- selected WORKS
- THE METABOLISM of the TIME
- SPECTRUM-Revoluti ON/OFF
- THE edge OF THE edge=0
- THE ILLUSION OF THE THIRD SUN
- AEON OF PANGAEA -
- ENTOLOMOLOGY AUTOPOIETIC SISTEM
- THE ULTIMATE CAPITAL IS THE SUN
- AUTOPOIESIS
- ILLUSIONARY SPACE
- HYPNEROTOMACHIA UNIVERSALIS
- KING OF BLUE-destroying the boundaries
- THE POLITICS OF TIME TRAVEL
- 2009 MIND DIFFERENT BRAIN
- 2010-2039 CHESSCUBE MIND ROOMS the degrees of freedom
- MENTAL STATE XYZ-t is a continuation of the C.M.R.P.
- ENTERING THE MIND'S I
- 2008 incompleteness theorem
- 2007 incompleteness theorem
- 2006 incompleteness theorem
- 2005 incompleteness theorem
- 2004 incompleteness theorem
- 2003 incompleteness theorem
- 2002 incompleteness theorem
- 2001 incompleteness theorem
- 1975 Novikov self-consistency principle
- GODEL CANTOR AND THE QUANTUM BIT

The Museum of The Innocent Mind (and It’s Visitors)

“Toute pensée émet un coup de dés.” - Stéphane Mallarmé

Let’s take a tour: complete collection of all the paintings from all the world’s museums (for a new museum yet to build, let’s say). To manage the pictorial and material abundance, Bottarelli is employed to portray these meta-collections in single paintings that will then be part of this encyclopaedic enterprise. Imagine this as distant real-world-echo of Warburg’s Bildatlas project. This raises the question of whether this new collection should contain a painting of itself and if this painting should then contain an image of itself, and consequently, if this image then should contain an image of itself … ad infinitum. Despite the pitfalls that such a mise en abyme can imply for the artist’s skills, the construed reflexivity of this fictional meta-museum bears no paradox as in the case of famous Russell’s paradox: Does the set of all sets that are not members of itself contain itself? If it doesn’t, it is a set that does not contain itself and should thereby be an element of itself by definition: a contradiction.

So what? One might take the paintings as a reduced version of this fictional meta-collection. And one might think here of Paul Valéry’s illuminating hint that a principle ‘problem of the museum’ is its visual overflow through the synchronicity of all the presented probes of different genres, styles and (true?) mastery: Beauty doesn’t deserve distraction, but attention and focus. The ethics of the mind have to consider its limited capacity of awareness of the meta-reality.

Dennis Kirchhoff