Art ages:

 Abstract. One of the most pleasurable works i did back in the 90s when I still thought human beings were ‘free, ethic, intelligent’ species, not just another pre-programmed ego paradox dissolving its higher social, ethic existence into selfie ego-trips prior to its cosmic demise, was to classify all those who have ‘thought better and saw further’, the artists and verbal ethic writers of the world, according to its 7 x 7 ‘space-time ages and civilisations’, in a ‘river’ of cultures, to show how all artists are nothing but neurons of the subconscious collective mind of its civilisation which go through the very same 3 ages of life-art than their cultures. In the graph we see classic Greece and the gunpowder renaissance, which have similar ages and are based in the same concept of money and weapons (coins, infantry), giving birth to similar attitudes towards life, art and man as the image of all things:

“The mind of nations and civilizations, organisms of history, is their culture. As such it goes through 3 ages that last the life of the nation or civilization and are self-similar to the ages of our individual lives:an epic, lineal, energetic young age of dramatic art, when the civilization or nation discovers a new weapon=machines and becomes the top predator culture of the world; a realistic, classic age of maturity, when it establishes itself in the top of the world and its ideas are reproduced and admired by all other cultures, and a 3rd, old age of excessive in form-ation, angst and extinction, when the overproduction of those weapons brings a Times of Death and Massive Warfare.”

The ages of organisms. The 3 ages of species

Once the duality energy-body, brain-information  of all Universal organismshas been established by biological sciences, expanded to all Univesal beings , the existence of 3 ages, energy-youth, maturity-balance, and old age, or information age in Universal organisms can be easily deduced by the fact, that the organism is ruled by the head of information.

Since the head of information constantly controls and uses the body to absorb energy, it is natural to find, that when the organism starts its life, it has more energy. He is young.

But as the organism lives, the selfish brain absorbs that energy, and trans-forms it into form, into in-form-nation. So energy diminishes and information grows. For example. You feed on energy and you trans-form energy into your cellular information. Neurons feed on the body system without giving back any energy at all.

Son information accumulates in cycles and forms, in pattern and wrinkles.

And at a certain stage, the energy and the information of the being are in balance. That is the age of maturity.

But information keeps accumulating till the being has hardly any energy left to trans-form. He is all form, information. He is in the third age. Finally without energy the organism collapses and dies.

This simple explanation of why there are 3 ages in all beings is validated by the fact, that all organisms develop 3 networks.

– The energy network [i.e.: your blood system, the weapon system of economic nations]

– The information network [your nervous system, the metal-mind networks of economic nations].

– And the balanced, reproductive network [your endocrine system of hormones, and sexual organs, the monetary and reproductive system ofcompany-mothers of machines in economic nations.

So as the being lives, the predominance of information over energy, displaces the center of the organism, from the network of energy to the reproductive network, to the information network.

And we perceive that phenomena externally as the 3 ages of the being, that becomes older, informed, corrugated.

So happens in organisms of history that go through a first age of military, energetic governments; then goes through a second age of balance, and monetary power, to end in a third age of excess of information, and flourishing of baroque, formal art, prior to the collapse of the civilization [see part 4: an exhibition on the ages of art, and the life and death of civilizations].

Let us consider some examples of those 3 ages in basic organisms of the Universe.


What it matter most to us, in this book on a bio-logical analysis of art history is the form of each of those ages. We know such form instinctively because energy is spatial, physical, and information is formal, cyclical, like the cycles of a clock or a computer, or the complex forms of a chip or a book.

So each age participates of those morphological characters.

For example, young people are full of energy. They are in the Energy horizon of the species. They are bigger, have little temporal knowledge. They are simple in form. While Old people are full of information. They are in the information horizon of the species. They are smaller, have a lot of temporal knowledge. They move little, and have a lot of wrinkles.

Finally mature people, have such perfection and balance between the two elements of the organic universe, between its content of energy-space, and temporal information, that they can reproduce the entire being, in all its components. Hence the second age is the age of reproduction. Its forms are ‘wave’ forms, realist forms, combination of lines and cycles, the more complex forms, the most efficient forms. So in all species the mature, realistic, classic age of balance, or reproductive age, is the most perfect age. And human beings intuitively see that. We like spiral galaxies, mature people, realist art, which is called classic art…

In this manner the 3 elements of organisms, its energy-bodies, its information-brains and its reproductive organs, carry the species through 3 ages of existence, the energy, reproductive, and the informative age… Such is the wisdom of the bio-logic laws of God=The Universe… of which the forms of human historic organisms and art, are just a mere part.

