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Einstein and the Classical Imagination
August 28, 2012 • 3:07PM

The Secret to his Genius

For more visit: http://larouchepac.com/einstein

Introduction:

Many cultures and entire civilizations have disappeared. Unlike other living creatures we have so far avoided an extinction of our entire species. Given current financial and physical threats, how as a world wide culture do we consciously assure that the fate of more than 95% of species, does not occur to our society? To pose the question differently, in order to make it more personal: are you thinking in a way that contributes to our survival?

For advice, let us turn to our elders, the great minds of the past that faced similar natural and social crises. We will start by watching Kepler's mind reflect on Plato's thinking, and then view Einstein reflecting on the mind of Kepler.

Johannes Kepler published his crowning achievements, The Harmonies of the World, during the start of religious warfare that was tearing apart the nations that were sponsoring his astronomy work. He found it appropriate at that time, to remind his readers of the ancients, citing a story of Plato; the people of Delos, beset with plague, were told by the oracle to double the size of its altar, a cube. In ignorance of geometry and as a result of being tricked by the common sense, they doubled the sides of the cube, octupling its volume instead. This was followed by a worsening of their condition:

Would that even now, after the Austrian affairs, there may still be a place for Plato's Oracular saying? For when Greece was on fire on all sides with a long civil war…. he was consulted about a Delian Riddle.... he replied that, according to Apollo's opinion, Greece would be peaceful IF the Greeks turned to Geometry and other philosophical studies, as these studies would lead their spirits from ambition and other forms of greed, …. to the love of peace and to moderation in all things. – Kepler.

Kepler cited Plato's advice, that humanity had to realize its creativity and live up to the more noble part of its ability in order to overcome challenges both from nature and man, because he found it fit advice for his own time.

Albert Einstein, during the world depression and the hyperinflation of Germany after WWI, and in the build up to WWII, found it fit to reach back and cite Kepler's situation:

In anxious and uncertain times like ours, when it is difficult to find pleasure in humanity and in the course of human affairs, it is particularly consoling to think of such a supreme and quiet man as Kepler... How great must his faith in the existence of natural law have been to give him the strength to devote decades of hard and patient work …. entirely on his own, supported by no one and understood by very few. – Einstein.

What the wise men that shaped history can tell us, is that recognizing how the great mind's of the past worked, and tapping into our own creative potential is what places us above the animal kingdom and puts us in tune with the universe, above petty momentary troubles, giving us the power to voluntarily solve the mortal problems of the future.

In a moment as now, to remind us of our mission in the universe, it's fitting to look to Einstein, to become further acquainted with the way Einstein thought and generally with what separates man and the animal.

A Biographical Sketch

Planck's trailblazing work on black body radiation and quantum physics inspired Einstein. It made clear to Einstein that neither mechanics nor electro-dynamics could claim itself as the foundation to physics. At that time, the fundamentals of science were already in a crisis. For example, the constancy of the speed of light and the independence of the laws of mechanics from motion, were incompatible. However, Einstein's insight in Special Relativity, of disposing of fixed space and time (allowing for their contraction as one space-time,) brought these two contradictory conceptions into harmony. Einstein showed that all principles of nature are considered true and discoverable no matter the reference frame they are observed from. This is what is called the relativity of motion. This held true only for uniform motion. The law of Gravity, which involves acceleration, would require a theory of relativity of non-uniform motion, e.g. rotation; thereby forever banishing absolute space and absolute time with it. It was aesthetically unacceptable to Einstein that relativity only applied to uniform motion and not for all other motions.

