A primary function of art and thought is to liberate the individual from the tyranny of his culture in the environmental sense and to permit him to stand beyond it in an autonomy of perception and judgment.-Beverly Sills
Isaiah West Taber, 1. Electric Tower with Searchlight on Prayer Book Cross in Golden Gate Park, 2. Electric Tower with Searchlight on Prayer Book Cross in Golden Gate Park at Night, 3. Night View - Golden Gate Park, 1894
Fine Arts Museums of San Francisco
Space elevator, human space flight, self-sustaining space habitats, and interstellar colonization?
Konstantin Tsiolkovsky is probably the greatest scientific visionary to ever come out of Russia. Tsiolkovsky was a seminal figure in the Russian cosmism movement (a precursor to transhumanism) and was heavily influenced by Nikolai Fyodorovich Fyodorov (1827-1903) who advocated for radical life extension, resurrection of the dead, and ocean colonization. In 1895, inspired by the newly-constructed Eiffel Tower in Paris, he was the first to come up with the idea of the space elevator (though his model described a freestanding tower reaching from the surface of Earth to the height of geostationary orbit, as opposed to the more modern vision in which tensile strength would keep it together). And while earlier mathematicians such as Isaac Newton, Leonhard Euler and Joseph Louis Lagrange may have described the physical dynamics of objects traveling through space, it was the Jules Verne-inspired Tsiolkovsky who first suggested that humans could actually be sent into space (he developed the now-famous rocket equation describing rocket-based propulsion), travel from planet to planet, and permanently live there. In addition, he thought that space colonization would lead to the perfection of humanity, along with virtual immortality and a carefree existence. And in his 1928 book, The Will of the Universe. The Unknown Intelligence, he predicted that humanity would eventually colonize the entire Milky Way galaxy
It is to be hoped that these experiments, which can be easily repeated by means of the apparatus described above, will be repeated and discussed by electricians, and that they will contribute toward making known to us the nature of the mysterious agent that will give its name to our era.
Museo Nacional de Antropología — Pedro Ramírez Vázquez, Jorge Campuzano y Rafael Mijares (1964)
Fotografiado por Armando Salas Portugal. Chapultepec, Ciudad de México.
El paraguas, fuente y columna escultórica diseñada por Pedro Ramírez Vázquez, decorada con un relieve en bronce de José Chávez Morado
The Paraguas (Umbrella), fountain and sculptural column designed by Pedro Ramirez Vazquez with bronze bas relief sculpture by Jose Chavez Morado