the World. He is also an Enzinearticle Global Celebrity Author and the father of Platonic Fullerene Chemistry. In 2009 he received a Gold Medal Laureate, awarded by the Telesio-Galilei Academy of Science, London. He worked with the late former Head of the Development Sector of the AEG-Telefunken Institute of Automatic Control in Frankfurt, Hamburg and Berlin, Professor Wolfgang Weber, to establish the basis of Buckminster Fuller’s World Game Theory, in order to implement C P Snow’s human survival theories through supercomputers. As Director of the Science-Art Research Centre of Australia Incorporated, Robert Pope authored a new book, ‘The 21st Century Renaissance’, published in 2012, in liaison with Florence University’s New Measurement of Humanity Project.

Pope launched the Pope Art Gallery in Alice Springs in Central Australia in 1994 and two years later won the inaugural Northern Territory Caltex Art Award, later to become the Alice Art Prize. He began to apply knowledge from his previous professional work, in seismic computer mapping, to remove what he referred to as ‘noise interfering with the human creative process,’ honouring the survival theories of Sir C P Snow. During the 1970s he organised at his own expense and in collaboration with the Western Australian Department of Native Welfare, a special art school for disadvantaged aboriginal children. From these experiences, Pope believed that Western Science, by ignoring human creativity physics principles, had been built on false scientific assumptions, which C P Snow had warned would destroy civilisation. In 2008, ‘The Times Literary Supplement’ included Snow’s ‘Two Cultures and the Scientific Revolution’ in its list of 100 books that most influenced Western Public discourse since the Second World War.

21st Century Renaissance: Timeline to Infinity

The culmination of years of dedicated and meticulous research was marked with the publication in 2012 of the book, ‘The 21st Century Renaissance’, by the Science-Art Research Centre of Australia, directed by Robert Pope. The following timeline traces Robert Pope’s long journey which led to this publication.

The reunification of Science and Art Project

1972: The Art Academy of Western Australia Environment Division Newsletter (Australian National Library Archives) announced that the artist Robert Pope and the eminent geologist Dr John Daniels (The new mineral ‘Danielsite’ was named in his honour) were working together to reunite science with art. Robert Pope had become convinced that the theories of Sir C P Snow had been given rigorous scientific structure by the American engineer Buckminster Fuller. This was later confirmed six years later within Fuller’s biography, written by Harvard University’s Novartis Professor, Amy Edmondson, who stated that Fuller had derived his synergistic universe from Platonic mathematics. The mathematics was the basis of C P Snow’s ancient Greek artistic culture.

1973: The artist Robert Pope was awarded a Western Australian Bursary to further his research into Sir C P Snow’s concepts about bridging the culture gap between science and art. Pope argued that Fuller’s book ‘Utopia or Oblivion’ fully supported Snow’s theories.

1974: The Australian National Bulletin featured Pope’s Science-Art theories. A letter to the editor of the Bulletin, written by Professor John Frodsham, Head of the School of Human Communications at Murdoch University, Western Australia, claimed that Robert Pope was the first artist living to have crossed the C P Snowline. The artist later delivered a lecture on ‘Crossing the Snowline’, at the University of Western Australia, to eminent visiting black hole physicists.

1978: Robert Pope received a Science-Art Residency at the Waite Research Institute of the University of Adelaide. The Australian Department of Foreign Affairs arranged an official visit between the artist and Princeton University’s Black Hole physicist, Remo Ruffini, during his Australian lecture tour. The Science Division of Australian National Television recorded the artist’s theories on film. Ruffini organised for UNESCO to invite Robert Pope to attend the 1979 Second Marcell Grossmann Meeting on General Relativity at the International Centre for Theoretical Physics in Trieste, as a Special Australian Science-Art delegate.

