Sacred Geometry: Growing up in a Roman Catholic household, the mysterious iconography and symbolism of religious artwork has resonated with me deeply from the onset of my earliest memory. My fascination with the symbolic lexicon extended to the illustrative work of fraternal orders such as Freemasonry; embraced by my favorite luminaries like Newton and Mozart. It was not until recently, however, that the nexus between my interest in mystical subject matter and my comprehension of mathematical breakdown came into focus with discernible clarity.

My interests in harmony, supported by the theory of the divine in sacred geometry, fuels much of my inquisition into higher modes of cogitation. Yet, in juxtaposition, I find profound aesthetic merit in the deliberate deconstruction of harmonious compositions. A poignant illustration of this is exemplified by the famous comparative analysis of Picasso's "Study for Guitar Sculpture" (1924) and Albrecht Dürer's "Sacred Geometry" (1528). While both are centered on the motif of the guitar, these works display disparate, albeit equally resonant, aesthetic frequencies. Picasso’s signature deconstruction of form portrays a visual and theoretical chaotic fragmentation akin to the division of particles. 

Birthed from Chaos: I have traced all mystical and spiritual uses for sacred geometric iconography back to ancient civilization when seeking to understand various realms of existence. Records reveal all mystical icons and human awareness of sacred geometry are derived from Egyptology and the dawn of man. Nature’s "divine" engineering proves existence is, fundamentally, harmonious formation. However, when going back further in time beyond “birth”, to pre-existence, it seems inevitable we would discover harmony’s deconstructed state. We would find such symmetrical harmony is born from chaos. Chaos theory reveals that even within the visible randomness of complex, chaotic systems, there are inherent repetitions, patterns, and anticipated interconnectedness on the verge of powerful formation.

Is divinity geometric harmony, or is divinity the chaos from which harmony is born? -- It is the all.

A (I’s) Flattening of the Universe - DALL•E: Visually AI’s reliance on linear algebra lends itself to flat planes and infinite vectors. A compression of all that is divine and sacred in order to rebuild a spiritual, organic “world” as the artificial replica that we are slowly conditioned to accept. IN ITS OWN WORDS:

“In a metaphorical sense, you could say that AI, with its emphasis on linear algebra and data processing, is the antithesis of "round forms," representing the more structured, logical, and linear aspects of computation. "Round forms" could be seen as a metaphor for the organic, unpredictable, and less structured aspects of human thought and behavior. While AI can mimic and even simulate some of these aspects, its core functions rely on precise calculations, algorithms, and logical processes.

However, it's important to note that AI is not necessarily in opposition to "round forms." In fact, AI is increasingly being used to understand and even emulate more nuanced and less structured aspects of human behavior, such as natural language processing, image recognition, and even creativity.

So, while AI may have its roots in linear algebra and structured computation, its applications and capabilities are far-reaching and can encompass a wide range of human-like behaviors and traits.

Eris is the Greek goddess of chaos and discord. Daughter of Zeus. Her Roman equivalent is Discordia, which means the same. Eris's Greek opposite is Harmonia

Harmonia is the goddess of harmony and concord. Her Roman counterpart is Concordia. Daughter of Aphrodite.