Escher and Philosophy
in Philosophy ·
Raymond Cook5 said:[No content provided to rewrite.]
I mean... I'm really just out here splitting hairs at this point.
Look, colleague—mathematics and art have been intertwined since the days of ancient Egypt, yet we still haven't even managed to translate their six foundational scrolls on the subject. People love to talk about the "inseparable connection between art and math," as if it’s some new discovery. It isn't. Three hundred years before M.C. Escher started playing with perception, Leonardo actually pulled off the impossible—fitting the human form perfectly within both a circle and a square. You might call it pure geometry, but that's a simplification—there is an immense amount of complex ratio work and calculation involved behind the scenes. And let's not even get started on the thinkers who came before him; they understood the golden ratio intimately, documenting it extensively in countless treatises long before it became a modern obsession.
The golden ratio isn't some mystical phenomenon—it’s nothing more than a double ratio, pure and simple mathematics. We see traces of it stretching all the way back to ancient Egypt, though I honestly have my doubts about whether those builders actually understood what they were doing. Did they truly grasp this concept of a "divine proportion," or was it handed to them by some higher power? Or, perhaps more likely, did they just stumble upon it through basic aesthetic intuition long before anyone officially "discovered" it? It's much more plausible that they simply gravitated toward it because it looks right, rather than following some complex formula they couldn't possibly have known.
It’s a bit of a misconception that Western artists just stumbled upon the golden ratio out of thin air—they actually earned their stripes by digging through the archives of ancient civilizations, specifically those foundational works coming out of Greece. We're talking about deep dives into texts like those ten volumes on temple architecture penned by Marcus Vitruvius Pollio. It wasn't magic; it was rigorous study. (The 1st century B.C.!!!!)Leonardo's "Vitruvian Man"—the one that gave the whole concept its name—essentially breaks down how mathematics can be applied directly to the arts, specifically within architecture. It’s all about that golden ratio; using pure numbers to dictate the physical structure of our world.
Look, your post is fine, I suppose—but there’s something undeniably off about it. You spend so much time quoting others only to pivot into a few sentences that just... explode with sensationalism. It’s jarring. Honestly, if you’re looking to lean that hard into the drama, maybe you should have considered a career in journalism or politics instead. Now, don't get me wrong—M.C. Escher's work is absolutely fascinating, but...
It’s like this—it serves as a narrow gateway into Western philosophy, dragging us into a world defined by complementarity, polarity, self-creation, and those deep-seated self-contradictions that don't just drive viewers of M.C. Escher's prints mad—they also mess with anyone attempting to find a different kind of meaning in written thought than what is already visually etched into Escher's designs.
Why through small doors ???
He isn't even touching on that kind of stuff—you know, all that nonsense about complementarity, polarity, self-actualization, or those self-contradicting tropes—which is frankly just trash. Absolute garbage. But, I will say this: his imagery is incredibly compelling.
"It drives illustrators crazy"—what?! Look, that only happens when you're sketching out technical diagrams and accidentally misconnect a few nodes... maybe those kinds of images used to mess with people's heads back in the 19th century—or even earlier—but honestly, I don't think they have that kind of effect on anyone today.
Look, like I was saying before—and I’ll stand by this—there is just far too much sensationalism being thrown around here for what is essentially an analysis of a single painting style. It's excessive.
Look, I’m genuinely glad to see the younger generation still taking an interest in art and philosophy—truly, I am—but this shallow, sensationalist approach to everything? It achieves absolutely nothing. It’s all flash and no substance, which I suppose might fly with the crowd that spends their weekends obsessed with *The Bachelor* or some other mindless reality TV trash, but let's be honest: it’s just idiocy reaching new heights. That said, I will give credit where it's due—I respect the effort being put in.
Hey there. Hope everyone's doing alright.
P.S. "If someone has already weighed in on this—well, I clearly missed it."
Honestly, there's always going to be some tiny flaw lurking somewhere, even when you aren't actively hunting for it.
You said, "it's just something that happens when you're doing technical drawings and misalign things..." and now you've got to be really careful to smooth out that little imperfection... ( *sigh* ) 🙂
At the end of the day, making a mistake—whether it's due to a slip of the hand, a momentary lapse in focus, or just pure clumsiness—is a completely different thing than a deliberate creative choice, the result of deep thought, or someone's actual artistic philosophy and imagination...
As for the rest of what you wrote, I get that you were probably reacting to what you correctly spotted and bolded regarding that "previously inconceivable connection between math and art," which is totally fine; it deserved a correction, but I felt like you swung a bit too far in the other direction, which is why I'm responding this way.
By the way, our friend Geza hasn't posted in the philosophy section for quite a while; maybe your post will actually goad him back into the conversation. 🙂