This parallelism of shape in the existence of all forms, is natural to the very essence of what species are: Organisms of energy-space and information that live, according to the biological law of life: “all what exists is an organism of energy that trans-forms itself into in-form-ation, and then dies”. In the first age, energy dominates, in the second age, there is a balance of energy and information and the organism reproduces, in the third age, information predominates, form is overwhelming [wrinkles, knowledge] and the being prepares itself to die, when all energy is spent.

Energy Youth, mature reproduction, and informative, old age, are the 3 ages of species.

In History we talk of the first, epic, warrior age, or youth of the civilization, when a warrior caste conquers and establishes itself at the summit of society. We talk of the economic, reproductive age, when money substitutes weapons, at the head of society, and the society becomes wealthy, and becomes realistic, materialistic. Finally in the third age, information predominates, art forms multiply, and a sense of decadence and extinction occurs. Since art is the mind of civilizations, those 3 ages reflect in the styles of art, which are lineal, epic in the first age, realistic, classic in the mature age, and decadent, eclectic, with excess of form, and suffering, in the age of information and extinction.

Because unfortunately civilizations become extinct by war…

The Three Ages Of Art

In Biology we say that all species go through three ages: the energy-youth age, or first age when energy is more abundant. The mature age of balance, when the species reproduces. The third age of the species known as thebaroque, informative, or extinctive age is reached when energy is scarce, but information is abundant, because of its accumulation during the first ages. Look at humans. Old people have a lot of information drawn in to their wrinkles and minds, but little energy. Young people have a lot of energy but less information. Mature people have both energy and information; between 30 and 40 humans are at their prime. This also happens to civilizations and cultures. Between birth and death by war radiation, the culture goes in its artistic and cultural manifestations through a young, simple; a mature, classic; and a baroque, third age of art.

Lineal Young, Art: The Warrior Age Of Civilizations

Metal-species of a civilization are first lineal, weapon forms. We call the first horizon of civilizations, the lineal-war horizon of maximum energy hordes. In this manner started the Greeks and Romans, with hordes of Hoplites, and Legionaries. Alternatively, the Middle Age, and English civilizations with hordes of Stirrup horses, and gunboat pirates. All the cultural remains in those ages also follow such lineal forms and obsession with death. Their art is simple, puritan, lineal: Greek Kuroi statues, Roman Temples, Romanic Christian, Calvinist Britain.

Classic Art: The Monetary Age Of A Civilization

After the age of war, the metal-masters, the elite of the civilization evolves its cultural rituals, and uses cyclical money to control people in a milder way, that the hordes of warriors. It is the second horizon or trader age, of maximum wealth. The culture [human side of the civilization] reaches its apogee. The lineal Greek Kuroi, become the sophisticated sculptures of Phidias. The simple Romanic grows into the Gothic. It is the age of Athens, Augustus, the GothicMiddle Ages, the 19th c. of England. Often the civilization reproduces in other regions by means of an empire. The Republic expands into the Roman Empire. Inquisitorial Spain expands into South-America. Puritan England expands through its empire and multiple c[o]lon[i]es.

Baroque, Art, The Extinction Age Of Civilization

But sooner or later a new weapon=war radiation takes place and the civilization dies. It is the third horizon; the artistic or baroque horizon of maximum information and creativity [art].The culture looks inwards, as it becomes limited by the new hordes of warriors that soon controls its military and trade system. We are now in the Hellenistic age of tortuous sculpture; when Macedonians and Romans control Greece; the lower Roman Empire when weapons were handled by German warriors, and money by Jewish-Syrians. It is the XV century of Christianity, the baroque Gothic when gunpowder and coins, break the Church’s control over society. It is the Post War Age in England, when the dollar, and the Atomic bomb have substituted the Pound and the Gunboat, and the best of England are its rock stars, painters, and a few writers from a decadent empire.

The 3 ages of art in the main civilizations of history.

We conclude that Lineal art, and epic literature belong to the first age of a culture, that copies and worships weapons and warrior power. Cyclical art and realistic, sensorial literature belongs to the age of traders and cyclical coins. Finally there is a massive explosion of art, humanistic and prophetic literature in the baroque age, when the culture foresees its extinction. When the Barbarians are at the gates. That is our age today. The Human Baroque, when Robots, future Terminators of the entire Human Wor[l]d culture, start its first radiations, and artists become obsessed by death and violence.

We see those 3 ages in all cultures. The Paleolithic men just before dying had a final burst of creativity, in his baroque age, prior to extinction. It is the age of cave paintings, that tried to bring back the hunting that hot weather, and the advances of new generations of Copper men [Chalcolithic], were taking away from them.

When the first European Neolithic of Copper becomes extinct by bronze warriors, it leaves in its last millennium a series of artistic and religious monuments – the megaliths. It all then disappears and the civilization of Bronze comes in.

