Connecting the imagination is the art of creating worlds that do not exist. That creative act passes through inspired wanders founded in passion, and passion always has persistence.
Passion and motives are our foundations.
When We create a world, We are inspired because imagination is based on inspiration, it is the art of creating, of figuring a world that does not exist. This inspiring act is based on the inspiration for doing it, for seeing it come true, for seeing it done.
There our creativity and resilience to challenge that successfully and then use our creativity to achieve a unique solution that makes a difference.
There our imagination.
The way to imagine those worlds is an art. We do not always find at first that world. It goes through several attempts and only one of them will be the one with all our passion. That is the aim of ImaginativePlaces.
Connections between Beauty, Physics and Imagination
“Any path is only a path, and there is no affront, to oneself or to others, in dropping it if that is what your heart tells you. . . .Look at every path closely and deliberately. Try it as many times as you think necessary. Then ask yourself, and yourself alone, one question. . . . Does this path have a heart? If it does, the path is good; if it doesn’t it is of no use”
Excerpt From: Fritjof Capra. “The Tao of Physics.”
Parvati is the wife of the Hindu God, Shiva: the protector, the destroyer and the regenerator of life in the Universe.
When we gaze up at a starry night by the sea, and we listen to the rhythm of the waves as they crash against the rocks of a cliff, and the light of the moon illuminates us, and the stars shine as we feel the air that surrounds us, as we listen to the sounds of the breeze, we can perceive that we are in an immense cosmic dance of energy. Our body as a whole can “listen and perceive” that we are part of the Dance of Shiva.
The influence of modern physics goes far well beyond technology. It arises in our thinking and culture and leads us to a continuous revision of our concepts about and our relationship with the Universe. These explorations of the subatomic world, of space and time, of cause and effect, coincide with a view of the world as reflected in Eastern mysticism, on the one hand, and Hinduism, on the other. There is a parallelism between these concepts and the cultures of the Far East. This is why two notable Nobel Prize winners have come to say:
“For a parallel to the lesson of atomic theory . . . [we must turn] to those kinds of epistemological problems with which already thinkers like the Buddha and Lao Tzu have been confronted, when trying to harmonize our position as spectators and actors in the great drama of existence”
“The great scientific contribution in theoretical physics that has come from Japan since the last war may be an indication of a certain relationship between philosophical ideas in the tradition of the Far East and the philosophical substance of quantum theory”
Frijof Kapra, another outstanding author, points out in the book Tao of Physics:
“Mystical traditions are present in all religions, and mystical elements can also be found in many Western schools of philosophy. The parallels with modern physics appear not only in the Vedas, I Ching or the Sutras of Buddhism, but also in fragments of Heraclitus, in the Sophism of lbn Arabi , and in the teachings of the shaman Yaqui Don Juan Matus”, the latter being from Sonora, Mexico.
In Quantum Physics one could say that the Universe is in a state of absolute vibration. Hence, the simplest model that we can conceive is the so-called harmonic oscillator for multiple particle systems. And given that in this classic model energy grows discreetly, the operators of creation increase the energy in a unit and the operators of annihilation lower it in one unit. Mathematically this is represented in a diffusive system as follo:
Therefore: So if we have “n” as the place occupied by particles in a network.
When applied to the system, it remains the same.
This representation is consistent with Eastern mysticism. One operator that acts over the state of a system increases the energy by one unit and the other decreases it. And this is what is fascinating when trying to define a sort of rationale in the Dance of Shiva. That is to say, based on the cadence and rhythm that we give to the operators of creation and destruction, why not recreate in a dance these manifestations that express the passion with which we give form to the worlds that we imagine?
Rationale of the Project
“On Brahma’s night, nature is inert, and cannot dance until Shiva desires it: He comes out of His ecstasy and dancing sends through inert matter pulsating waves of awakening sound, and Then!, matter also begins to dance, appearing as a circle of glory around Him. With this dance, he sustains his multiple phenomena. When the time is completed, still dancing, He destroys all forms and all names by fire and grants a new respite.”
In other words, the Dance of Shiva Dance expresses all the cosmic cycles of creation and destruction as if they were quantum operators. It creates life and gives death. Parvati expresses in her dance the manifestations of Shiva creating worlds. In a different culture, the world’s multiple forms are Maya – not essential, but illusory and ever-changing – as he continues to create and dissolve them in the incessant flow of his dance. Here is where the two mystical worlds coincide with the same basis from which Modern Physics is derived. In Quantum Field theory, all interactions between the components of matter take place through the emission and absorption of virtual particles. Even the dance of creation and destruction is the basis for the very existence of matter, since all material particles interact with each other and with themselves, emitting and reabsorbing virtual particles. In Modern Physics, every subatomic particle not only performs an energy dance, but at the same time is in itself an energy dance, a pulsating process of creation and destruction. The Dance is the dance of the universe; the incessant flow of energy that passes through an infinite variety of models that merge with each other.
We propose the following metaphor in relation to the Dance. The rings of the logo have a particular mixture of colors, taking a certain blend of the colors of the ImaginativePlaces logo, which expresses the state of what we imagine and in particular the standpoint of the interpreter who tries to see in these colors the operator of creation, the performer and, for a moment, from the slight dilution of the colors of the rings of the logo there emerges ImaginativePlaces | Create, highlighted in front of it, and in another position of the performer on that same previous image a new position as indicating that it will be applied by the operator of destruction, fading the image of ImaginativePlaces | Create so that ImaginativePlaces may emerge |Hack, thus applying this cycle and other representations appearing as ImaginativePlaces |Create ImaginativeSpaces| Art, ImaginativePlaces|Live.