Coupling “David” and the “Dancing Girl”

Ever since the first pair of proto-human legs parted—whether forcefully or seductively—in the name of sexual conquest, humanity has had the impulse to divide one thing in order to achieve another. From the Oedipal child driving a wedge between mother and father to the separation of the entire globe into East and West, we see the natural drive to exchange monads for dyads and the correspondent pursuit of divisive agendas.

The second neurological circuit of the human form has everyone wired for this purpose which relates to: imagination and perception (“I” vis-à-vis “Other,” good versus evil, etc); sexuality; polarity in general; justice; victory; issues of balance; willfulness; divisiveness; desire for gain; and much more. Timothy Leary’s conceiving of this circuit is labeled the Anal-Emotional-Territorial Circuit, which is true but reflects only a partial understanding of this chakra-centered circuit which, according to our NoetiTaoism™, is rooted in and reflective of the initial creation of infinite Omniverse. Against an eternal Nothingness, the One that was None created and chose to embrace an endless realm of illusory trial-and-error temporal experiencing over the horror of permanent solitude and omnipotence.

Intellectuals who seek to understand earthwide intercultural phenomena typically explain East-West culture clashes in terms of (masculine/paternal) Western imperialistic conspiracies intended to dominate (feminine/maternal) Eastern cultures. Columbia University professor Edward Wadie Said (1935-2003) was a leader in this obsession to interpret global division in terms of Western imperialism with its creation of “Orientalism.” Said’s 1978 book, Orientalism, remains in print largely because his perceptions were not so much incorrect as incomplete and skewed. Western imperialist endeavors may be real but the impulse underlying them is not uniquely Western. Study the history of the Orient. Consider China’s conquest by the Mongols and its conquest of Tibet.

The above serves to preface further description of the significance of our discovery of the link between the sculptor Donatello’s David, made for the Medici family in Italy and the Dancing Girl of Mohenjo-Daro sculpture cast thousands of years earlier in the Indus Valley (see “Analysis of Donatello’s David Sparks Discovery,” July, 2011).

In our art history thesis, Western art was deeply influenced by works from the East. Yet, despite the fact that Kritios Boy is younger than Dancing Girl by more than 2,000 years, and although there are too many similarities between David and the Dancing Girl to think Donatello was not influenced by seeing a casting of the Dancing Girl, western art historians continue to point to Kritios Boy as the oldest example of “contrapposto.” Is it mere coincidence that where Donatello’s David depicts a somewhat effeminate man, the Dancing Girl depicts a somewhat masculine woman—coincidental that one is mirror image of the other, she with her right arm bent as she faces left and he with his left arm bent as he faces right? Depending on how the two figures are positioned, together they can be an icon for global division or global unity.

Why not unity?

Both images symbolize victory, among other shared symbolism, which makes the paradoxical pair ironic from the perspective of an observer employing a neurological circuit above the second circuit with its fixation on zero-sum games. But we find no amusement in conflicts that rage upon this planet. Those who spend most of their lives on the first two rungs of the neurological ladder would find more success and satisfaction if they made an effort to open themselves to the energy and powers of the higher and more “evolved” aspects of their being. To that end, beginning now, PluribusOne™ Consulting is making its services available free of charge for international humanitarian projects.


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