For thousands of years communication has functioned principally by means of linguistic and iconic messages. In the first case linguistic symbols serve as intermediaries; in the second, images or, more broadly, representations. In order to be transmitted, linguistic and/or iconic symbols need to be re-produced, re-presented, vocally, through writing, painting, sculpture or any other means of re-production. But re-production requires a space that, through use of an appropriate material, serves as its medium; forms to occupy it; rules to control it, and a certain stability. In other words representation is impossible without a certain fixity of the message that alone can ensure its duration, whether short or long being unimportant, but which it needs precisely in order to function as a message.

Chemical structures are among the trademarks of our profession, as surely chemical as flasks, beakers and distillation columns. When someone sees one of us busily scribbling formulas or structures, he or she has no trouble identifying a chemist. Yet these familiar objects, which accompany our work from start to end, from the initial doodlings (Fig. I) to the final polished artwork in a publication (Fig. II), are deceptively simple. They raise interesting and difficult questions about representation. It is the intent of this article to reflect upon molecular graphics.

It follows from the temporal nature of mind—the main concern of this essay—that mind functions are not localized in brain space.“ Time is extendedness, probably of the mind itself”, concludes Saint Augustine in Book XI of his Confessions (26.33), and, in our days, this extendedness can be made visible through an oscilloscopic “line” or trace of slow potentials. These graded, additive (not all-or-none) autorhythmic and seemingly self-generating potentials are primary events recorded at synapses. Autorhythmic brain structures (Zabara, 1973) appear to be the source of time frames, while a change in time frames (as reflected in the EEG) leads to synchronization and desynchronization of brain structures respectively. Synchronization forms a homogeneous time domain, such as obtained during rhythmic exercises, chanting, listening to music and mental processes that are the hallmark of religious practices (Rogers, 1973). Desynchronization of brain structures on the other hand marks a functional independence of neuronal elements with each element available for separate channels of data processing, for example, during hallucinogenic drug-induced central sympathetic arousal, that is, a waking dream state (Fischer, 1979).

Parallogic models the relationship between mind and context. It, as does the excerpt above, suggests that systems of logic are context specific and therefore parallel. This model points out that perceived departures in mental process, reasoning, may be more apparent than real. It also suggests a new way to conceive of mental illness by separating breakdowns in mental process from shifts in mental process.

Using this bit of dialogue from Oscar Wilde as introduction, we propose to demonstrate the pertinence of the hostess’ remark and to show that the “Fin de siècle” really did mark a certain “Fin du globe”, connoting as it does the decline of art, the end of an era and of the eras in which artistic experience, and even experience of the world, was realized in a specific style. It was indeed the end of what we will here call “globe style”.

For a long time the notion of style had a very general significance. The origin of the word can no doubt be traced back to the term stilus, designating the punch that monks used for writing, and also probably an Egyptian etymon signifying a pillar. Through metonymic extensions the name of the instrument (an instrument, nevertheless, used in a highly intellectual activity) and the name of the individual work (but a work of cultural and artistic nature) have been subject to generalization and ultimately designate the specific quality of a phenomenon. Obviously it was necessary that this phenomenon be confirmed and made official through imitation and tradition. As for generalization of the phenomenon of style, its scope has become almost unlimited, taking in all forms of creative activity whether artistic or not, and ultimately almost all beings as long as they have assumed a form hallowed by tradition.

The question of the development of aesthetic perception in relation to works of art and phenomena of nature suggests a differentiation between aesthetic education and art education which will be attempted in this study. At the same time the necessary interrelationship between the two will also be analysed.

In this paper I shall attempt to analyze some comparative aspects of modern societies which bear on the problem of convergence of modern, especially industrial, societies and the closely related analytical problems of the relations between culture and social structure.