When Italy is colonized by Lutheran and Iberian hordes, it produces Baroque art, of maximum in-form-ation. When Greece is taken by Macedonians it starts the Hellenistic age.

Today mankind art is becoming extinct by technological art, and the culture becomes baroque. The extinction of realistic painting by photography brings the baroque Picasso. The extinction of literature by TV-thought, brings propaganda, marketing and baroque films.

In the next graph in a Bell curve parallel to that of the life of any civilization we trace the 3 ages of its art:

In any civilization the 3 ages of birth, reproduction and extinction are reflected in the 3 ages of all arts.

In the third age or baroque age the culture looses cohesion, menaced by an external enemy with new weapons. In this extinctive age, all forms are tried, and eclectic art of technical virtuosity appears. But there is no guidance, goal of future, or immanent ideal to the art. Since the artist, and the prophet, foresee the end of his culture. Today we are in such age; the American, now worldwide, civilization enters the Human baroque, or extinctive, phase of Mankind. Metalmind art, [television, film], foresees the arrival of robot warriors, top predators of man. Social cohesion is lost. Ethics of love no longer communicate naturally human beings, which no longer share their energy and information but are controlled by fear to the ‘germs’ of history, violence and weapons. And war is the main theme of artists… as today happens in the American civilization.

Greece, Europe, America.


The styles of art, of the previous graph show the life of those cultures through its artistic ages. We talk of the evolution of civilizations and the evolution of art, as a vital process, that goes through 3 ages, whose forms are similar to the ages-forms of any organism.

– The youth of the civilizations creates a lineal, epic art, young, external, full of energy and force, of simplicity, based in the shapes of weapons and energy [all lineal in shape].

In verbal art the word becomes epic. It is the age of poetry and strict law, that young civilizations obey without complaining. Since the law is reinforced by weapons. We talk of a dramatic age of logic thought, as it is the youth of people.

– The age of maturity and reproduction, of realistic=classic art.

Visual art creates an art in balance, without either excess of energy or information. Where both elements of the Universe combine in harmony, as they do in reality. It is therefore the classic, realist age of art, in which often man is the measure of all things.

In verbal art is the mature age of logic words the age of balance between form and content, the realist age of profane literature, the age of philosophy. In theater is the age of tragedy and comedy, when men reach its full destiny within the social tissue.

– Finally the third age of any organism is the age of excess of information, an age of wrinkles and reflection, without energy. It is the age of pessimism and extension when without energy the being collapses and dies.

So it happens in cultures that lack energy and power to defeat the invader hordes of warriors. The art becomes decadent, cynic and extinctive, overwhelmed by the fate of the society. In words, is the age of decadent literature, of prophetic and religious thought, that warns about the moral illness of society. It is the age of satyr, and chaos, of eclectic thought, when the great genius of literature [from Cervantes, to Shakespeare, at the end ofRenaissance theater] see behind them the entire wave of existence of the culture, and can summarize the vital experience of the civilization.

In art is the age of formal art, of decadent art, of baroque art, full of angst and form.

Because the languages of information of an organism, as its bodies, do go through the 3 formal ages of species.

So happens with verbal art in its epic-legal age, its logic-realist age, and its prophetic-extinctive age. And with visual art, in its lineal, realist and forma ages, that belong to the 3 basic ages of classic Theory of Art, the epic, classic and baroque art.

Such is the logic of all living organisms, that spend their energy and die, because ‘energy never dies, it only transforms itself”.

The absolute law of the universe that also applies to art.

Let us consider some basic examples that we can all recognize, the ages of art in Greece, Italy [Renaissance] and America.

Greek art is born when the Greek civilization is founded by the first iron infantry that arrives to Greece coming from the Indo-European mines of the Balkan area. Those iron warriors that will destroy Crete, are the founders of Greece.

Accordingly its first art is lineal, simple. Its statues are called Kuroi. They are rigid, full of energy, force and smiling optimism. Its literature is legal and epic. It is the age of Solon and its ‘draconian’ laws, extremely rigid, and of heavy penalties. In fiction is the age of Homer and its great odes to war and heroism.

However the civilization matures, as warriors settle down, and it arrives the classic age of Athens, of Phidias and Praxiteles. Their work is realist, and sensitive. Energy and information is in balance. The art also reproduces all over the Mediterranean and ancient world. It is the age of expansion of the Greek culture. Literature also reaches its height of creative thought, and understanding of social love, and social harmony in the works of Socrates, and Plato. In fiction Sofocles talks about the collective fate of heroes. In architecture, man is the measure of all things, and so buildings like the Parthenon are in balance with human size.