Einstein would strive for more throughout his entire life. He was never searching for an ultimate formula to explain the whole universe. He had a passion for furthering mankind's understanding of our world and therefore ourselves. With the advancement of a hypothesis which better accounted for the state of things than anything previous, new questions arise, which appear to overturn his current hypothesis. In approaching those paradoxes, he realized that the previous thought is not made obsolete, but is merely subsumed, in the on-going process of discovering and that the universe itself goes through a similar process. Einstein, in reference to the bending of light in general relativity, (a change in speed) violating the first premise in special relativity, that the speed of light is constant, said: “We might think that as a consequence of this, the special theory of relativity and with it the whole theory of relativity would be laid in the dust. But in reality this is not the case. We can only conclude that the special theory of relativity cannot claim an unlimited domain of validity. No fairer destiny could be allotted to any physical theory, than that it should of itself point out the way to the introduction of a more comprehensive theory, in which it lives on as a limiting case."

I'm giving only a quick overview of Einstein's scientific work, because there is no importance in itself of being familiar with Einstein's works, as all of the particulars could be looked up in text books. A specific theory of Einstein's is not going to help us divert the current situation away from danger. What we are concerned with is how these discoveries were made and how they are examples of what put us in a higher class than the animals that perish with the changes of the world. We're concerned with how Einstein's mind works, to become familiar with the ability of man in the world; Einstein being a singular expression of the potential of mankind in general. If every human being is endowed with the potential to be creative, what made Einstein special? How did he, out of all his talented contemporaries, accomplish such feats? Did he have heightened senses from which to view the world? Did he have unbelievable skills of calculating? Or was it just genetics? Are these the things we should concern ourselves with and try to improve in order to avoid doom? In fact, none of these categories were particularly extraordinary in Einstein. There was something else beyond what is commonly thought of as genius which Einstein brought from within himself, that made his discoveries possible. We can know from his life that Einstein worked like an artist:

Life without playing music is inconceivable for me...I live my daydreams in music. I see my life in terms of music...I get most joy in life out of music. – Einstein.

Let's take a short survey of his musical life, to get an idea of the environment in which he grew up, that would have encouraged the talent of his mind.

A Musical Sketch

I took violin lessons from age six to fourteen, but had no luck with my teachers, for whom music did not transcend mechanical practicing. I really began to learn only when I was about thirteen years old, mainly after I had fallen in love with Mozart's sonatas. I believe, on the whole, that love is a better teacher than sense of duty – with me, at least, it certainly was. – Einstein.

He found this love particularly with Mozart: “Mozart's music is so pure and beautiful that I see it as a reflection of the inner beauty of the universe itself...like all great beauty, his music was pure simplicity.”

Parallel to Einstein's introduction to music was the side of Einstein more commonly known; his first taste of scientific wonder:

Wonder, I experienced as a child of four or five years when my father showed me a compass. I can still remember that this experience made a deep and lasting impression upon me, Something deeply hidden had to be behind things. – Einstein.

This parallel development continued throughout his adolescence:

The paradox that led to the theory of special relativity started when Einstein was sixteen years old, studying at the Gymnasium in Aarau, Switzerland. First came such questions as: What if one were to run after a ray of light? What if one were riding on the beam? If one were to run after a ray of light as it travels, would its velocity thereby be decreased? If one were to run fast enough, would it no longer move at all? This beautiful thought experiment is a testament to the importance of the imagination, being the only place to conduct physical experiments which aren't yet physically possible. And such a simple thought, something impossible to visualize, changed the whole face of physics. Where did this ability come from?

I was lucky to have grown up in a musical household when I lived with the Winterler family in Aarau. There, many evenings, the family got together for chamber music. In fact, my two major enjoyments at that time were going for long walks by myself and playing the violin. – Einstein.

In Bern Switzerland, even with a full days work at the Patent office, and spending time with his new wife and kids, he still made time for both his scientific work in the evenings and music work, playing at least once a week in a string quartet. At this time Einstein experienced the happiest thought of his life: “for an observer falling freely from the roof of a house there exists – at least in his immediate surroundings – no gravitational field. Indeed, if the observer drops some bodies then these remain relative to him in a state of rest or of uniform motion, independent of their particular chemical or physical nature. The observer therefore has the right to interpret his state as 'at rest.'” This thought experiment resolved the remaining challenges in general relativity of acceleration, or non-uniform motion; previously an insurmountable problem in science. This once again demonstrates the force of mind, that something without extent or an exact place changes human history and contains in it that which moves planets.

