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Abstract Orderism Fractal 73 – Art by Gennady Stolyarov II

Abstract Orderism Fractal 73 – Art by Gennady Stolyarov II

Abstract Orderism Fractal 73 – by Gennady Stolyarov II

Note: Left-click on this image to get a full view of this digital work of fractal art.

This fractal is a set of nested, ornamented domes complemented by swirl patterns on both macro and micro scales.

This digital artwork was created by Mr. Stolyarov in Apophysis, a free program that facilitates deliberate manipulation of randomly generated fractals into intelligible shapes.

This fractal is an extension of Mr. Stolyarov’s artistic style of Abstract Orderism, whose goal is the creation of abstract objects that are appealing by virtue of their geometric intricacy — a demonstration of the order that man can both discover in the universe and bring into existence through his own actions and applications of the laws of nature.

Fractal art is based on the idea of the spontaneous order – which is pivotal in economics, culture, and human civilization itself. Now, using computer technology, spontaneous orders can be harnessed in individual art works as well.

See the index of Mr. Stolyarov’s art works.

Elevated Fractal City III – Art by Gennady Stolyarov II

Elevated Fractal City III – Art by Gennady Stolyarov II

Elevated Fractal City III – by Gennady Stolyarov II

Note: Left-click on this image to get a full view of this digital work of fractal art.

“Elevated Fractal City III” depicts an angular, luminous outpost in the night on a befogged world. Even such less hospitable alien worlds will one day be colonized by our civilization, and the colonists will build their own amenities.

This digital artwork was created by Mr. Stolyarov in Apophysis, a free program that facilitates deliberate manipulation of randomly generated fractals into intelligible shapes.

This fractal is an extension of Mr. Stolyarov’s artistic style of Abstract Orderism, whose goal is the creation of abstract objects that are appealing by virtue of their geometric intricacy — a demonstration of the order that man can both discover in the universe and bring into existence through his own actions and applications of the laws of nature.

Fractal art is based on the idea of the spontaneous order – which is pivotal in economics, culture, and human civilization itself. Now, using computer technology, spontaneous orders can be harnessed in individual art works as well.

See the index of Mr. Stolyarov’s art works.

U.S. Transhumanist Party Virtual Meeting and Q&A – February 23, 2019

U.S. Transhumanist Party Virtual Meeting and Q&A – February 23, 2019

Gennady Stolyarov II
Denisa Rensen
Palak Madan
Pam Keefe
Dinorah Delfin
Arin Vahanian
Tom Ross
B.J. Murphy


On February 23, 2019, the U.S. Transhumanist Party invited many of its Officers and Ambassadors to discuss recent activities and plans for 2019, including the upcoming Presidential nomination process. The meeting included a public chat and portions where inquiries from members and the general public were addressed. Find the video recording of the meeting and the accompanying YouTube Live chat here.

Agenda
– Gennady Stolyarov II: Overview of 2019 Transhumanist Presidential Nomination/Debate/Primary Process
– Ambassadors – Denisa Rensen, Palak Madan, Pam Keefe: Discussions on Transhumanist Sentiment / Attitudinal Environment in Japan, India, and Hong Kong
– Denisa Rensen: Report on TransVision 2018 in Madrid
– Gennady Stolyarov II: Integration with the Transhuman Party / Dissolution of the TNC
– Dinorah Delfin: Discussion of Forthcoming Article in The Transhumanism Handbook: “An Artist’s Creative Process: A Model of Conscious Evolution”
– Arin Vahanian: Report on Premiere of “Immortality or Bust” Documentary
– Group Discussion: How to Reach 10,000 Members? (What demographics have yet to be exposed to transhumanist ideas and the existence of the USTP? How can we be more effective in getting people “in the door” to even be aware of our existence and content?)
   Potential Ideas
– Social-Media Digital Poster Contest (Suggestion by Tom Ross)
– Incentives for Members to Recruit Other Members (Suggestion by Tom Ross)
– Appeal to Subcultures – e.g., Steampunk, Cyborg Communities (Suggestion by Tom Ross)
– Question for Discussion: Should we engage with conspiracy theorists (e.g., attempt to rebut them) or distance ourselves from them as much as possible?
– Any questions from the audience

Note: The meeting livestream terminated slightly prematurely due to an Internet disconnection. However, the meeting did proceed over the course of the planned two-hour timeframe, and the vast majority of the intended subjects were covered.