Towards the 21st Century Renaissance: The Development of C P Snow’s Theories

1979: ABC Television screened Robert Pope’s Science-Art documentary into their international eight part series entitled The Scientists-Profiles of Discovery. His documentary was subtitled ‘Pope the Catalyst’. The Commonwealth Department of Trade and Export Development awarded a grant to publish Robert Pope’s Science-Art book for distribution to delegates attending the World Summit Meeting in Trieste, held to celebrate the 100th Anniversary of the birth date of Albert Einstein. The ultimate objective of the book was to bring to Australia C P Snow’s envisaged super-technology in the form of a human-survival medical science. The Head of the Chinese Solid State Physics Delegation attending the meeting, China’s most highly awarded physicist, Kun Huang, provided Pope with a research methodology to modify Einstein’s world-view in order to accommodate the human survival theories of Sir C P Snow. The proposed research suggested the compilation of formulae based upon Snow’s emphasis on linking the mathematical logic upholding Classical art theory with modern science. The relevant geometrical simulations were to be used to generate life-form simulations through space-time, using the world’s seashell fossil record to provide rigorous evolutionary proof statements supporting Snow’s work.

Robert Pope’s Science-Art theories were mentioned in the prestigious encyclopaedia ‘Artists and Galleries of Australia and New Zealand’, along with a reproduction of a Pope ‘Centralian Desertscape’.

The Establishment of the First Science-Art Centre

1980: Robert Pope established his first Science-Art Centre in South Australia to enable the implementation of Kun Huang’s modification to Einstein’s mathematical world-view structure in order to demonstrate how Buckminster Fuller’s synergistic universe embraced the survival theories of C P Snow. The Centre’s mathematician Chris Illert commenced work on developing Science-Art mathematics in order to generate super-computer images related to seashell evolution. Classical-art theory was derived on sacred geometry golden-mean mathematics, found in the construction of seashell life forms. Evolutionary changes to these sacred geometry designs of seashells was held to be caused by creative physics laws which Robert Pope declared to be acting negentropically toward infinity, in defiance of Einstein’s world view.

The Science-Art Centre’s Research

1981: The artist Robert Todonai joined the Centre as Pope’s protege, studying the mathematical structure of Mandelbrot’s 1980 discovery of fractal logic. Together, the artists liaised with Dr George R. Cockburn, Royal Fellow of Medicine (London), in order to gain insight into the fractal logic involved in the functioning of artistic creation within the human cerebral functioning. They concurred that the living process interacted with the entropic energy system as was also proposed by the 1937 Nobel Laureate in Medicine, Szent Gyorgyi, whose theories were upheld by C P Snow. They began to examine aspects of the workings of the molecule of emotion discovered in 1972 by Dr Candace Pert. Dr Cockburn and Robert Pope delivered a joint paper at the 1981 Australia and New Zealand Association for the Advancement of Science (ANZAAS) Conference. The Australian Commonwealth Department of Foreign Affairs greatly honoured Robert Pope by reproducing one of his Science-Art paintings on the front cover of its Foreign Affairs Record and publishing his world peace theories therein.

1986: The Science-Art Research Centre had published several books by Dr Cockburn, linking cancer to the evolution of consciousness and he arranged for his artist colleague Robert Pope to receive an Artist-in-Residency on campus at the University of Sydney, to work alongside a cancer research team. Pope’s theories were included into a cancer research paper published by the University News. Within the paper the artist predicted the importance of the Centre’s life-energy mathematics being developed by its mathematician. Eminent physicists, infuriated over an artist daring to modify Albert Einstein’s entropic world-view, attempted in vain to have his comments removed. The ensuing furore made the front page of the Sydney Morning Herald in which Robert Pope was deemed a disgrace to the university’s scientific reputation.