Later in Berlin, while continuing his work on General Relativity, Einstein's scientific colleagues were also his partners in duets and other ensembles; Max Planck on piano, others on strings, including well known musicians of the classical German tradition, who were the students of Brahms, Joachim, the Schumann's and Mendelssohn's.

In moving to the United States, Einstein, while working on his unified field theory, continued his custom to play chamber music with friends. In these years, while becoming increasingly attacked and isolated scientifically, his political work became more prominent; helping refugees in any way he could, standing up against McCarthyism in defending teachers, and supporting the civil rights movement as expressed by his relationship to Paul Roberson and W.E.B. Du Bois. To this end Einstein would do charity events, playing his violin for various causes. Throughout the insanity and degeneration in politics, the scientific paganism and mysticism, and the artistic liberalism and decadence, Einstein found an inner strength to avoid the chaos and existentialism which dominated the population, through a classical culture of beauty. Now we're getting closer to the secret source of Einstein's power of a creative identity.

The big political doings of our time are so disheartening that in our generation one feels quite alone. It is as if people had lost the passion for justice and dignity and no longer treasured what better generations have won by extraordinary sacrifices. But Mozart remains as beautiful and tender as he always was and always will be. There is, after all, something eternal that lies beyond reach of the hand of fate and of all human delusions. – Einstein.

What insight does this new view of Einstein as a musician provide for us in our question of the nature of man and his power in and over the universe? If we memorized all facts and read all the text books in the world, accumulating all such knowledge, would we attain the potential genius that Einstein represents? Or if we surgically modified our sense organs, would we magically exploit the latent potential of our brain like some comic book character?

Albert Einstein did not see more; he perceived more. Einstein's life accomplishments teach us that principles, either in physics or beauty are not known through the senses, or else animals, having much more enhanced senses than human beings, would be much better artists and scientist than us. The popular opinion that sense-perceptions show us the actually efficient forms of existence, rather than being equivalent to seen shadows cast by unseen realities, is used, simply said, to keep people from advancing in their level of intelligence. But neither are these principles discovered through the pure abstract logic of mathematics, or else machines and computers, unencumbered by subjective emotions, would far exceed us in making crucial breakthroughs. Nothing in mathematics as such, corresponds to the existence of an efficient causal factor in physical reality: that's because mathematics is subject to physics, rather than the other way around.

Ideas Exist Above The Senses

To better appreciate this argument, let us take a moment to explore the difference between seeing objects and perceiving causes.

When we try to communicate to another person a concept such as justice, courage or gravity, we give them examples of these things that they may know from experience, such as naming a courageous person. However, none of the examples get to the essence, to the absolute nature of these things. A certain quality makes the many expressions possible. This overall principle represents a higher reality than does the individual visible objects or examples. The many examples are seen, but not known, and the ideas are known, but not seen. Then how do we come to know these ideas? It seems that principles cannot be taught to us through the senses. This is at the kernel of what Plato's advice to the Delians meant.

Plato developed the concept that, the material which ideas are made of is innate to the soul, therefore a new discovery can only come from inside you, through the imagination. For example, it is evident that no two things that we can perceive are perfectly alike. Try to find two leaves which are identical and couldn't be infinitely more alike. And yet, we have a conception of equality without ever having seen an example of it; we know when something falls short of being equal to another. No drawn circle is a perfect circle; we see they are all imperfect, yet we know what they fall short of, without having ever seen a perfect circle. Then we must have known absolute equality or the concept of a circle before we first saw the material, and reflected that these apparent equals or circles aim at this absolute, but fall short of it.

Does this mean we can call upon a catalog of information inside ourselves, like looking up answers in the back of the book, or in modern terms, a google search? Try calling upon the solution for sustained fusion reaction through meditation...obviously this is not what is meant.

