• Miguel A. Fernandez

Signs of the Divine

by Miguel A. Fernandez

This week, I gladly discovered that the golden ratio (φ=1.618…) always emerges in those systems, architectures, etc. that are forced to “blow-off” as efficiently as possible a given energetic stress that puts the entire system in an energetically dissipative dynamics. All studies available that exist on the golden ratio are focused in its mathematical/geometrical features, aesthetically harmonic characteristics, and yet there is still not one single study available that presents the specific physical foundations that can explain the emergence of such ratio.

This is quite an important discovery because today most science and physics are still not willing to address the type of dissipative/out-of-equilibrium dynamics that set the conditions for the golden ratio to emerge, and such sciences still rely on Euclidean, hilemorphic and analytical understandings of nature that discard all the extraordinary capacities that nature has for self-organization. Whether one relies either on Classical/Newtonian physics or quantum physics, both modern paradigms on physics have in common these critical limitations, and the entire academic domain is vastly impregnated by them.

Also, another paradigm that impedes modern techno-science address these extraordinary phenomena is that it still Prometheically assumes that “as humans we design machines or architectures”… I very often design machines, but when it comes to the work of harnessing energy from the biosphere in order to serve life, as weird as the following sentence shall sound for most understandings, the architecture autonomously “builds up by itself”. In these cases, in spite of all appearances, nobody “designs” the architecture because the architecture builds up operatively, this is, it emerges as a work (opus) that exclusively manifests the power of nature to express herself by “draining” all the energies available in the environment... This process is so extremely mind-boggling for most analytical views on nature that it has often been conceived as the most blatant expression of the miraculous.

Although I´ve aspired to transmit since 2016 this concept of “operative” in my Operative Traditions volumes, it´s still today a very challenging concept for most people –even for excellent architects and engineers- because an operative approach to nature implicitly assumes that, during technical interaction with nature, the human will is always subservient to a much greater creative force of the cosmos. This realization is very shocking for all those who´ve been trained to think in scientific and anthropomorphic terms, and yet an operative approach to nature is what actually existed during the splendorous European gothic times in the 12th-13th. During those times, today´s concept of “laboratory” was simply inexistent… Even though modern culture at large has assumed that gothic Europe corresponded to primitive “dark ages” full of barbarism and conflict, it´s extremely obvious to me that Gothic culture reached a much higher consciousness on the mysteries of the cosmos than modern science shall ever will, mainly due to the intrinsic limitations present in the paradigms of modern science. Even after 7 centuries of so-called “progress” since such peak Gothic moment, it´s still amazing to realize that if you ask any scientist, architect or engineer “how” gothic architecture was erected, they´ll still claim it was essentially effectuated through applied arts. So the next question is necessarily the following: where are all the layouts, templates, tools, scientific documents and workshops that are necessarily required, in technical terms, in order to develop such applied arts at such massive architectural scale?...

This lack of evidences is just another confirmation that History isn´t but a tale told by the most powerful in order to keep billions of individuals in a state of ignorance about their true origins.

by Miguel A. Fernandez

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