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		Science Art and History      The path to Creativity         CUBISM          How to explain perception using illusions and art         (...) In the middle of all that agitation, nobody failed to notice the cosiest part of the house, which frequent visitors affectionately called salon. The walls were clustered with oil paintings of the most renowned painters as well as unknown artists like Matisse, Braque… The salon breathed art from every corner. Pablo was standing next to a painting by Monet that hung beside one of his own which Gertie had bought recently. Without noticing, he seemed to dive into the landscape. The textures of the figures in a scene without clouds, suggesting the idea of timelessness. The trees full of golden lights attracted ones eyes to the bottom of the vast bluish, whitened water. They led the artist to the ladies sailing on a boat far away, transformed into small paint brushed spots of a painting that was only limited by trees underlining the borders of the river. The trembling pond overflowed, fusing itself with the landscape. Pablo rambled. “The impressionists, like Monet, knew more than anyone that reality is not seen but felt... We only get an impression of reality. A space without limits, without borders, with a different perspective from the one we learn in geometry. Where a straight line is not the shortest distance between two points but is, in fact, a folding space like a sheet of paper until the two points meet. Like a face seen from different angles that blend into a single moment.” “Face fold,” said Caius, looking distracted. “In the same way that you can travel without leaving the spot, using only spatial folding. That’s how a face can be seen from all angles without you having to move around it. It’s practical. It’s real! How I understand this kind of art now! Wow, how it opens our minds!” “I’m entering a new era,” Pablo emphasized. “I’m freeing myself from the traditional perspective to search for a new form, the third dimension. I’ll never again see the world pictured in a single angle but I’ll deal with the world by recreating it from now on. Art will no longer be tamed by concepts of how we see the world but will reveal what we know about this world.”  “Get your facts straight first and then you can distort them as much as you please,” the American woman suggested. “That is a Mark Twain’s quote,” Mary said, enchanted. “Do you like to read his books?” “Oh, yes!” answered Gertie, sympathizing more with the young woman. “He’s one of the people who most influence me when I write.” While the two were changing ideas on the books of the American writer like, “The Adventures of Huckleberry Finn”, Pablo contemplated a painting of Cezanne in a state of deep meditation in which the model was a small statue of a twisted cupid seen from different angles. That intentional distortion of the figure in space had always intrigued him. It seemed like a daring intent of freezing various positions in a single moment. “Space without time…” whispered the painter, remembering the discussion with Albert in his atelier. “It is impossible to create an instantaneous statue. I can create a small statue with its width, length and height, its three dimensions. I can even make it completely distorted. However, without time, it can never exist. An instantaneous statue… Geometric figures… Time… We have to see it like a… A fourth dimension! Space-time… Time has to be seen… It has to be painted.” I really like that idealization of time seen as a fourth dimension,” said a man in a suit with dark hair. He was looking at the painting with great interest. “André just told me about this new space-time perspective of physics… Who began this story? Was it Maurice?” “Uh-huh,” replied the Spaniard, totally absorbed with the details of the painting. “I imagined so. He was always protesting about classic perspective. I believe that artists like Cézanne already perceived this new concept. Sometimes I wonder…If a painter pictures everything as if he were seeing it all at the same time then why can’t a writer do the same?” “That’s right, Apollinaire,” supported the American hostess. “I was discussing exactly the same thing with André yesterday… Why do we have to write an idea, a narrative, worrying about a beginning, a middle and an end?” “Yes, Gertie, I get your point,” her friend said, stepping closer to the painting. “I also feel this need to change…Not only as a poet but mostly to make a more liberal criticism, more real, on the new ways of art. Just like painters, we have to describe a thought the way we have formulated it. A painter like Cézanne doesn’t see a face from the front only. He knows there are sides and a back. To portray this truth, he gives the impression that he distorted the face when in fact he is showing the essence. A painter doesn’t paint what he sees but what he thinks. It’s a fact that a thought is made up of collages. Collages of…” he drifted, looking for the right words.                             To Be Continued             -------------------------------------------------------------------------------                   Read other pages of this book about    The dialogue about the Theory of Relativity ,   between Caius, Einstein, Picasso, Agatha, André Salmon, the poet, and Getrude Stein, the sponsor of the novice Picasso, at the Spanish painter’s atelier  on how art, literature, science, travelling in time and mystery are intertwined.            Read  first pages of this book:                                                                       WHAT DO EINSTEIN AND PICASSO HAVE IN COMMON?    CLICK HERE TO FIND OUT                                Caius Zip, the Time Traveller, in:    Einstein, Picasso, Agatha and Chaplin     Book Description   Caius Zip, the young time traveller, arrives at Paris in 1905. The turn of the 20th century is a period that sizzles with ideas and realizations and the Universe is about to be contemplated as it never was before.   On the night that Einstein launched the famous E=mc2 formula on paper, he disappeared for a few days. Where was he?   In this work of fiction, Einstein was resting in Paris before his innovating Theory of Relativity enlightened him. At that same time, Picasso was just starting on his idea of breaking with conventional perspective.   Both characters seek the same concept: space-time relation. The encounter between art and science is finally possible by means of a limitless imagination.   Caius penetrates the birth of the theory of relativity and cubism and also manages to solve a murder mystery with the help of his two teenage friends, Agatha Cristie, with her investigative mind and Charlie Chaplin, who provides a touch of magic to this surprising work of fiction.   After all and as Einstein once said: “The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed”.