But when the civilization of Greek fails to evolve military, it becomes conquered by an external horde of barbarians. First the Macedonian and then the Romans. Art looses freshness, and we witness on one side a return to the simplicity and massive size of warrior art, [Macedonian art, and Roman art]; and on the other side, in those works made by the descendant of classic Greeks, an age of excessive form, and suffering. It is the age of Pathos, the Hellenistic age, of works like the Laoocont.

In literature appears the satyr, and the prophecy of extinction [Demostenes]; while in philosophy Aristotle resumes the entire trajectory of Greek thought, in a comprehensive ‘final will’, whose perfection will not be reached again.

Those 3 same ages take place also in the renascence, both in Italy specialized in visual art, and in Spain, that reaches its artistic summit in verbal thought.

Renaissance starts when Venice conquers Byzantium and rings the gold and gunpowder to the Italian peninsula.

And we find again a lineal age of Italian art [School of Venice], that will mature as gunpowder and gold coins extend all over the peninsula. So the Trecento is followed by the classic period of the quattrocento and cinquecento, the age of Leonardo and Michelangelo, when Italy reaches maturity. It is also when renaissance reproduces and expands all over Europe, as it happens with all organisms that reproduce in its classic age.

But Italy is destroyed by national armies [France and Spain] better organized or the purpose of war. And so Italy enters a baroque age that Michelangelo anticipates in is final Judgment, and Bernini fully expresses on his sculptures and architecture.

If we consider the verbal art of Spain, the other country that fully embodies the renaissance ideals, it is also self-evident, that it goes through the 3 styles. A first age of epic literature, poetry and chronicles of conquistadors, epitomized in the work of Bernal ‘the conquest of New Spain’. We move then to a realist period of classic Spanish literature, that reaches its height in works such as ‘El Lazarillo’ or ‘El Quijote’, a chronicle of the end of the previous period [the age of chivalry], and the account of the reality of XVII C. Spain. Then Spain enters in decadence, defeated by the new culture of northern Europe and its companies of gunboats. And the long baroque period of Spanish literature that will last till the final conquest of the nation by Napoleon, starts, in works such as those of Gongora and Quevedo, full of formalism and pessimism:

“I looked at the walls of my nation, Spain; no long ago standing tall; now ruined…”.

Finally if we consider the present culture of America, now the worldwide culture of humanity, based in the evolution of technological art, and minds of metal, we observe also the 3 ages. Considering only the main art of the American civilization, film-making we talk of a young age, full of energy, and simple ideas. It is the age of strict canons, in film-making, the age of idealist, and epic films, the age of Western, that extends till the end of II World war, when the American empire finally has conquered the world at large.

Then it comes the realist age, or classic age of American film making, during the 50s and 60s, started earlier in the prophetic work of Orson Welles [‘citizen kane’, a script that was first called ‘the American’]. It matures in the work of Billy Wilder, and the films of ‘cinema verite’ and social harmony of the 60s.

But America enters decadence, as weapons multiply in rowing numbers, and the evolution of technology foresees the arrival of a new species, the weapon-robot, able to extinguish form within the American population in the nearby future.

This age starts as all ages do, with the emblematic work of Mr. Scorsese, and his film Taxi driver, that in the middle of the 70s, foresees the explosion of violent, baroque films, that with terminator and Matrix, advances into the threatening future, that American artists intuitively feel, but as always in history, the arrogance of its political, economical and military castes, dismiss as a mere ‘dream of imaginative artists’.

And yet artists are the prophets of reality.

In literature, America goes also through a first puritan, simple, epic age, of works of little quality that however play the role of praising the American conquest of the West, and the world. It ends a little bit earlier than in film making, with the arrival of the lost generation, which is the classic age of American literature, epitomized in the great works of Dreyser [An American tragedy], Sinclair Lewis [Babbit], and Fitzgerald [The Great Gastby].

The baroque age of American literature, is now in full development.

It often comes from European immigrants, since within the country a growing censorship of thought [political correctness, ‘neo-fascism’] prevents American to fully develop a critical sense of his nation. Today most American writers are no longer concerned with reality society. They have moved inwards into individual analysis of feelings, and self-realization [biography, confessional literature] or treat punctual themes on ‘tribal groups’ [racial literature, gender literature], or work for the industrial sector, creating fictions that do not influence reality.

Those who care still for reality are pessimist, and describe a decaying society [Carver, Dirty realism, Bukowsky, Vonnegut]. It is the American baroque, now expanded to the entire human Earth, in the age of global communication, and global fiction. Soon humanist artists, though, even those who feel angst will dissapear as neo-fascim the controlled art of the warrior, infantile, emotional and simplistic takes over. It is in America, the neo-paleolithic, since the 3rd age of life, that of an old man is similar in attitudes to that of a child, but without enthusiasm, close to death…


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