Beastmode
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- Joined
- Feb 7, 2017
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- 1,258
Have you had any new interest since discovering Peat's work besides nutritional changes?
I've noticed I'm much more into art (i.e- tesselation patterns) music (i.e- learning the piano,) permaculture, etc. A big thing is seeing the subtle nature of things way more now. Almost like a child does when starring at a leaf outside or my experience chewing food.
I reached out to Ray with the following and thought it would be a appropriate here.
Me:
I've been revisiting tesselation patterns throughout nature and attempting to "refresh" my perception on creating, asking better questions, etc.
I see and have heard in your interviews that you paint and sculp (I believe,) and wondering what kind of key insights you may have had over the years with anything regarding tesselation patterns, etc.
When did you first realize the association with art and science/philosophy and so on?
Ray:
Painting led to thinking about the process of perception, and that to phenomenology, and the problems of flowing time and multiple perspectives caused me to think about the way meaning exists in a painting—generality revealed in the specific. That leads to holism in science, the realization of the impossibility of reductionism.
I've noticed I'm much more into art (i.e- tesselation patterns) music (i.e- learning the piano,) permaculture, etc. A big thing is seeing the subtle nature of things way more now. Almost like a child does when starring at a leaf outside or my experience chewing food.
I reached out to Ray with the following and thought it would be a appropriate here.
Me:
I've been revisiting tesselation patterns throughout nature and attempting to "refresh" my perception on creating, asking better questions, etc.
I see and have heard in your interviews that you paint and sculp (I believe,) and wondering what kind of key insights you may have had over the years with anything regarding tesselation patterns, etc.
When did you first realize the association with art and science/philosophy and so on?
Ray:
Painting led to thinking about the process of perception, and that to phenomenology, and the problems of flowing time and multiple perspectives caused me to think about the way meaning exists in a painting—generality revealed in the specific. That leads to holism in science, the realization of the impossibility of reductionism.