Because the human mind is not infinite in seeing all truth in a glance, (as God,) it has to unfold these principles. A discovery is necessary; what Plato calls recollection.

In the example of Meno's slave boy doubling the size of the square, Socrates demonstrates through pedagogy or a series of questions, that any human being is innately able to recognize truth, given a specific method.

What was Socrates' method? He surprised the mind of the slave boy by bringing together contradictory conclusions of his own thoughts: revealing assumptions that weren't compatible according to what they recognize as truth, forcing further inquiry of what they thought they knew. This perplexity arises from what the interpretation of the senses report and what the mind knows must be.

We tend to think that just the things that we can apply our five senses to are what have existence, but through provocation we see that unseen principles are what are innately knowable and true.

As an example of what a provocation can be, think of the retrograde motion of mars. Is Mars really traveling in small loops?

Or for a simpler case, think of observing a carpenter, at a far away distance, swinging a loud hammer. We would expect to hear and see the hammer strike at the same time, but at such a distance we see the hammer strike before the sound reaches us. Much like what happens when watching fireworks. This provokes the mind and invites the intellect to investigate, because there are simultaneous opposing impressions.

This method is reflected in Kepler's use of the contrast of sight and sound in his harmonies work, to discover the principle of gravity in the solar system. The visual domain of polyhedra, the platonic solids, and the auditory domain of acoustic harmonies, were employed in conjunction as a meta-sense, to define a principle which is not specific to either of those two categories of phenomena, but which is expressed only as a unique singularity of their intersection. A conflict between different perceptions of the same subject, a paradox of the senses, is used to find the higher harmony, which lies outside the process, holding together and resolving the discordant parts. This is the same method Einstein used in special relativity; using contrasting reference frames, which led to the demoting time and space, from absolutes to mere shadows cast by an invariant law of nature, the speed of light.

Without the mind, these paradoxes would not arise. Rather, perception would be confused because the senses do not discriminate; that is, every discrimination is from reason. Therefore, reason uses the senses as instruments for discriminating between things, but is only provoked to investigate, by a paradox of perceptions, an irony.

Ideas Exist Above Logic

Maybe now you're satisfied that ideas do not come exclusively by the senses, but let us look at the other side of the argument. Because the senses deceive us all of the time and only lead to doubt, it's likely that someone would want to take refuge in cold hard reason and solely rely on that. “I will not be tricked by mere optical illusions. I only trust what is logical!” You can hear your friend boldly claim. Unfortunately for them, ideas don't come from logical deduction either.

Although reason can show that what appear as paradoxes to perceptions are actually concordant, it dissects things when trying to explain them, so that it cannot show a living process in its actuality.

We can trick ourselves in a twofold way: either when our sensations rule over our reason; or when our reason destroy our sensations. The senses desires that there should be change, multiplicity, and have tangible objects to deal with. Reason desires that no change should exist, that we only deal with the eternal unities in their abstract purity. As long as we satisfy only one of these instincts exclusively, or both only alternately, we can never learn really what is Man, in the full meaning of the word. A person fleeing from the sensuous to the practicality of reason or vis versa, is not to be considered a fully functional human being.

The Role of the Imagination

If ideas do not exist from the senses alone, and not in logic alone either, then where do ideas exist? We've come this far, so don't get discouraged – stabbing out your eyes and becoming an existentialist beatnik, if you're not already. We want to avoid both extremes, and not fall into either trap of the purely sensuous or so-called “objective” logic. We're looking for something which embraces both and yet is higher, and makes the two sides subordinate. As they say, when you're only given two options in life to choose from, take the third one.