!988: Robert Pope’s medical supervisor at the Queen Elizabeth II Research Institute for Mothers and Infants was interviewed by the Science Writer for the Australian Medical Observer, Dr Calvin Miller. Pope’s theories were acclaimed for asking the right questions towards the possible instigation of a ‘New Renaissance’ of scientific thought leading to the implementation of Sir C P Snow’s theories, (later, in 2012 the envisaged international Renaissance came into existence in association with the development of quantum biology at the University of Florence). As a result of this support from the medical world, Pope received a further Artist-in-Residency in the form of the 1989 Dorothy Knox Award for Distinguished Persons at the Dunmore Lang College: Macquarie University.

1989: Robert Pope’s and Robert Todonai’s proposed Australian Bicentennial Science-Art Exhibition in New York was cancelled due to intense covert scientific political lobbying in Canberra. However, support from twelve Local South Australian Councils and members of State Parliament ensured that their Australian Bicentenial Exhibitions went ahead. Their Centennial project was launched in Los Angeles under the auspices of the Hollywood Thalian Mental Health Organisation. Their work at the Hollywood Pacific Design Centre and at the exclusive Dyansen Galleries on Rodeo Drive, Beverly Hills earned them Decrees of Excellence in the Thalian Hollywood Walk of Fame. Upon the return to Australia, Robert Pope received another Artist-in-Residency from a college in Darwin, Australia.

1990: Two of the Centre’s Science-Art optical life-energy mathematical papers, previously published by Italy’s leading scientific journal, Il Nuovo Cimento were selected for reprinting by The SPIE Milestone Series of IEEE, the largest technological research institute in the world. The papers were acclaimed as important discoveries from the 20th Century. This completely validated Robert Pope’s controversial prediction at Sydney University four years earlier. The Encyclopaedia Artists and Galleries of Australia, 3rd Edition, Vol., 2 featured a copy of a Robert Pope Science-Art painting hailed as ‘an unprecedented pictorial survey of most recent attitudes and consolidated values’, by Dr Elwyn Lyn, AM, the art critic for the Australian and Chairman of the Visual Arts Board of Australia Council, repairing much of the damage caused by the slanderous attacks upon his reputation from within the Australian scientific establishment.

1993: Robert Pope’s paper ‘A Self Funding Model for Ethical Scientific Research through the Arts’ was published by the International Journal for the Arts, Sciences and Technology (LEONARDO), containing a supporting feature written by Dr George Cockburn. This journal, in the past, had been used to guide Australian governmental cultural policy. The present Ezine article is about implementing this funding model for the sciences. Proceeds from art sales are to be paid to the Science-Art Research Centre of Australia Incorporated as a non profit organisation for the purpose of helping to generate the Fuller-Snow super-computer using a similar research methodology that was successful with super-computers during the 1980s.

The Science-Art Centre: Approved Scientific Research Status

1995: The President of the Institute for Basic Research in America, Professor Ruggero Santilli, in collaboration with the Science-Art Centre’s mathematician, transformed the reprinted seashell mathematics into a life-energy physics format. This paper won international peer-reviewed acclaim for the discovery of new physics laws governing optimum biological growth and development through space-time, as predicted by China’s Professor Kun Huang sixteen years earlier. The Australian Federal Government awarded the Science-Art Centre an Approved Scientific Research Status after it was proven that organised scientific objections to this had been based upon incorrect assumptions. The Lord Mayor of the Tweed Shire in New South Wales, officially opened the Science-Art Research Centre’s stone Castle on The Hill overlooking the Tweed Valley near Mt Warning, built by the artists Robert Pope and Robert Todonai as a symbol of a New Renaisannce.

1996: Robert Pope received a full professorial title from the American Basic Research institute. Alarmed by the general dismissal of Sir C P Snow’s theories by Australian universities he wrote to the United Nations Secretariat claiming that Australia was unintentionally committing a major crime against humanity for ignoring Snow’s warning of impending disaster by basing Australian culture upon an unbalanced scientific world-view (Registered in the Australian National Archives). As a result the complaint was handed to the United Nations University Millennium Project Futures Research and Development Organisation. A peer reviewed investigation was instigated by its Australasian Node. This resulted in a later Decree of Excellence being awarded to Professor Robert Pope from the Australian Futures Studies and Development Division.

