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The_Wit_and_Wisdom_of_Alfred_North_Whitehead

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00.05_-_A_Vedic_Conception_of_the_Poet

02.11_-_The_Kingdoms_and_Godheads_of_the_Greater_Mind

03.02_-_The_Philosopher_as_an_Artist_and_Philosophy_as_an_Art

Sophist

The_Monadology

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Architectonic

architectonic ::: a. --> Alt. of Architectonical ::: n. --> The science of architecture.
The act of arranging knowledge into a system.

architectonical ::: a. --> Pertaining to a master builder, or to architecture; evincing skill in designing or construction; constructive.
Relating to the systemizing of knowledge.

architectonic ::: metaph. Of the systematic arrangement of knowledge.

architectonics ::: n. --> The science of architecture.

Architectonic: (Kant) (Gr. architektonikos; Ger. Architektonik) The formal scheme, structural design, or method of elucidation of a system. The architectonic of Kant's system rests throughout the basic distinctions of the traditional logic. -- O.F.K.

cytoarchitectonic areas ::: Distinct regions of the neocortical mantle identified by differences in cell size, packing density, and laminar arrangement.

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   1 Sri Aurobindo

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   2 Walter Gropius

1:A stripped imperative of conceptual phrase Architectonic and inevitable Translated the unthinkable into thought: ~ Sri Aurobindo, Savitri, The Kingdoms and Godheads of the Greater Mind,

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1:Human reason is by nature architectonic. ~ Immanuel Kant,

2:Work on good prose has three steps: a musical stage when it is composed, an architectonic one when it is built, and a textile one when it is woven. ~ Walter Benjamin,

3:A noble soul spreads even over a face in which the architectonic beauty is wanting an irresistible grace, and a often even triumphs over the natural disfavor. ~ Friedrich Schiller,

4:A stripped imperative of conceptual phrase Architectonic and inevitable Translated the unthinkable into thought: ~ Sri Aurobindo, Savitri, The Kingdoms and Godheads of the Greater Mind,

5:It's not that photography recaptures the world you have been in; more that it creates a new one: photographs are like Post-It Notes reminding us of the deep architectonic forms of space and thought. ~ Luke Davies,

6:Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit . . . ~ Walter Gropius,

7:The Greeks had the greatest architectonic gifts. Every art has its climax at some point, and here architecture had its high point. Modeling and painting reached their climax elsewhere. Despite the gigantic pyramids, the most wonderful architecture appears in the Greek temple. ~ Rudolf Steiner,

8:Not only in geometry, but to a still more astonishing degree in physics, has it become more and more evident that as soon as we have succeeded in unraveling fully the natural laws which govern reality, we find them to be expressible by mathematical relations of surprising simplicity and architectonic perfection. It seems to me to be one of the chief objects of mathematical instruction to develop the faculty of perceiving this simplicity and harmony. ~ Hermann Weyl,

9:Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as salon art. Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith. ~ Walter Gropius,

10:Between gods and men, territories are set up. At least in the no-man’s land of the heights of heaven, the depths of hell, and inside the boundary traced by the oceans. Dimensions installed by a cosmogonic trilogy that leaves each term in its generic place. There remains the earth ancestress, a fourth term, that was once the most fertile, that has been progressively buried and forgotten beneath the architectonic of patriarchal sovereignty. And this murder erupts in the form of ambivalences that have constantly to be solved and hierarchized, in twinned pairs of more or less good doubles. ~ Luce Irigaray,

11:Blindness to larger contexts is a constitutional defect of human thinking imposed by the painful necessity of being able to concentrate on only one thing at a time. We forget as we virtuously concentrate on that one thing that hundreds of other things are going on at the same time and on every side of us, things that are just as important as the object of our study and that are all interconnected in ways that we cannot even guess. Sad to say, our picture of the world to the degree to which it has that neatness, precision, and finality so coveted by scholarship is a false one. I once studied with a famous professor who declared that he deliberately avoided the study of any literature east of Greece lest the new vision destroy the architectonic perfection of his own celebrated construction of the Greek mind. His picture of that mind was immensely impressive but, I strongly suspect, completely misleading. ~ Hugh Nibley,

   2 Integral Yoga
   1 Philosophy


   2 Nolini Kanta Gupta


   2 Collected Works of Nolini Kanta Gupta - Vol 02

00.05 - A Vedic Conception of the Poet, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga    All the gods are poetstheir forms are perfect, surpa, suda, their Names full of beauty,cru devasya nma.31 This means also that the gods embody the different powers that constitute the poetic consciousness. Agni is the Seer-Will, the creative vision of the Poet the luminous energy born of an experience by identity with the Truth. Indra is the Idea-Form, the Architectonic conception of the work or achievement. Mitra and Varuna are the large harmony, the vast cadence and sweep of movement. The Aswins, the Divine Riders, represent the intense zest of well-yoked Life-Energy. Soma is Rasa, Ananda, the Supreme Bliss and Delight.    The Vedic Poet is doubtless the poet of Life, the architect of Divinity in man, of Heaven upon earth. But what is true of Life is fundamentally true of Art tooat least true of the Art as it was conceived by the ancient seers and as it found expression at their hands.32

