Known as Renaissance Man, Leonardo da Vinci’s Theory of All Knowledge is recognized as the foundation of the modern era of mechanistic science and technology. The key to this work of great genius was the human eye. Leonardo’s optical key was associated with Sir Francis Bacon’s vision of a great empire for all men based on all knowledge through the eye. Inspired by this concept, Thomas Jefferson depicted the Egyptian concept of the all-seeing eye on the great seal of America.

The term Renaissance refers to a revival of lost classical Greek science of life. The Great Italian Renaissance of the 14th century was an extension of the School of Islamic Translators that settled in Toledo Spain during the 11th, 12th and 13th centuries. The School of Translators was about the recovery of several centuries of ancient Greek science that the Christian Church had mostly destroyed as heresy. During the Golden Age of Islamic science, the writings of Al Haitham, known as the father of optics, have since shown that Leonardo da Vinci’s status as Renaissance Man is simply a great myth. Recent optical discoveries have shown this to be so.

Al Haitham had corrected Plato’s optics, but retained the warning that using the eye as the source of all knowledge could only lead to an ignorant and destructive scientific view of the world. Engineer Buckminster Fuller’s life energy discoveries, derived from Plato’s spirit optics or holographic optics, are now central to a new science of life being developed by the three 1996 Nobel laureates in chemistry.

When a sperm cell makes contact with the egg cell’s membrane, its liquid-crystal optical construct functions to focus the life within that cell. There is no eye present to participate in any knowledge gathering process. Technology developed from the liquid crystal optics theories of Pierre de Gennes, who won the 1991 Nobel Prize in Physics, revealed, through nanotechnology observations, energies from the life sciences that completely defy Leonardo’s mechanistic view of the world. As Al Haitham and Plato had advised, considering the eye to be the key to all knowledge can only lead to a limited, mechanical, lifeless, and ethically empty scientific worldview.

The internationally recognized science book The Beauty of Fractals-Images of Complex Dynamical Systems warns that the current understanding of geometry underpinning technology belongs to a doomed civilization. A chapter in that book under the title Freedom, Science and Aesthetics, written by scientist Gert Eilenberger, contains a reference to some notable computer-generated fractal artwork.

Professor Eilenberger wrote about the emotion surrounding these fractal images, stating that they demonstrated a bridge between rational scientific perception and emotional aesthetic appeal. Not only can these images generate surrounding excitement, but when viewed through ChromaDepth 3-D glasses, they can display vivid hidden holographic images. The late Royal Fellow of Medicine, (London) Dr. George Cockburn, correctly predicted such artistic phenomena in a published book written in 1984 entitled A Bio-aesthetic Key to Creative Physics and Art. After his death it was discovered that the reproduction of some Pictures, painted over the centuries, also contained hidden holographic images, which had been unconsciously generated by the artist.

Dr. Cockburn’s correction to Kantian logic was found to echo the theories of the 19th-century mathematician Bernard Bolzano, whose Theory of Science had also been based on a correction to Kant’s Aesthetics. Recently, German scientists rediscovered Bolzano’s work and extrapolated his reasoning into the modern format of fractal logic, commenting that Kant had not even grasped the logical meaning of the important problems that Bolzano had solved. Edmund Hurserl’s book on pure logic, published in 1900, considered Bolzano to be one of the greatest logicians of all time. It is of further interest that Professor Eilenberger’s chapter also contains a correction to Kantian aesthetic theory.

Dr. Cockburn’s work was used in 1986 to correct the optical key to Leonardo da Vinci’s Theory of Knowledge. While da Vinci’s brilliance in mastering the laws of artistic perspective is not in question, it has now been superseded by the evolution of artists’ innate optical ability to create holographic images, which is now relevant to the development of new technologies. supratechnologies of human survival.