1999: Following the death of the Centre’s Bio-Aesthetician Dr Cockburn, his cancer research theories were reviewed in depth by the Science-Art Research Centre of Australia. It was found that entropic mathematics belonging to the Einsteinian world-view cannot generate healthy undistorted life-form simulations through space-time as the Centre’s Science-Art mathematics did. C P Snow’s widening anti-life gulf between modern science and artistic creativity was associated with the rationale of entropic scientific thought being in constant conflict with the negentropic disposition of the molecule of emotion. Dr Cockburn’s work was seen to explain aspects of artistic creativity in terms of asymmetrical electromagnetic optical cerebral activity. By viewing science-art paintings through glasses with asymmetrical electromagnetic lensing, the images depicted holographic properties. The same phenomenon occurred when viewing computer generated pictures within the book The Beauty of Fractals-Images of Complex Dynamical Systems. The Centre’s discovery upgraded the conclusion in the chapter written by Professor Gert Eilenberger, entitled Freedom, Science and Aesthetics, which was about constructing Snow’s bridge linking the cultures of science and art through quantum biology. Eilenberger concluded his chapter by stating: ‘That is part of the excitement surrounding these pictures. They demonstrate that out of research an inner connection, a bridge, can be made between rational scientific insight and emotional aesthetic appeal; these two modes of cognition of the human species are beginning to concur in their estimation of what constitutes nature’. The scientists however, did not know about the nature of the cerebral functioning of the Platonic Fullerene optical engineering mathematics that Fuller had placed into his synergistic world-view. However, the Science-Art artists had discovered this knowledge by themselves.

2000: The general public voted into existence Science-Art symbols at the Science-Art Centre’s Science-Art Festival in the Tweed Valley of Northern New South Wales. Those symbols later were to become part of the artwork supporting the 2012 fabric of Florence University’s New Measurement of Humanity Project.

2001: Following Professor Pope’s Science-Art lecture at Cambridge University during 2000, Chinese scientists who attended, realised that he had greatly honoured China’s greatest physicist. Pope was invited by the Chinese Government to lecture at Chinese Universities. A record of his address as guest of honour at the opening of the Art College at Yangzhou University contained the statement: ‘Evolutionary direction is provided by the constantly changing shapes of the evolving protein (within DNA), which when measured, demonstrates that it is evolving toward universal infinity.’ This concept, of course, is inconceivable within the Einsteinian world-view. A decade later on the 18th of February, 2011, Cornell University Library in the USA announced a quantum biological discovery by two Chinese scientists. They had used mathematics to describe why proteins in DNA were enfolded in a strange way in defiance of 20th Century understanding of the second law of thermodynamics. This linked asymmetric electromagnetic engineering principles into the construction of C P Snow’s bridge between science and art. Later, cancer researchers in the USA developed Szent-Gyorgyi’s theories in which asymmetrical electromagnetic carbon signalling, associated with Snow’s entropy versus negentropy theories, sustained the Centre’s decision to make the Snow-bridge a medical science to guide ennobling government, a concept envisaged by the greek philosopher Aristotle.

2004: The Science-Art Centre’s Public Events Manager, Irene Brown, in liaison with the New South Wales State Ministry for The Arts and the Tweed Shire City of the Arts Space Project, organised the 2004 Science-Art Festival. For two months, international and local artists, scientists, environmentalists and the local community met to discuss, debate and interpret the synergy of art and science. The Centre produced a sequential program including: forums and debate; creative practice; and an exhibition of outcomes and disciplines via the Chinese Science-Art Exhibition (The Ministry for the Arts in conjunction with the Tweed Shire had flown over from Nanjing University a Science-Art delegation from its Department of Aeronautics). During three seminars guest speakers lectured in their field of expertise on the subjects of an infinite universe (contrary to the Einsteinian world-view). The design of symbols, text and artworks interpreted human values derived from C P Snow’s Classical Arts, as were encompassed by the Platonic ‘Science for ethical ends’. In particular, the Chinese Delegation accompanied by the Cultural Officer from the Chinese Embassy in Canberra, the Director of the Australian Sustainability Institute and Professor Pope, discussed the Fullerene-Snow theories for world peace, agreeing that Buckminster Fuller’s World Game Theory could be somehow implemented to achieve Fuller’s objective to ‘make the world work, for 100% of humanity, in the shortest possible time, through spontaneous cooperation, without ecological offence or the disadvantage of anyone’.

