The Psychological Roots of Creativity in Messages Left by Leonardo da Vinci, Giorgio Vasari, and a Neanderthal Troglodyte
DOI:
https://doi.org/10.18533/journal.v5i8.966Keywords:
Battaglia di Anghiari, Creativity, Gorham’s cave, Leonardo da Vinci, local-nonlocal superposition, theory-of-everything, NativitàAbstract
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.
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