The Psychological Roots of Creativity in Messages Left by Leonardo da Vinci, Giorgio Vasari, and a Neanderthal Troglodyte

Abstract

<p>The perfect memory that informs our local autistic facet is insufficient to deal with the unforeseen change that challenges our nonlocal artistic facet. The loss of quantum nonlocality leads autistics to fail tests rooted in overcoming the less-than-perfect ambiguity that elicits our creativity. The psychological structure by which perfect memory and less-than-perfect creativity empower each other remains in darkness. This article broaches the hypothesis that Leonardo da Vinci envisioned the union of local perfection and nonlocal less-than-perfection, and that he hid his insight in the Adoration of the Magi. Leonardo’s knowledge - expressed here as the logos heuristic—guides a psychological interpretation of the smile of Mona Lisa; of the four avatars of the Vitruvian Man; of the recognition and location of Leonardo’s unknown painting Natività; of the exact location of his lost work, Battaglia di Anghiari; and of a 39,000-year-old abstract engraving in Gorham’s cave at Gibraltar. Logos can be used to single out local, nonlocal computing, and their alliance in pursuing a humanistic path to progress.</p>

A Psychological View of Complex Numbers through Classical and Quantum Computing

“…within the second attention, our curious facet (which autistics cannot fathom) places between parentheses a known belief and goes to the edge of madness in order to seize the darkness of imaginary numbers, discourse pragmatics, and personal pronouns; finally, My latest research (Cassella, 2017g) found that the Third Attention sustains our vein of humanistic creativity and our smiles at puns lodged in the crossing of opposite beliefs. In my view (Cassella, 2016), our Stone-Age ancestors knew that the Third Attention redirects the power of our second attention to place between parentheses the repetitive truths guarded by our autistic first attention. Although our ancestors did not possess our mathematical sophistication, they did not ignore that finite memory in the first attention and infinite imagination in the second attention feed the social power of our Third Attention to renew the self, the other, and the world.…”

“…In the last six years (Cassella, 2013(Cassella, , 2016(Cassella, , 2017a(Cassella, , 2017b(Cassella, , 2017c(Cassella, , 2017d, I have tried to falsify logos (or ) in diverse fields of thought by stressing the universal features and the reciprocal empowerment of three sides of the creative mind:…”

Re-directing Climate Change and Terrorism by Allying Classical with Quantum Neural Computing

“…In a previous article (Cassella, 2016b), I explain that Leonardo followed a drying technique suggested by Pliny the Elder in the encyclopedia that he polished at night in the autumn of his life, before meeting Emperor Vespasian at dawn. Before dying in 79 CE in the eruption of Mount Vesuvius that destroyed the cities of Pompeii and Herculaneum, Pliny wrote that the Roman technique to dry scenes painted with pigments diluted in nut oil ("encaust") had to be applied to paintings that were extended on a floor.…”

“…after that he wanted to implement it in the Hall, where in the lower part the fire dried it: but in the highest part, due to the great distance, there was no addition of heat and it ran down"). Until three months ago I believed (Cassella, 2016b) that Vasari himself wrote the words "CERCA TROVA"; that Cosimo I (the Medici who ruled Florence when Giorgio Vasari modified the Hall) did not like the tribute to a battle won by the Republic of Florence; that the painter lodged in Vasari secretively made a realistic copy of the damaged Battaglia di Anghiari with an aim to destroying it in front of Cosimo I; and that the architect hidden in the former preserved Leonardo's mural under that nose of the latter-perhaps in an interspace behind the interspace explored by National Geographic through Maurizio Seracini.…”

“…For the last 10 years, I have explored the psychological (Cassella, 2011), the neurobiological (Cassella, 2013); the social (Cassella, 2016a); the artistic (Cassella, 2016b); and the universal effects (Cassella, 2016c) of the attentions above.…”