I would connect the story of Antonio at Madrid with for example the urban structure of Wien: some cultural references of different type, whom I will show, are sufficiently normal facts, but the unconscious has an important role. It is interesting for example the fact that Calasso in “49 step” refers the Wien “ring” to the Chinese Wall. It could like in fact an easy provocation that Antonio sees similarity between Madrid and Wien and in a second time also with the China, but who eventually had observed with attention the situation in a Wien quarter and has verified it in relation to a Chinese quarter, he can’t avoid to consider the existence of a certain auto-similarity.
The mathematics defines auto-similarity in an exact sense for showing that in the little size we find the same form than in great, utilizing a particular objects named “fractal mathematics”.
I write about it: “It is interesting to consider as the problems related to the auto-similarity processes are used in biology and medicine. We verify that the structures of organic and inorganic life are represented as symmetries and regularities irreducible to classical analysis. It is possible to study natural models with differential equations, but we don’t have usually the idea of operating exactly, if we don’t make particular simplifications. The fractal theory gives us a method for finding mathematical curves, whom reproduce biological and chemical phenomena so there is respect of certain designs. The ramifications of the nature represent curves definied in theory as iterative processes”.
Calasso considers together Kraus and Loos, writing: “The house has a cancer, the bow-window. It will be the surrealism for painting it: from the house it is diffused a ghost” Next Calasso tells: “Also no having a normal religious justification, a body of imagine is born and has had power on the world, given by the infernal Beatrix of Kitsch”. Krauss will give form to this concept, in the sense of the relation between Ornament and Instrument, but in the same time we can read it as an horror book and refer it to brains of Stephen King. But, first to continue it, in the history of European thinking we find the language Cult, which with Godel had known in the same time the highest success and the lowest crisis, and Godel was born in Brno, no forget it, no very distant from the Wien of Kraus and Freud.
In my book of mathematics I write: “The Godel works about it are long and complex, but have an important concept, in according to it is possible to associate to every mathematical proposition a number, and the proof of a proposition is a relation between such numbers. Therefore the concept of proof is of a mathematical type, that is outer respect the formal theory which we are considering, but it is also inner to this construction, because the Godel arguments formulate the concept of proof in terms of numerical functions. So the Godel idea is similar to Russel paradox, because booth those theories talk about a proposition associating something to itself”.
Into the unknown part of the mind of Antonio, the dream character which about Loos talks becomes a symbol of the auto-reference which about Godel talks, and further the references to King have a similar approach with the psychology of Valentina of Crepax, where the nightmares are inner to the traditional literature for children and the Freud psycho-analysis are the same thing with the mode stylists. The fact that every brain of King doesn’t be so obvious and what that allows is a emotive lecture, but it is always true the existence of an exact strategy.
That results by a casual lecture of few rows, given without asking particular specific references: “Very good, he had talked, I have returned in my place. Let the show begin! The time went, he wouldn’t tell its time, but the sufference, which passed to him around the arm, was letter and the tea was less hot when has seen a movement. He moved the head, waiting to see Rosalie, but she didn’t be her.Ralph didn’t be able to tell whose colour it was the home (the orange light due to the sodium which the common had made to install in the public illumination granted a good visibility, but it can’t understand the colours of the things), but having told that the colour of windows was very different respect to other parts to the building, and having calculate the place, he valued with near all the possibilities it should be considered the May Locher house”
We see that the knowledge of the place doesn’t happen in a linear way, but the people examines more for steps, which with it starts an iterative process for identifying the colours and the spaces. No randomly, the modern processes for recognizing the images makes a larger use of fractal models. We know by a mathematical view that the information number necessaries for recognizing an object whit a linear analysis is very bigger than those necessaries to the procedures related the use of fractals.
After the error of the economical predictions of the financial big guru , some intellectual think that the fractals represent an ideal key for understanding the markets. I have written in my thesis of Statistics: “Passing the concepts from thermodynamics to economics it has been obtained the Black-Scholes equation for predicting the risk of option, but this expectation is an error. In fact the behavior of an option is similar to a random walk, so it shouldn’t be true to formulate predictions. That we can tell and Mandelbrot retains to have shown, it is that they are true power laws, whom are strictly related to concept of auto-similarity. A power law was introduced by Pareto for showing the distribution of richness in a population; Mandelbrot retained that it was an useful approximation of many economical phenomena and it introduced to the notion of auto-similarity”.
But also in my article on Equipeco “The idea of beauty in mathematics” of 2008 I sustain a dynamical conception of the aesthetics which recalls chaotic models explicated by those trends, affirming that “if the researcher must find a common approach between theoretical and technical issues, he shouldn’t avoid to present his job in the most elegant form. But so it is coherent with our theory retains that, if the Plato concepts get it in according to an harmonic idea, often a theory is valid by its degree of imperfection. The polemics which Popper makes about the scientific epistemology can be to direct to the mathematics. The mathematics is an important language for that part of the culture which is more related to modernity, but it must necessary have the imprecision of the problem studied; next it must consider the paradoxes, whom Tarski retained parts of every theory semantically sufficiently complex”.
But the mathematical support of the fractals theory should be reduced to the starting idea: why Calasso considers together the Chinese Great Wall and the Wien Ring? It is fundamental for understanding the connection between the Antonio psychology and the architectural context where he lives as tourist, what that Gregotti sustains, when he asks him-self “ in which way our perception of world becomes aesthetical perception, as we achieve certainty of the qualities of the world”.