Become a member of the U.S. Transhumanist Party for free, no matter where you reside. Fill out our Membership Application Form.

Become a Foreign Ambassador for the U.S. Transhumanist Party. Fill out the application form here.

What Goes On In The Depths Of Space? – Art by Alastair Temple

What Goes On In The Depths Of Space? – Art by Alastair Temple

what_goes_on_in_the_depths_of_space__by_smiling_demon-d8wnz3yNote: Left-click on this image to get a full view of this digital work of art.

Created by digital artist Alastair Temple, this art was featured in the 26th Exhibition of The Luminarium, “Depth”. The entire exhibit can be viewed here.

Visit Alastair Temple’s DeviantArt page and view his other art.

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.

Sci-Fi City – Art by Maxime Delcambre

Sci-Fi City – Art by Maxime Delcambre

maxime-delcambre-sci-fi-city-md-bannerjpgNote: Left-click on this image to get a full view of this digital work of art.

Created by digital artist Maxime Delcambre, this futuristic matte painting portrays a flourishing science fiction cityscape.

Visit Maxime Delcambre’s portfolio for more of his matte paintings and illustrations.

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License and was originally posted on DeviantArt.

Phoenix Station – Art by Glenn Clovis

Phoenix Station – Art by Glenn Clovis

phoenix_station_by_glennclovis-d6v3c7mNote: Left-click on this image to get a full view of this digital work of art.

Created by digital artist Glenn Clovis, this art was featured in the 22nd Exhibition of The Luminarium, “Illuminate V”. The entire exhibit can be viewed here.

Visit Glenn Clovis’s DeviantArt page and view his other art.

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.

Future City Concept – Art by Eric Dima-ala

Future City Concept – Art by Eric Dima-ala

future_city_concept_by_frenicNote: Left-click on this image to get a full view of this digital work of art.

Created by digital artist Eric Dima-ala, this futuristic matte painting captures the glittering beauty of a bustling nighttime cityscape.

Visit Eric Dima-Ala’s website for more of his matte paintings and illustrations.

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License and was originally posted on DeviantArt.

Space Elevator – Art by Glenn Clovis

Space Elevator – Art by Glenn Clovis

space_elevator_by_glennclovis-d7egmifNote: Left-click on this image to get a full view of this digital work of art.

Created by digital artist Glenn Clovis, this art was created for the 23rd Exhibition of The Luminarium, “KIBERNETIK”. The entire exhibit can be viewed here.

Visit Glenn Clovis’s DeviantArt page and view his other art.

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.

History of the Minoan Civilization of Ancient Crete (2002) – Essay by G. Stolyarov II

History of the Minoan Civilization of Ancient Crete (2002) – Essay by G. Stolyarov II

The New Renaissance Hat
G. Stolyarov II
July 20, 2014
******************************
Note from the Author: This essay was originally written in 2002 and published in four parts on Associated Content (subsequently, Yahoo! Voices) in 2007.  The essay earned over 32,200 page views on Associated Content/Yahoo! Voices, and I seek to preserve it as a valuable resource for readers, subsequent to the imminent closure of Yahoo! Voices. Therefore, this essay is being published directly on The Rational Argumentator for the first time.  ***
***
~ G. Stolyarov II, July 20, 2014
***

The Minoan civilization of ancient Crete has long fascinated historians and students of history. As early as about 4000 years ago, the Minoans already had a thriving culture with major commercial, esthetic, and technological accomplishments, unparalleled virtually anywhere else in the world of their time. Some have even speculated that the Greek legend of the ultra-advanced ancient city of Atlantis was based on knowledge, passed down through the ages, of the accomplishments of Minoan Crete.

This essay will examine key aspects of Minoan life and culture. We begin by looking at this civilization’s emergence and the kind of geographical environment in which it came to be. We then continue the examination of the Minoan civilization of ancient Crete by discussing the Minoan economy and government – both of which were remarkably advanced for their time and allowed the Minoans a then unparalleled degree of liberty and prosperity. We proceed to discuss this culture’s religious, esthetic, and technological aspects, the athletic activities common in Minoan Crete, and the manner in which this remarkable ancient civilization met its end.

Beginnings of the Minoan Culture

The site of Knossos, the capital of ancient Crete, possessed discernible human influences from as early as 7000 BC. The beginning of intense development can be detected at about 3000 BC.

