Cosmos y teatrodos historias paralelas

Resumen

The image of the great Cosmos and the perception that man has from himself in relation to it is in the thematic core of this study, much more than a reconstruction of the diverse categories of his own thought in regard to the nature. lt is a notion that in three important epochs of history can be understood as an evident manifestation in the realm of the arts. "Cosmos" takes its origin from the Greek word "Kocrµoc;" (kósmos), that means "order", the antithesis of Chaos. In its general sense, a cosmos can be understood then, as an orderly composition. In Gorgias, Plato's dialogue, Socrates states that, that's why the wise people give to the Universe the name of Cosmos, namely, the name of order and not of disorder. Therefore, the elucidation of the Universe is a question that has been observed, among other aspects, from different perspectives that attempt to solve a problem of order. And the drastic cosmic changes, discovered in the scientific realm throughout history produced, as well, similar changes in the way the human being has ordained his works of art. Every new image of the great Cosmos has dictated and has been manifested in society as a new image of order, namely, a new esthetic paradigm. The ancient Greece and its geocentric cosmos, absolutely symmetric, represent in this study the first change. Then, the thinking and writings of Isaac Newton consolidated at the end of the Scientific Revolution, a second: the Universe became a heliocentric and mechanic Cosmos. And finally, two hundred years later, at the beginning of the 20th century, a new concept of motion, unlike the ancient and mechanical approaches, is a physic phenomenon that excels as the essential expression of a third scientific change of the order of the Universe: space-time. A new concept presented by Albert Einstein in 1905, as a part of his very known publication of the Theory of Special Relativity. The casual cosmos of the 17th century, where all phenomena where studied in the basis of a three dimensional Cartesian space, becomes a fourth dimensional composition, where the three spatial magnitudes and time are now inseparable. The Universe is a tetra dimensional field, dwelled by an unlimited web of body relations, eternally in motion. This is the new order that important 20th century creators and artists would attempt to reconstruct in their works of art as the great paradigm of beauty, founding with it the beginning of an unusual modern insight.