2005: The Head of the Chinese Delegation, Professor Cam Ming, returned to Australia under the auspices of the Southern Cross University. His previous enthusiasm about the concept of C P Snow’s bridging of the two cultures appeared to be somewhat subdued upon his return to Australia although the Science-Art Centre’s Castle featured on the front cover of his biography book published in China. He appeared unable to echo the former spirit of confidence that existed within the Chinese Art Administration encountered by Professor Pope in China during 2001 when he had been awarded a professorial honour. It was as if the Chinese educational system had finally bowed to the inevitable entropic logic of science that C P Snow and Buckminster Fuller had warned about. The Science-Art Centre then began to focus on helping to create a super-computer program to upgrade the Fullerene Chemistry that the three 1996 Nobel Laureates in Chemistry had chosen to become the basis of their new medical science and technology. The upgrading of the computer program to be referred to as Platonic Fullerene Chemistry, embracing the various forms of forbidden negentropic, asymmetrical, electromagnetic logic that nanotechnology was beginning to discover existed.

2006 – 2008: The Science-Art Research Centre of Australia began to focus upon Immanuel Kant’s electromagnetic ethic for perpetual peace on earth. His concept of space-time had been modified by the Centre’s discovery of new physics governing optimum biological growth through space-time. Kant’s definition of aesthetics as the philosophy of art appreciation was logical, but his electromagnetic ethic, although derived from the Platonic ‘Science for ethical ends’ was not in accord to its a priori physics principles. The ancient ethical Greek ‘Wisdom Through Beauty’ alluded to an entanglement between the visual effects caused by the energies of Einsteinian chaos and the Platonic spiritual (holographic) optics of evolutionarty intelligence. Einstein would not allow the mythogogical mathematics to exist that Plato allowed to represent reality before the Egyptian creator god Atum (Atom) proclaimed ‘Let there be light’. The seriousness of this can be explained: A painting of a mountainside covered by majestic waterfalls produces emotion-forming substances that lead to appreciation of the entropic destruction of the mountain’. Hidden within that process also lies the key to C P Snow’s appreciation of the Classical concept of ‘Wisdom Through Beauty’: To a young German youth passing through puberty, the appreciation of the beauty of a blond, blue eyed German girl may have a powerful aesthetically pleasing impact, but when associated with the ravings of an entropy-worshipping Hitler, the emotional result, which lacks Platonic love, can never be considered to be ethical.

C P Snow’s ethical values belonged to the Platonic tradition of Greek philosophy, which for over two hundred years fused ethics into Anaxagoras’ theory of creation based upon ancient Egyptian mythological, sacred-geometrical mathematics. This resulted in the establishment of the atomistic Platonic Science for ethical ends during the 3rd century BC in Greece, and the Centre continued to publish books on this subject. Einstein, on the other hand, was considered to have developed his theory of relativity from what he called the mythological-mathematics belonging to the ancient Babylonian empire (in 2012, the Centre located a book published in 1957 by the New York University Library, entitled ‘Babylonian Myth to Modern Science’, which argued likewise). Plato and other philosophers such as Philo, Hesoid, Plotinus and Al Haitham argued that employing the optics of vision to gain knowledge of universal reality would lead to the emergence of the destructive properties of unformed matter within the physical atom. Plato’s geometrical logic upholding that concept was derived from his axiom that ‘all is geometry’. The Egyptian metaphysical ethical ethos developed by Plato was about preventing the universe from reverting to chaos. By placing ethics into the Greek creator myth of Anaxagoras, derived from the Egyptian one, its mathematical structure became what is now recognised as an expression of a complex fractal dynamical system: the logic of which extends to infinity. Conversely, Einstein’s concept of visual observer participancy, being the basis of quantum mechanics, produced E = MC squared, the symbol of the destructive chaos that Sir C P Snow considered to be unfit to govern modern science.