Imagination, the highest functioning of man, harmonizes the two independent and ostensibly opposite realms of the variable senses stimulated by the external world; and reason, which from internal standards demands unity and invariance. Paradoxes in the realm of the senses are resolved in the realm of reason. Yet reason has its own paradoxes, and tends to take its assumptions for granted. Therefore, that in which both act in concert, to unite the process of becoming with Absolute Being, resides in the higher domain of the imagination. The imagination is where the creative mental process becomes deliberately self-conscious of itself. Reason contemplates the relations between thoughts and imagination is the mind acting upon those thoughts, composing from them other new thoughts. One is the principle of analysis; reason looking for the differences. The other is the principle of synthesis; imagination seeking the similitude of things. So, we have three layers of understanding: the first is the senses, bringing in the confused perceptions from the outside world as one sensation; then, the second layer of reason, separating our experience into many departments, deducing their individual origins; but then, the fourth and highest level, that of imagination, recreates the living image of a singular cause that operates above the shadows.

The highest reality of the universe is neither the projected objects of senses, nor the formulas we reason from those shadows; the only way to directly “experience” reality, is through the imagination. Hence both reality and imagination are made of the same substance of principle. Imagination is the domain through which the unseen essences of the mind and the world are known. This is the true phase space and nature of man.

Although nature commences with essences it's experienced by us through the senses, so, in order to understand nature, it is necessary for us to do the opposite, that is to start with experience and proceed to investigate the reason. This requires a relaxed intuition, so that the mind is able to leap that infinite distance between the senses and the causes.

The imagination is that which provides freedom from chaotic shadows of experience and freedom from the slavery of artificial rules created by reason, without violating the reality of either domain. This is the playfulness that's required. Then, operating from the same finite mind, with a new perspective, we're able to solve previously impossible problems with entirely original answers. This is the same concept of Plato's soul which houses our innate ability for ideas. It use to be called a muse in ancient times, but is now more commonly known as creativity. This is not the imagination associated with childish fantasies used for escape or associated with reading fiction novels. When perseverance, rigor, duty is not enough to explain a discovery; when we ask where did the curiosity come from in the first place, where did the passion of pursuit arise, where did the crucial insight spring from? Then we're addressing the useful imagination. This is where that spark, which separates us from the sensuous beast or from robots, originates. Einstein evaluated a scientific theory by asking himself whether, if he were God, would he have made the Universe in that way, which takes an immense imagination to say the least.

If we want a culture that thinks this way, what is our best weapon to accomplish that? What's the most conducive environment for the mind to function in? Where's the training ground in which to become more consciously aware of these powers of the imagination and to willfully wield them with vigor and discipline? How do we capture this potential?

Music and Classical Culture: Imagination's Residence

Classical art, specifically music, the created realm of man, is made for the mind. A classical composer's intention is to try to provoke the imagination, or what some call the preconscious processes, into awareness of its existence. Classical art enhances your ability to think. It is a method, not a genre or a period of time. It is based on the structure of the Platonic method of uplifting the soul to the higher levels of understanding, through beauty. It's the noetic space advanced and developed by individuals throughout history, a realm which you can go to, that automatically ennobles you by dwelling in a higher space, living in the domain of other great thinkers. This is unlike modern music which is used to forget about things, detach, or just feel nostalgic; classical music is for the purpose of activating the creative faculty associated with the experience of a joyous discovery.

I feel the creative process in the composer. One feels a great aesthetic pleasure when working. Even in mathematical figures one is looking for harmony, and it seems to me that harmony is the equivalent of beauty.--Einstein

