RESPONDING TO HARRY KROTO’S BRILLIANT RENOWNED ACADEMICS!! (Pausing to look at the life of Steven Weinberg who was one of my favorite authors!) Part 170 I My June 30, 2019 letter to Dr. Weinberg on his quote from his book THIRD THOUGHTS: As Francis Bacon said, there must be “some strangeness in the proportion.” Art at its best can mirror the complexity and unpredictability of human affairs!

The Incredible Steven Weinberg (1933-2021) – Sixty Symbols

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Steven Weinberg Discussion (1/8) – Richard Dawkins


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Steven Weinberg Discussion (2/8) – Richard Dawkins


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My June 30, 2019 letter to Dr. Weinberg on his quote from his book THIRD THOUGHTS: As Francis Bacon said, there must be “some strangeness in the proportion.” Art at its best can mirror the complexity and unpredictability of human affairs. 

June 30, 2019

Steven Weinberg
The University of Texas at Austin
Department of Physics
2515 Speedway Stop C1600
Austin, TX 78712-1192

Dear Dr. Weinberg,

It was refreshing to see you jump into the subjects of art and music. I noticed in your book THIRD THOUGHTS in the 24th chapter entitled “The Craft of Science and the Craft of Art” that you stated:

As Francis Bacon said, there must be “some strangeness in the proportion.” Art at its best can mirror the complexity and unpredictability of human affairs. 

This quote from Bacon reminds me a lot of what Bacon said in this 1964 interview!!!

File:Head VI (1949).JPG

No higher resolution available.Head_VI_(1949).JPG ‎(325 × 400 pixels, file size: 98 KB, MIME type: image/jpeg)

Francis Bacon Head VI (1949)


Francis Schaeffer wrote the following about Francis Bacon’s paintings and interviews:

I have an essay on Francis Bacon by John Russell. Methuan published it in London in 1964.

Bacon goes on, “In my case all painting–and the older I get, the more it becomes so–is an accident.” Now this is very important and to think of Jackson Pollock putting on his paint as a pure accident and you may remember my lecture on Paul Klee.

Paul Klee (1879-1940) speaks of some of his paintings as though they were a kind of Ouija board. Klee thinks that the universe can speak through his paintings. Not because he believes there are spirits there to speak, but because he hopes that the universe will push through and cause a kind of automatic writing, this time in painting. It is an automatic writing with no one there, as far as anyone knows, but the hope that the “universe” will speak.We think of John Cage with the universe speaking though chance.

Now Bacon continues and he says something very similar to what Pollock, Cage and Klee believed, “I foresee it and yet I hardly ever carry it out as I foresee it. It transforms itself by the actual paint. I don’t in fact know very often what the paint will do, and it does many things that are very much better than I could make it do. Perhaps one could say it’s not an accident, because it becomes a selective process what part of the accident one chooses to preserve.”

Now here from Francis Bacon’s own viewpoint. An absurd universe in a total sense and in some element of the paint taking on its own personality and a message may come through from impersonal source.

Then John Russell reminds us that in 1944 the paintings that exploded in England were called three studies for figures at the base of a crucifixion.It is not by chance that he chose the crucifixion. These are really horrible paintings and there is endless debate on what they mean. Instead of getting what you expect with this title you get these subhuman creatures and without any knowledge of what we are dealing with.

Later on in the article John Russell writes, “Bacon paints in order to do something practical about a specific problem and that is how to exist as a human being in the 1940’s, 50’s and 60’s. Bacon says, “The ancient guidances by which people lived no longer exist. For the most part and very few people indeed can direct their own lives and have an integrated sense of their own identity in the face of today’s pressures... The formal portrait for instance became an absurdity for two reasons. First, because we no longer believe in a monolithic preFreudian  concept of personality. Second, because the kind of painting which would serve that concept is unacceptable to us as painting.”

John Russell continues, “So it is very much against the odds that Francis Bacon has persuaded thousands of people in Europe and the USA that they are living in the world which he has created.”

Bacon has been able to take many people because of his paintings to this way of belief. Now here from Francis Bacon’s own viewpoint. An absurd universe in a total sense and in some element of the paint taking on its own personality and a message may come through from impersonal source.This is very close to what Sade is saying which is that we live in a universe without any meaning. If we take people and let them see that this is all their world is according to Francis Bacon’s paintings then it is a tremendously overwhelming thing to understand this.


John Russell continues, “Even the Crucifixion which has haunted  Bacon’s works for 30 years is never the crucifixion but simply the event characteristic of men’s behavior to one another.”

