Geometry, Arithmetic, Music, and Astronomy (GAMA) were the four domains of knowledge that Pythagoras inherited from the ancient Egyptian science of Sphaerics, which he developed in the form of a Quadrivium program for the education of children in ancient Greece. This is how Archytas, Socrates, and Plato, among many others, were educated in order to become Promethean creative thinkers. Pythagoras chose those four domains of knowledge as the basis for all knowledge because they were each in its own way oriented toward the future.
Author Archives: Pierre Beaudry
THE TIME FOR AXIOMATIC SHOCKWAVES IS NOW!
CORRECTION!
Discard the report sent yesterday. The following report is the correct one.
DON’T BE A SAD SACK, FIGURE OUT HOW METAPHOR REALLY WORKS
FOREWORD: THE LAROUCHE METHOD IN A NUTSHELL
“My specialty, a branch of physical science founded by Gottfried Leibniz, is the field of inquiry which addresses the efficient connection between the fostering of individual human creativity and increase of the productive powers of labor. For the period of nearly fifty years, since I adopted that vocation, the center of my work has been to show the specific incompetence of all currently accepted doctrines of political economy. The essential core of that incompetence is the use of formal-mathematical and related methods, which exclude consideration of the functional relationship between the fostering of scientific and artistic creativity, and the improvement of the size, productive power, and demographic characteristics of the nations’ populations.” Lyndon LaRouche, Music and Scientific Creativity, EIR, Vol. 23, No. 33, August 16, 1996, p. 21.
LYNDON LAROUCHE’S GEOMETRY OF THE CREATIVE PROCESS
HAPPY NEW YEAR
During the 1980’s, LaRouche identified how to understand music from the vantage point of the geometry that Eugenio Beltrami had constructed following Gottfried Leibniz’s and Bernhard Riemann’s pioneering investigations in the domains of analysis situs and negative curvature. LaRouche said at the time: “Crucial proof of Beltrami’s corrective supplement to Riemann curvature renders intelligible to a much deeper degree, the otherwise empirically demonstrable principles of composition of classical music.”
Lyndon LaRouche’s crucial point on the matter of creativity has always been centered on the fact that the student must be given a chance to relive the mental experience of generating a discovery of principle by means of constructive geometry; that is, by means of a transformative process of self-developing envelopment. As LaRouche once put it: “Believe nothing that for which you cannot give, yourself, a constructive proof.”
FUXI, LEIBNIZ, BACH, AND LAROUCHE ON THE PRINCIPLE OF RECIPROCITY
A Chinese discovery made 4,600 years ago is today applied as the basis for the digital computer system and yet hardly anyone knows about it. How can such a genuine revolutionary idea have remained hidden from so many people and for so many years?
Three hundred years ago, the rediscovery by German philosopher and world citizen, Gottfried Leibniz, of that ancient Chinese principle was, in point of fact, the unacknowledged key to solving the conflict between East and West and for establishing a worldwide paradigmatic change based on the coincidence of opposites by bringing together the New Bretton Woods policy of Lyndon LaRouche and the win-win policy of Xi Jinping. This Leibniz discovery of principle was then, and is today, what should have been the strategic game-changer for the world as a whole for the last 300 years. Today, the last chance has come to successfully apply such a principle to the changing world strategic situation.