In man's created universe of music, just as in God's created universe, there are dissonances or ambiguities generated by the context, which are resolved by a forced higher context. This is the same process of discovery we spoke about that Kepler used with the paradoxes of the senses. A theme is developed in a certain landscape, then a dissonance occurs, something which doesn't belong in the system, a surprise, triggering the mind to look for its lawful resolution, where the irony is seen as a necessary part of some greater whole, a new subsuming landscape. This is done through polyphony, a dialog of musical voices in discourse, much like the counter-point of voices in a Plato dialog. You lawfully break the rules of the system to create more freedom and a more perfect subsuming system. In Music, there are two ideas of the piece: one controls and shapes the other as a finished whole (the Being;) the other is an incomplete idea of the whole as it progresses (the Becoming.) The tension between these two ideas creates the energy in the performance and brings the piece to life; the idea of the composer acts backwards from the silence after the last tone to mold the piece from the beginning; the other idea, brought forth by the performer, moves forward to unfold the former. This dual nature of a musical piece is what creates the ironies which engage the audience to experience one idea that is more than just the summation of the notes, coming through above the technical ability of the performer. The primary idea represents causality, the secondary idea, effect.

Mind investigates when the outside material world deviates from the ideal. Paradoxes in sense perceptions drive us to seek the reality in a higher domain of mind. We're driven by an inner sense of truth, which we seek out above mere experience, in the world around us. A paradox of the senses has its analogy in classical culture, called irony, or ambiguity. Ambiguity occurs when, for example, the two meanings of a word or its equivalent, have two meanings when defined by the context, so that the total effect is to show a higher unity which is greater than the sum of its parts. Instead of the novelty of saying and doing things for their shock value; these are lawful singularities; paradoxes of ontological significance rather than phantom problems of psychology. The irony is used because material is not completely capable to express an idea, as when trying to express a newly discovered principle or anything substantial that exists beyond the tangible world. The purpose of poetry and music is to present these ironies in order to communicate a more profound subtext that's not literally communicable.

The same process in music and in scientific discovery, of thinking of a whole, revealing a new paradox, and resolving the discordance into a higher unity, is the same evolutionary process of the universe. Classical music is meant to provoke and mimic the emotion associated with the act of discovery, the love of problem solving. The mind practices the art of thinking in this domain; “Thinking for its own sake, as in music!” As Einstein would say.

Classical music and beautiful art are the resolution to the extremes of the person dominated by nature and his senses, and the one who's made rigid from his logic and cannot relate to the outside world. A simultaneously relaxing and tensing effect is created by beauty. As Beethoven's motto states -'so strict, yet free.' This is the state of mind that allows for a discovery. Art is the medium by which the true substance of the world is communicated directly to the soul. Without the passion that only classical art can provoke, there could be no sustainable process of creativity.

The Breakdown

Therefore, the attack on classical culture from modern art is an attack on the mind. You don't go from science, to art. You go from Classical art, to science. This natural unity of the passion of the imagination and technique of rigor was killed, especially pronounced starting in the period of the 1920's, by creating a false dichotomy between them. Every great scientist of Einstein's time and before had some connection to classical art and it was well known that these seemingly separate realms fed each other and grew together. The counter culture of the 68ers had the intention of destroying this platform on which society progressed. Most professional today do not recognizes or admits that classical imagination is where science comes from. Art is central to mankind's purpose; if that's attacked then nothing else functions. Music for Einstein and classical art in general is fundamental to being human, it's not just a hobby or a pastime, but an essential driver for thinking.

If you destroy the connection of the organized imagination in mankind, the potential creativity of mankind and its leaders ceases to exist.

We are now in a society which has been deliberately destroyed, intellectually and morally, by the way in which classical art, that is, the art of the scientific imagination, has been destroyed. We now have an entertainment culture, where music is used to numb the mind, banalize your emotions and dull the imagination. Your entertainment now destroys your mind! And by destroying your mind, it destroys your society. Classical culture shapes the creative mind for the better and hence, a person like Einstein was a product of a classical culture.

It seems to me that in our time we do not sufficiently appreciate the significance of an active participation in music as a means of development and of finding true happiness. A constant activity in music will contribute much toward the building up of a well-rounded character and enriching of the soul because of the possibility afforded by it to explore and relive depths of emotions. - Einstein

Conclusion

To be clear, classical music doesn't make a scientific discovery – it is a process of perfecting, not an attainment of an object. That's the difference between the perpetual process of hypothesizing to higher and higher forms, being creative, and wanting a theory as a fixed object which explains all. The process of discovery itself is your answer to how the universe works. The aesthetic state merely provides the capacity or the environment in which imaginative perception is piqued, developed and created.