The Minoans originated in Asia Minor and spoke a language not related to the Indo-European group. The interpretation of their scripts and any manner of their phonetics are lost to us, although Myceneans and later Greeks may have borrowed certain Minoan aspects of speech.

Centralization of government was gradually instituted with the construction of the first Palace in Knossos at about 2000 BC.

When population reached levels exceeding the available food supplies, migrations to neighboring islands were required to extend the accessible arable territory. Need of a navy also arose for purposes of transportation as well as commerce with other Mediterranean cultures for the acquisition of food and other raw goods.

Geography of Crete

Crete, a large island in the Mediterranean, lies halfway between Asia Minor and Greece, granting it a central spot in numerous ancient trade routes on the sea.

During the earliest days of its development, Crete was free from invasions, since no civilization had yet developed a sufficiently massive and functional navy to mount an expedition. This permitted relatively calm development, where resources could be employed for technological advancement and the arts rather than frequent warfare, subsistence, and repairs. The Minoans as a result created few defensive structures and no standing army, since the necessity for these was not present.

Crete possesses a temperate climate and highly productive soil. Large families were common, as demonstrated by houses of four to six rooms for even the poorest dwellers within the realm. Evidently, the frequent agricultural surpluses resulted in rapid population growth and hence the need for expansion and trade.

Economy

The primary vehicles of the Minoan economy were mercantile ships also equipped with armaments. They conducted journeys to mainland Greece, Asia Minor, Egypt, Mesopotamia, and Palestine. From there they imported basic resources such as additional food to maintain a constantly increasing population.

Minoans exported refined goods, such as jewelry, wine, oil, and artwork, for Crete was home to numerous skilled craftsmen and specialists.

Present hypotheses concerning the identity of numerous Minoan documents hint at a purpose of recording commercial transactions. It is known that accuracy and calculation were valued in conducting economic deals.

Trade was centralized and commissioned by the King, whose extensive network of bureaucrats would implement detailed designs and analyze the results. Because of Crete’s small size and relatively small population, it was possible for the monarch to govern the country in a similar way to the management of a modern corporation. Nevertheless, the government did not neglect the people, and there is evidence of even the lower classes enjoying imported goods. The distribution may not have been even, yet the differences between wealth and poverty were substantially smaller than in any other contemporary culture.

Government

Crete was ruled by a monarch from the central palace of Knossos. The first ruler (and the only one whose name is known) was the legendary King Minos, described by later Greeks as being the son of Zeus and appointed by the chief deity to reign over the island.

The monarchy, however, was far from a totalitarian regime. Historian Richard Hooker describes the role of the King as a “chief entrepreneur or CEO” rather than a dictator. Numerous administrative decisions were shared by a priesthood (which was mainly female) and an immense network of bureaucrats and scribes. This semi-meritocracy was one of the most civil regimes of its time, remarkable for its lack of rigid caste structures and barriers to individual socioeconomic advancement.

Evidence suggests that the people of Crete were permitted a large degree of liberty, and no gender inequalities existed. Cretans are anomalous in that respect, having avoided the negative impacts of late Neolithic societies upon women and the poor. Perhaps this is due to the fact that their relative tranquility placed a smaller need on a strong military and a subservient workforce. Thus patriarchy and a rule of warlords never developed.

Religion

The Minoans had a matriarchal religion in which no male gods were detectable.

Cretan religion orients itself around animals, and numerous deities seem to possess a central emphasis on them. For example, “The Huntress” represents human attempts for mastery over other creatures, while “The Mountain Mother”, a diametric opposite, attempts to preserve a natural setting for animals. A popular household goddess was portrayed as entangled in snakes throughout her organism. Other goddesses possessed exteriors of birds, most notably doves.

The Minoans worshipped trees, rocks, and springs in a semi-Animist manner.

Evil figures in Minoan religion are represented as human demons with the limbs of lions and other carnivores.

Art, Architecture, and Technology

The most renowned of the palaces in Knossos was the four-story Labyrinth, the chief palace of the King in existence from 2000 to 1350 BC. Its extraordinary abundance of rooms served as a basis for legends of foreigners, such as mainland Greeks, who perceived it as a maze in which it would be humanly impossible to remember one’s way. In reality, however, it was not the crude dwelling of the Minotaur that myths describe it to be. It possessed numerous places of worship, workshops, lavish banquet halls, and a grand courtyard in the center, surrounded by four sections. This palace was destroyed and rebuilt numerous times, in 1700 BC, and later by an earthquake in 1600 BC. The eruption of the Santorini volcano in 1450 BC was its greatest catastrophe, although it was restored once more by conquering Greeks. However, it fell into neglect and disrepair as Crete lost its political value around 1380 BC. This monumental work is thought to have been designed by the legendary architect and scientist Daidalus, the father of Icarus.