He talks about an indirect way that “ getting parts of outer reality from the context, communicating through particular operations, it is given by a near-objectivity, what makes us informed by a figure. Until the failure of the stereotype which, in relation to the our civil life, allows us to consider the back-ground by a false view as other and different, as individual adventure, as individual approach to natural values considered stable”. So the important intellectual gives us a strong lecture key for connecting the classical paths of the architecture with the patterns of the perception of Antonio, and all that can be produced by the fractals mathematics.
Canetti tells that: “It doesn’t be authority after this Wall, it-self is an authority, all ramifications, which can be in the perception of humans, go to finish in the construction”. So he continues this approach, that is the auto-reference and the auto-similarity. Antonio is sufficiently interested to the “movida” at Madrid, he feels the life of the place, but after this efficiency he thinks to Lisbon and Wien, and that gives him a nostalgic taste, and as a Chinese boxes game it is lost in a fractal universe.
But in this context we have tell that it exists a particular interes
t why the individual events of Antonio are inner to the collective sentiment which operates after the construction of the Great Wall. He is at Madrid, but he has already lost the hope to love some girl, while it will be early the way of return. He thinks to the nostalgia which was communicated to him by the Wien Ring, and he realized the connection with the following words of Kafka, always about the Great Wall: “He tries to count the times whom he wakes up, but confused by the number of time he falls to sleep.
He likes to understand where those knocks came, they don’t happen on the door, but they came from a very different direction, in the sleeping, but he doesn’t remember which about his hypothesis are given. He understands only that many little and bad knocks are together before strong knocks born. He would earn all the badness of the little knocks, if he could avoid those strong, but for some reason it’s too late; he can’t tell, he has left the just time, he doesn’t have words, his mouth opens only in the low sleeping, he is unhappy and poses the face in the pillow”.
All that proposes the fractal question, the passing between dream and the usual life produces the surreal situation so well descript in the King romances, but the repetition of knocks reproduces an auto-similar context also about the sounds. By this view we can consider together two big protagonists of the culture, as Kafka and Bach, at least by the interpretation of Hofstaedter and Kundera.
While about the Hofstaedter idea about the music of Bach I have talked longer in an article in “Equipeco”, I would here tell which about Kundera affirms in “The testaments betrayed”. He writes: “Let me get, for example, the fourth : Scherchen makes it two times slower than usually (Bach doesn’t give indications about time), and is just this slowness to reveal this strain beauty of the melody. A similar realization about Bach doesn’t have anything to do with the romanticism: I refer here to true melody of the first time, impossible to remember, irreducible to a little formula. It is as in the melody art we have two models, incompatible one with other: as if a Bach , posing us against a extra-subjective beauty of being, would make so that we can forget mind states, bad or good, us-selves at last; and the romantic melody would on contrary make so that we can entry in us-selves, feeling our ego with a terrible intensity and forgetting all that is out us”.
Hofstaedter introduces those concepts in the musics of Bach by a mathematical view, particularly in relation with the fractal universe, but it is characteristic the fact that Kundera likes the aesthetics in a similar way that he considers the science. This writer analyzes a connection between the Proust idea of memory and the emotional flow in the German romanticism.
But the formal aspect of musical text makes a relation between inner and outer world, between subjective and extra-objective time, as the aesthetical idea could be valid by a fractal view, but in same time in an emotive way un-reducible to usual communicative.
As Godel, also Kundera is born at Brno, and the Check Republic in 1930 has been a centre of international commerce; just Brno has been place in those years of an important Expo.
The sensibility about a certain art has remained also in the communist regime. But this rate of size in according to fractals can be seen also as rate between in and out, between subject and object, as still King reveals us: “We don’t be the ones to have someone with the foot in two shoes. It is told that the Friends of Life don’t exist, because all do the double game. But it is too easy to entry between the Friends of Life, Ralph, thinking that at last all are in the our part. There are already 13 years that I work in this sector and I have seen so many fantasies than I consider those as random, but never something of this type. It is clear for this people that here at Derry there are women whom make aborts without knowing it”.
It is easy interpreter the abort as breaking of the symmetry between in and out, but by it we observe only illusions. It is interesting to see the way that the mathematics tried models for the reality (the hypotetic-deductive formalism), it can be direct against the aesthetics, but next the fantasy it-self is able to simulate and reproduce similar aspects. The attention level of a musical brain can have three different other level: that of sound, that fractal in according of Hofstaedter, and King at last considers the human ambivalence so that the same ambivalence of the telling results a simulation.
Is Antonio truly interested to his emotions? Certainly he doesn’t know the complexity level of the fractal theory, but he can read a formula about the power laws and he knows the similitude rates. The Spanish art leaves him in a context where he can operate and his aesthetics, also for that is referred to woman, is similar to Kundera theories. But already it is arriving the time for returning at Brescia and his concepts of beauty are going to the traditional models of the Italian Renaissance, but the usual attentions for the women are the same, from Lombardia or East Europe.He is becoming a typical interpreter of the globalization, but while Mark of my first romance was certain of participating to the Usa imperialism, he doesn’t be too conscious of that.
Antonio participates to the collective events, in a way also unknown, nevertheless his exact decision to travel, for his large lectures, but also with the adventures with the women of this countries. His mind becomes a mix where many parts initially unconnected next have a development and get a form, building the memory.
But he doesn’t have as Giovanni bad changes of mind, just for the un-intentionality and the randomness which with those flows are direct into them-selves and built their situations in the mind. Not being completely responsible of his perceptions, I can’t give for them a theoretical context. While Giovanni would represent with the algebric geometry the Kandinsky painting, Antonio thinks that great part of his sentiments are instinctive respect the memory, what that he wouldn’t justify, because his architectural culture (in according to Gregotti) is only a sublimation of the relations with the women.
The life of a translator in Lombardia.