2009: The artist-philosopher Robert Pope and the Science-Art Centre’s former mathematician, Chris Illert, both received Gold Medal Laureate awards from the Telesio Galilei Academy of Science-London.

The 21st Century Renaissance

2010: The ’21st Century Renaissance’ came into being on the 24th of September when the Giorgio Napolitano Medal was awarded to Professor Massimo Pregnolato and Professor Paolo Manzelli on behalf of the Republic of Italy for their quantum biological discoveries. Their ‘3rd Quantumbionet Workshop, 2010, recognised that their work was part of the Florentine New Measurement of Humanity Project conducted by Professor Paolo Manzelli, Professor Massimo Pregnolato and Professor Robert Pope’. The prediction that Robert Pope’s theories would help establish a New Renaissance, published in the Australian Medical Observer in 1988, written by its Science Writer, Dr Calvin Miller, had come true.

2011: The Professor of Electrical Engineering, Wolfgang Weber, the former Head of the Development Sector in the AEF-Telefunken Institute of Automatic Control in Germany, recipient of the 1985 Albert Einstein Order of Honour and recipient of the 1998 Humboldt-Plaque of the Humboldt Society of Science Art and Education, proclaimed Professor Robert Pope as being a World authority on bringing to fruition the blueprint for the constriction of Sir C P Snow’s bridge, uniting the culture of science with the culture of art. The discoverer of the electromagnetic field, Hans Christian Oersted had based his Doctoral Dissertation upon Immanuel Kants search for the electromagnetic ethic. Friedrich Schelling had modified Kant’s space-time theories by making the physics principles upholding the ancient Platonic Science for Ethical Ends, the priority concept to Kant’s world-view. As a result of this, the work of those scientists who proposed the electromagnetic motor driving the sperm to the ovum, was taken into account. Upon entry into the ovum the female electromagnetic field was held to morph that motor into the centriole, which in turn, energises the first bone created in the embryo with the same seashell life-energy forces discovered by the Science-Art Research Centre during the 1980s. The resonating electromagnetic Platonic ‘Music of the Spheres’ containing the ethical purpose of the universe was then transmitted to the cerebral and emotional mechanisms within the human metabolism as documented by Texas University’s Dr Richard Merrick in his book ‘Interference’. The Science-Art Research Centre’s sole objective then, was to help in the construction of the Fuller-Snow super-computer. Immanuel Kant’s envisioned base for his predicted League of Nations had been modified to upgrade Aristotle’s ethical science to guide ennobling government in order to prevent civilisation from reverting to primordial chaos. Professor Robert Pope’s Platonic Fullerene Chemistry, as a medical science to develop a Creative Physics human survival supra-technology, was given a firm legal basis by the Centre’s colleague Michael Byrne, Dr of International Law, supported as being also a medical science, by the Centre’s Medical Director Dr Peter Yaxley. Together with Professor Wolfgang Weber’s work all this research is considered the means to bring Sir C P Snow’s great vision to life.

2012: The Science-Art Research Centre of Australia published its book entitled ‘The 21st Century Renaissance’, which was given scientific appraisal in Europe and Britain under the auspices of the Telesio Galilei Academy of Science, in London and also in Italy and China under the auspices of the Florentine New Measurement of Humanity Project.

© Professor Robert Pope, Advisor to the President Oceania and Australasia of the Institute for Theoretical Physics and Advanced Mathematics (IFM) Einstein-Galilei