Minoan art seems to have been separated from mundane tasks and duties and oriented toward a purely aesthetic purpose. Numerous wall murals in palatial complexes within Knossos illustrate scenes from the animal world and everyday life, common in depiction but detached from practicality. The objects portrayed were often trivial and superficial, and there is no moral or political aim discernible in the works. Art was instead developed “for art’s sake”.

Minoan cities possessed plumbing and sanitation systems reaching into the confines of every home. The exact means by which they realized this was, unfortunately, lost following their decline and not recovered until 17th century Europeans had again attained this skill.

Sports

The renowned sport of ancient Crete, open to both genders and subjecting all to the same standards, was bull leaping. This was a dangerous pastime, but harmless and humane to the athlete and the animal if performed with skill. A bull would be released to charge toward the jumper. Once it was in sufficient proximity, the performer would attach his hands to the bull’s horns and vault onto the creature’s back. Another common objective was to somersault from such a position to a state of standing on a spot of land directly behind the bull.

Boxing was also a favorite activity, as portrayed in numerous wall murals. The precise regulations are unknown, but this is perhaps a source of inspiration for later Greeks, who adapted the sport to the Olympic Games.

Fate of the Civilization

The Minoans’ isolation from foreign threats caused them to maintain feeble frontiers, and gradually mainland powers such as Mycenae developed, with the fleet and army to overcome them.

The task of conquest was perhaps lightened for the Myceneans by the explosion of the Santorini volcano, four or five times more massive than the cataclysmic eruption of Krakatoa in 1888. This, along with a similar catastrophe on a nearby island from the volcano Thera, inflicted devastating blows upon Crete’s population and economy, crippling it and rendering it susceptible to invasion.

Under Achaean occupation, Knossos gradually withered away into an insignificant village, the cultural level of the Myceneans being too primitive to maintain the complexities of the civilization which they had conquered.

Nevertheless, evidence suggests that Cretan script was somewhat adopted by the occupants. Elements of Linear A, the original (and yet un-decoded) alphabet of the Minoans, have been spotted in Linear B, the early writing of the Myceneans.

Myths maintained a memory of this civilization in such fascinating works as the tale of Theseus and his struggle against the Minotaur for over 3000 years. Only between 1900 and 1931, during the extensive excavations conducted by archaeologist Arthur Evans, did details begin to surface about the true identity of this culture. Archaeologists and historians discovered a humane and prosperous society that existed during a relatively savage time, a society that provided many of the early foundations of Western civilization.

Sources

“Knossos.” http://www.culture.gr/2/21/211/21123a/e211wa03.html

Hooker, Richard. “The Palace Civilizations of the Aegean.” http://richard-hooker.com/sites/worldcultures/MINOA/MINOANS.HTM

Iraklion Museum. “City of Knossos: The Palace of King Minos.” http://www.dilos.com/region/crete/kn_01.html.

Liberty or Death: Why Libertarians Should Proclaim That Death is Wrong – Video by G. Stolyarov II

Liberty or Death: Why Libertarians Should Proclaim That Death is Wrong – Video by G. Stolyarov II

Without intending it, Patrick Henry communicated a truth that is becoming increasingly apparent in our era: we can one day be truly free if humans achieve indefinite life extension; without it, we will be both unfree and eventually dead. Within our lifetimes, we will either have liberty and no death, or death and no liberty. We cannot have both liberty and death.

Donate today to the fundraiser to Help Teach 1000 Kids That Death is Wrong.

References
Death is Wrong on Amazon
* Paperback version
* Kindle version
Death is Wrong Official Home Page

– “Liberty or Death: Why Libertarians Should Proclaim That Death is Wrong” – Essay by G. Stolyarov II
– “Liberty Through Long Life” – Essay by G. Stolyarov II
– “Life Extension and Risk Aversion” – Essay by G. Stolyarov II
– “How the NSA Plans to Infect ‘Millions’ of Computers with Malware” – Ryan Gallagher and Glenn Greenwald – The Intercept – March 12, 2014
– “Longevity Escape Velocity” – Wikipedia
SENS Research Foundation
Movement for Indefinite Life Extension Facebook Page