03.02 - The Philosopher as an Artist and Philosophy as an Art, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga    In the face of established opinion and tradition (and in the wake of the prophetic poet) I propose to demonstrate that Philosophy has as much claim to be called an art, as any other orthodox art, painting or sculpture or music or architecture. I do not refer to the element of philosophyperhaps the very large element of philosophy that is imbedded and ingrained in every Art; I speak of Philosophy by itself as a distinct type of au thentic art. I mean that Philosophy is composed or created in the same way as any other art and the philosopher is moved and driven by the inspiration and impulsion of a genuine artist. Now, what is Art? Please do not be perturbed by the question. I am not trying to enter into the philosophy the metaphysicsof it, but only into the science the physicsof it. Whatever else it may be, the sine qua non, the minimum requisite of art is that it must be a thing of beauty, that is to say, it must possess a beautiful form. Even the Vedic Rishi says that the poet by his poetic power created a heavenly formkavi kavitva divi rpam asajat. As a matter of fact, a supreme beauty of form has often marked the very apex of artistic creation. Now, what does the Philosopher do? The sculptor hews beautiful forms out of marble, the poet fashions beautiful forms out of words, the musician shapes beautiful forms out of sounds. And the philosopher? The philosopher, I submit, builds beautiful forms out of thoughts and concepts. Thoughts and concepts are the raw materials out of which the artist philosopher creates mosaics and patterns and designs Architectonic edifices. For what else are philosophic systems? A system means, above all, a form of beauty, symmetrical and harmonious, a unified whole, rounded and polished and firmly holding together. Even as in Art, truth, bare sheer truth is not the object of philosophical inquiry either. Has it not been considered sufficient for a truth to be philosophically true, if it is consistent, if it does not involve self-contradiction? The equation runs: Truth=Self-consistency; Error=Self-contradiction. To discover the absolute truth is not the philosopher's taskit is an ambitious enterprise as futile and as much of a my as the pursuit of absolute space, absolute time or absolute motion in Science. Philosophy has nothing more to doand nothing lessthan to evolve or build up a system, in other words, a self-consistent whole (of concepts, in this case). Art also does exactly the same thing. Self-contradiction means at bottom, want of harmony, balance, symmetry, unity, and self-consistency means the contrary of these things the two terms used by philosophy are only the logical formulation of an essentially aesthetic value.    Take, for example, the philosophical system of Kant or of Hegel or of our own Shankara. What a beautiful edifice of thought each one has reared! How cogent and compact, organised and poised and finely modelled! Shankara's reminds me of a tower, strong and slender, mounting straight and tapering into a vanishing point among the clouds; it has the characteristic linear movement of Indian melody. On the otherhand, the march of the Kantian Critiques or of the Hegelian Dialectic has a broader base and involves a composite strain, a balancing of contraries, a blending of diverse notes: thereis something here of the amplitude and comprehensiveness of harmonic architecture (without perhaps a corresponding degree of altitude).

Sophist, #unset, #Arthur C Clarke, #Fiction   In several of the later dialogues Plato is occupied with the connexion of the sciences, which in the Philebus he divides into two classes of pure and applied, adding to them there as elsewhere (Phaedr., Crat., Republic, States.) a superintending science of dialectic. This is the origin of Aristotle's Architectonic, which seems, however, to have passed into an imaginary science of essence, and no longer to retain any relation to other branches of knowledge. Of such a science, whether described as 'philosophia prima,' the science of ousia, logic or metaphysics, philosophers have often dreamed. But even now the time has not arrived when the anticipation of Plato can be realized. Though many a thinker has framed a 'hierarchy of the sciences,' no one has as yet found the higher science which arrays them in harmonious order, giving to the organic and inorganic, to the physical and moral, their respective limits, and showing how they all work together in the world and in man.   Plato arranges in order the stages of knowledge and of existence. They are the steps or grades by which he rises from sense and the shadows of sense to the idea of beauty and good. Mind is in motion as well as at rest (Soph.); and may be described as a dialectical progress which passes from one limit or determination of thought to another and back again to the first. This is the account of dialectic given by Plato in the Sixth Book of the Republic, which regarded under another aspect is the mysticism of the Symposium. He does not deny the existence of objects of sense, but according to him they only receive their true meaning when they are incorporated in a principle which is above them (Republic). In modern language they might be said to come first in the order of experience, last in the order of nature and reason. They are assumed, as he is fond of repeating, upon the condition that they shall give an account of themselves and that the truth of their existence shall be hereafter proved. For philosophy must begin somewhere and may begin anywhere,with outward objects, with statements of opinion, with abstract principles. But objects of sense must lead us onward to the ideas or universals which are contained in them; the statements of opinion must be verified; the abstract principles must be filled up and connected with one another. In Plato we find, as we might expect, the germs of many thoughts which have been further developed by the genius of Spinoza and Hegel. But there is a difficulty in separating the germ from the flower, or in drawing the line which divides ancient from modern philosophy. Many coincidences which occur in them are unconscious, seeming to show a natural tendency in the human mind towards certain ideas and forms of thought. And there are many speculations of Plato which would have passed away unheeded, and their meaning, like that of some hieroglyphic, would have remained undeciphered, unless two thousand years and more afterwards an interpreter had arisen of a kindred spirit and of the same intellectual family. For example, in the Sophist Plato begins with the abstract and goes on to the concrete, not in the lower sense of returning to outward objects, but to the Hegelian concrete or unity of abstractions. In the intervening period hardly any importance would have been attached to the question which is so full of meaning to Plato and Hegel.

The Monadology, #unset, #Arthur C Clarke, #Fiction    83. Among other differences which exist between ordinary souls and minds [esprits], some of which differences I have already noted, there is also this: that souls in general are living mirrors or images of the universe of created things, but that minds are also images of the Deity or Author of nature Himself, capable of knowing the system of the universe, and to some extent of imitating it through Architectonic ensamples [echantillons], each mind being like a small divinity in its own sphere. (Theod. 147.)    84. It is this that enables spirits [or minds- esprits] to enter into a kind of fellowship with God, and brings it about that in relation to them He is not only what an inventor is to his machine

Wikipedia - Architectonic and catoptric tessellation

Wikipedia - Kantian architectonics

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