Cakravartin

A physicist’s testimony on physics, modern & post-modern physics

Having been functioning in this field for some twelve years and hence given the possibility to observe much of its internal workings, in this our treatise Sherds of Physis Shattered, we wish to expose some typical conceptual features of physics, the queen of modern sciences, and as such obviously one of the most prominent shapers of the modern world and Weltanschauung.

Our goal is to present a multi-lateral criticism of physics, one which by its very nature through physics pertains to the whole of modern science. We adopt the methodology that as the paper proceeds, we continuously descend to more and more particular perspectives. Hence, while the character of the paper is a polemical, somewhat pamphlet-like scientific counter-propaganda, this methodology allows us to expose the painful narrowness of the modern scientific mentality, its inherently anti-intellectual and anti-spiritual nature, and the self-destruction – self-demolition of science as it is realised in the post-modern era.

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SYMBOLS and signs, whether verbal, musical, dramatic or plastic, are means of communication. The references of symbols are to ideas and those of signs to things. (…) The language of traditional art—scripture, epic, folklore, ritual, and all the related crafts—is symbolic; and being a language of natural symbols, neither of private invention, nor established by conciliar agreement or mere custom, is a universal language. The symbol is the material embodiment, in sound, shape, colour or gesture as the case may be, of the imitable form of an idea to be communicated, which imitable form is the formal cause of the work of art itself. It is for the sake of the idea, and not for its own sake, that the symbol exists: an actual form must be either symbolic - of its reference, or merely an unintelligible shape to be liked or disliked according to taste. (…) The scholar of symbols is often accused of “reading meanings” into the verbal or visual emblems of which he proposes an exegesis. On the other hand, the aesthetician and art historian, himself preoccupied with stylistic peculiarities rather than with iconographic necessities, generally avoids the problem altogether; in some cases perhaps, because an iconographic analysis would exceed his capacities. We conceive, however, that the most significant element in a given work of art is precisely that aspect of it which may, and often does, persist unchanged throughout millennia and in widely separated areas; and the least significant, those accidental variations of style by which we are enabled to date a given work or even in some cases to attribute it to an individual artist.

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Michelangelo Naddeo, Italian researcher, believes that the first civilization in Europe had already appeared in the Neolithic and it belonged to the ancient people living in the Carpathian Basin, the Hungarians. (…) The Indo-Europeanists will probably be shocked even by the thought of their common history having been called into question. What led you to this theory, which is very likely to astound the people of our country? In fact, in your next book, which is about to appear, you state nothing less than that we are the most ancient inhabitants of Europe…

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Peter Stephen Paul Brook CBE, director, filmmaker, author, painter, pianist and theater man to the bone, is a giant of world culture. Born on the spring equinox in 1925, Brook produced an acclaimed Faust at Oxford at 17 and at 20 became the youngest-ever director of the Royal Shakespeare Theatre. He has since directed over 40 major stage productions, created ten films, and with multiple stage, cinema and television versions returned the dramaturgically languishing gods of India’s Mahabharata to full-time international employment. Although he has produced works as varied and bizarre as Marat Sade, Lord of the Flies, Conference of the Birds, and The Ik, the Paris-base Brook constantly cycles back to the Shakespearean canon for renewal. His primary legacy to the modern stage is a sense of immediacy bordering on possession, taking theater back to the numinous ground where ritual, seance and coven convene.

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The alphabets of ancient Norse monuments found in both Europe and Central Asia have stemmed from a common origin in a very remote past. Then, it was only a natural development for the Turkish, and the Germanic tribes that, although in locations so far away from each other, they could seperately carry on with this heritage of writing. I hold the belief that I have been able to prove the claim summarized above by reading the monuments written in Futhark alphabet, or the Oldest Runic, in Turkish through the help of the Göktürk alphabet. (…) The European scholars have come to recognize from the very beginning the obvious similarity between the character forms of the Primitive Norse stones and those of the Central Asian Göktürk monuments, but for certain various reasons have refrained from tackling this point by denying all kinds of plausible relations. All throughout the period of 160 years that elapsed between the years of 1730 and 1893, that is between the discovery of Orhun monuments and their definitely final decipherment, fanciful theories were fabricated about the Vikings’ (or Indo-Germans’, or Celts’, or Goths’) prehistoric emigrations into Central Asia, and the erection of Orhun stones as landmarks of their presence and civilization dating back to several thousands of years BC in that region. Only when in 1893, it was understood that these inscriptions were not written in any other tongue but pure Turkish, then those fanciful theories were discarded, and the proposed pre-historic datings were revised to be not earlier than AD 700.

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