Ours is the Age of Science; but from a study of most contemporary art, one would find it difficult to infer this most obvious of facts. Contemporary literature, graphic arts, and music, contain remarkably few references to contemporary science—few references even to the metaphysical and ethical problems which contemporary science has raised.
A survey showed that 70 % of the US citizens are scientifically illiterate. Some of them want to know about science: it´s just that all science got filtered out before it could reach them. For their naivety, they’re systematically misled and bamboozled by pseudoscience.
At the heart of pseudoscience is the idea that wishing makes it so. The dumbing down is most evident in the slow decay of substantial contend in the enormously influential media and leads to mediaeval like witch hunts.
The world of total human experience is the world that is (or at least ought to be) reflected and molded by the arts. Art offers knowledge to those that seek it, gives experience to those who understand it, and pleasure to those that love it. Science on the other hand imparts knowledge, leads to experience, and gives pleasure to the few who love it.
The relationship between the contemporary artists and the scientists is not a simple one. For, in certain instances the artists have welcomed the new development of science, while at others they have turned on them with a conscious, though sometimes unreasoning, hostility.
The words ‘science’ and ‘art’ denote fields of endeavor that have different aims and encompass different activities, but it makes little sense to construe them as opposites. Their affinities are in fact striking. Activity in both spheres is characteristically imaginative, exploratory, experimental, constrained by limits that must be respected (hence, each sphere requires its own disciplined methodologies), and, inevitably, not free of boring routine.
Art is best understood as a series of lightly disguised hypotheses: given what we think we know about human character, if a, b and c were true, how would humans react in x, y, z circumstances? While artistic visions are technically without truth value, they implicitly (and sometimes explicitly) purport to represent larger truths about the human condition. They are thought-experiments: This is what it’s like to be us, is essentially the claim made by art.
Future artists may work up the raw materials of brand-new facts and revolutionary hypothesis provided by cryptomathics, transfiguring them into a new kind of art, capable of expression and at the same time coordinating and giving significance to the totality of an ever-widening human experience.

5 thoughts on “Cryptomathics: the complexity of simplicity.

  1. What is telling about this article, in my view, is that the relationship between art and science is stated to be not simple, yet the expansion of this statement depends 100% upon what “art” does in reaction to “science”. It completely ignores the flow in the opposite direction, as though it is meaningless or non-existent. Art is not here solely to display what exists; it is here to depict what should exist but does not.

    Liked by 1 person

    1. There is value in your argument, but the reason why I so much emphasize the task of art into the creation of a meaningful metaphysic, is that many artists just moved to the pseudo scientifically stance of “wish so, makes so”, without even trying to understand the socio-cultural dynamics caused by science.

      Liked by 2 people

      1. Ironically, I believe this exact same thing is true of many scientists. Few concern themselves with how and to what extent science and technology, their outsized influence, influences society and culture. I think this might have corrected slightly since the apex of reductionism during the 1990s. But the number of techno-savvy people who concern themselves thoughtfully with what the results have been for humanity is small. I consider Jaron Lanier a merit worthy counterexample in this.


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