Infinite Humanity

Thomas S. Kuhn wrote (The Structure of Scientific Revolutions, 1962) that the "paradigms" are characterized, among other things, by not encompassing the whole field of reality, by leaving outside their scope, as it were, "anomalies", a series of phenomena which don't fit into the "paradigm". Yet these "anomalies" are particularly relevant when it comes to update the "paradigms", to create new "paradigms" incorporating these "anomalies". Using a political and social analogy, it would be like saying that "paradigms" progress insofar as they incorporate more phenomena, insofar as they marginalize less "anomalies".

Following Kuhn we propose an updating exercise of "paradigms" based on key works of culture, which, as such, symbolize them, shape these worldviews. The challenge would be to select "anomalies" belonging to the same author, style or epoch, and try to configure a new "paradigm" including them. On one hand, the Renaissance man,
symbolized by Leonardo's Uomo vitruviano: circular (O), closed, individual, ontic, male, adult, rational, visual... On the other hand, based on "anomalous" works from the same author, it appears something completely different: infinite (OO), open, multiple, generative, male-female-androgynous, vital, plethoric, carnal...

Image after Leonardo da Vinci's Vitruvian Man (c. 1490) [pd], studies of the sexual act and male sexual organ (c. 1492) [pd] and studies of embryos (1510-1513) [pd].