Notes On The Synthesis Of Form Quotes

The Commission’s report noted with dismay the tendency of the warring peoples to portray their enemies as subhuman and the all-too-frequent atrocities committed against both enemy soldiers and civilians. “In the older civilizations,” the report said, “there is a synthesis of moral and social forces embodied in laws and institutions giving stability of character, forming public sentiment, and making for security.”120 The report was issued early in the summer of 1914, just as the rest of Europe was about to learn how fragile its civilization was.

England calls the process dissipative adaptation. Potentially, it provides a universal mechanism for coaxing certain molecular systems to get up and dance the entropic two-step. And as that’s what living things do for a living—they take in high-quality energy, use it, and then return low-quality energy in the form of heat and other wastes—perhaps dissipative adaptation was essential to the origin of life.42 England notes that replication itself is a potent tool of dissipative adaptation: if a small collection of particles has become adept at absorbing, using, and dispensing energy, then two such collections are better still, as are four or eight, and so on. Molecules that can replicate might then be an expected output of dissipative adaptation. And once replicating molecules appear on the scene, molecular Darwinism can kick in, and the drive to life begins. These ideas are in their early stages, yet I can’t help but think they would have made Schrödinger happy. Using fundamental physical principles, we have developed an understanding of the big bang, the formation of stars and planets, the synthesis of complex atoms, and now we are determining how those atoms might arrange into replicating molecules well adapted for extracting energy from the environment to build and sustain orderly forms. With the power of molecular Darwinism to select for ever-fitter molecular collections, we can envision how some might acquire the capacity to store and transmit information. An instruction manual passed from one molecular generation to the next, which preserves battle-tested fitness strategies, is a potent force for molecular dominance. Acting out over hundreds of millions of years, these processes may have gradually sculpted the first life.

Based on my research, I think probably the most disheartening finding is that taking supplemental vitamin D creates a metabolic demand on the liver to flip it into the bioactive form. This demand uses up magnesium, and the bioactive vitamin D triggers the synthesis of metallothionein, a protein that binds up copper a thousand times stronger than it binds up zinc, as we noted previously. So suddenly we have practitioners chasing a form of vitamin D that’s flawed using a range that’s flawed, creating potassium wasting, which then leads to a buildup of iron accumulation in the tissue. Then we find out that copper is being bound up by metallothionein and therefore is no longer available for metabolic transactions, and neither is magnesium. Collectively, this series of events creates a metabolic crisis in our mitochondria. This

This, of course, had long been Teilhard de Chardin’s preferred explanation for the Great Silence. Chardin saw sophidetonation as an implosion inward rather than an explosion outward: a form of centralisation like the evolution of the brain, but threading across the planet rather than rebounding within the skull. This was what he called Point Omega, a form of transcendence where intelligence essentially disappears into its own self-created virtual domain, leaving mundane reality behind all together. Never one to miss a religious resonance, Chardin noted that this ‘supreme synthesis’ is a ‘phenomenon perhaps outwardly akin to death’. In fact, this was the final one of Shklovsky’s ‘internal contradictions’: if reason consists in denying natural inclinations then, of course, it will end up etherealising itself out of existence...

Picasso’s eclecticism signifies the deliberate destruction of the unity of the personality; his imitations are protests against the cult of originality; his deformation of reality, which is always clothing itself in new forms, in order the more forcibly to demonstrate their arbitrariness, is intended, above all, to confirm the thesis that ‘nature and art are two entirely dissimilar phenomena’. Picasso turns himself into a conjurer, a juggler, a parodist, out of opposition to the romantic with his ‘inner voice’, his ‘take it or leave it’, his self-esteem and self-worship. And he disavows not only romanticism, but even the Renaissance, which, with its concept of genius and its idea of the unity of work and style, anticipates romanticism to some extent. He represents a complete break with individualism and subjectivism, the absolute denial of art as the expression of an unmistakable personality. His works are notes and commentaries on reality; they make no claim to be regarded as a picture of a world and a totality, as a synthesis and epitome of existence. Picasso compromises the artistic means of expression by his indiscriminate use of the different artistic styles just as thoroughly and wilfully as do the surrealists by their renunciation of traditional forms.