As friends of Einstein said of him: 'it was music that created and nourished Einstein's mental landscape, enabling it to blossom full flower into his many theories. Driven by an aesthetic compulsion, his religious belief in the simplicity, beauty, and sublimity of the Universe was the primary source of inspiration in his science.' This potential is innate to everyone, but is only actualized by an individual taking the responsibility and choosing to enact it. But if the culture that provides that opportunity does not exist, then you are not even given a choice. The greatest minds of history existed when this classical culture thrived, a culture that valued the mind over popularity.

Universal principles cannot be expressed through mathematics. Principles exist as absolute, non-fixed, developing qualities, which can only be communicated as a living form. They don't change like hair styles, but they continually unfold and fulfill their potential. If this is what a principle is and this is what the substance of the universe is, then what does it say about what we are as creatures of the universe which come to know these principles and are self aware? Can we simply think of our identities as fixed objects? How did Einstein view his identity? How did he think of his own mind? We know he viewed the world as finite yet unbounded according to his cosmology. This is also how he treated his knowledge and himself. He never considered any of his theories the final say or completed, but as steps towards an ever expanding evolution. As the universe evolves, so does our understanding of it and ourselves. Our identities can continually develop and advance.

Our souls are as eternal and powerful as the principles it comes to know, but even more so, because our identity is self conscious and self creating. Discovering the principles of the universe through recollection of the ideas innate in our soul is an act of self discovery. You have two selves: the true inner self that is really you that we struggle to embody more of; and the other personality who's impulses were created for it by the environment and are not willful, even though they may feel real. The inner self, your identity, is a creation of the universe; and is immortal and therefore a reflection of the universe. Studying the way your mind works (or the mind of another, as in music,) is studying the universe. This is what Einstein was doing; exploring the fundamentals of the universe through the imagination. This does not mean you will ever know the universe in its entirety, or should only study your own belly-button, but that's the fun of it. Part of the beauty and sublimity of the universe is the infiniteness of truth of the “outside world” that exist in comparison to what we currently know.

Classical art is the greatest way to come to know the human mind and the world, (the Creator's mind.) This is where the subjective and objective are harmonized. Classical culture is where man can purposefully develop his powers of mind. It is an application of the principles of discovery, to create keener perceptions for further investigation, discovery and application.

We can learn a lot from great mind's such as Einstein. We can benefit more by looking at what shaped Einstein's thinking. But, it's not about Einstein solely, it's about the classical culture needed to survive. Today, when stupidity and superficiality is celebrated, our challenge is how to create this culture to combat current mortal threats, and also to provide a platform for future generations to work from, as was done for us by Einstein and others like him, to face our immortal challenges. That has to be created by individual leaders who are devoted to that.

The purpose of society is nothing less than the increase of the productive powers of all humanity. Every human being deserves the chance to know and develop their blessed nature, and to know the world. Any culture that doesn't have that as its conscious priority, especially in times of crisis, is doomed. The optimism that's received from the promotion of a beautiful classical culture is imperative.

Hopefully this has better acquainted you all with the your true identity, above the physical, immaterial but most substantial and powerful. This is the nature you have to fight to find within ourselves, so that we can go to war with enemies who deny and hide this nature from current and future generations.

Resources:

http://larouchepac.com/culture

http://www.schillerinstitute.org

For a more in depth reading see:
The private Albert Einstein, by Peter Bucky
Einstein: His Life And Times, by Philipp Frank
Plato's Republic, especially books VI and VII
Friedrich Schiller's Aesthetical letters
Percy B. Shelley's A Defense of Poetry
Nicholas of Cusa's On Conjectures
Willhelm Furtwaengler's Contemporary Thoughts of a Musician


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