You know I have said over and over that Salvador Dali’s mystical period is about man and his dilemma. It has nothing to do with Christ but Dali just uses the Christ symbol for projection…It is a convenient symbol. Bacon’s crucifixion is in reference to man against man and not the Christ of history. This is what men does to men. Of course, he is right about this if that is all there is to it, and it is indeed black.

John Russell also noted, “Bacon takes his figures at an unspecified crisis in their existence, a moment at which their public image collapses like an ice cream in the sun. In a moment of crisis Bacon’s executives pull down the blinds in their single hotel bedrooms squat like captive hennas in their $200 suits.”

Your throat is really cut at this point. This man really understands Francis Bacon and Francis Bacon really understands the problem of modern man. This is absurdity. In other words Bacon is saying don’t you understand that you are a fool. As I have expressed it sometime, if it is an absurd universe then why are you still standing in the cue waiting for the bus when it is not coming?This struck me one night when I was living in London and there was a horrible fog one night and there was no bus running, and I passed the bus stop and there was one woman standing there in the cue and nobody else in sight. The one great message from Francis Bacon is “What are you doing are you doing waiting in the cue?” I would agree and up to this point it could be a Christian message, only this far. If there was a second half to this story it could be a Christian message but of course, they don’t have a second part and it is now all sorrows without the second part of the Christian message.

Bacon says, “The success or failure of any individual painting depends on the extent that the paint has kept its freedom.”

The essay goes back to this issue of the point having its own character. this might strike very forceful if you remember what Paul Klee said and also John Cage’s music. The universe is speaking. There is no one there to speak but the universe speaks when there no one there to speak is art, and these people feel it. This is also being taught by Francis Bacon with this element of the freedom of the paint. The paint has kept its freedom and gone on ahead of the conscious  mind.

John Russell also said, “There is a difference Bacon says between paint that comes across directly on the nervous system and paint that tells you the story in a long diatribe through the brain. Society tries to transfer Bacon’s less palpable pictures to the brain. The Paint insists on speaking directly to the nerves.”

In other words it is all absurd but nevertheless you are hoping for communication. This is not just from Francis Bacon only but it is always build into the structure of the Theater of the Absurd.

By John W. Whitehead
Of course, we are meat. We are potential carcasses.
—Francis BaconIrish-born Francis Bacon (1909-1992), possibly the greatest painter of the latter half of the twentieth century, quintessentially exemplified modern humanity’s loneliness and alienation. Indeed, Bacon is considered the greatest British painter since William Turner.Bacon’s paintings cry out for lost values and lost greatness; for a dehumanized humanity deprived of its freedom, love, rationality; for everything the great humanist painters had celebrated in Judeo-Christian and classical tradition.Bacon’s life illustrates that no man is an island. The influences on his lifestyle and work were multitudinous.One in particular was his fascination with carnage and carcasses. Bacon, in fact, became fascinated with animal carcasses in butcher shops and even expressed the beauty of the carnage at automobile accidents. He translated his interest in violence to the canvas: “I think of myself as a kind of pulverizing machine into which everything I look at and feel is fed.”Bacon also used a manual on oral disease as an inspiration for his work, along with Eadweard Muybridge’s Animal Locomotion (1887). What did such books have in common? Robert Hughes in The Shock of the New (1993) writes:Detachment: the clinical gaze on the human body as a specimen, all its privacy brushed aside. Bacon thought there was a strong analogy between the body’s various availabilities—to inspection, sex, or political coercion.Bacon’s sources, thus, evoked different forms of abandonment. An early patron described Bacon’s “predilection for portraying people as though they were alone, unaware of any other presence.”Moreover, as Bacon commented to a friend, “the news-photograph of the thirties was his education in painting. It formalised disrespect. It wrenched the figures of authority out of their high places. It caught them unguarded and inconsequent, ‘racked by tics, their faces distorted, their clothes in disorder, their bodies off balance’.”Bacon, an atheist, faced constant torment, dissatisfaction and uncertainty, never knowing the security of a traditional religious belief. However, in a perverse way, Bacon was one of the most deeply religious painters of the century. The agony of his unbelief became so acute that the negative in his work—pessimism, loneliness, despair, emptiness, distortion, darkness, stark mortality—became an almost religious attribute. In fact, Bacon had an acute fascination with the crucifixion of Christ. “I’ve always been very moved by pictures about slaughterhouses and meat, and to me they belong very much to the whole thing,” Bacon once said. “I know for religious people, for Christians, the Crucifixion has a totally different signature. But as a nonbeliever, it was just an act of man’s behavior, a way of behavior to another.”Bacon, however, clearly expressed his atheistic pessimism: “Man now realizes that he is an accident, that he is a completely futile being, that he has to play out the game without purpose, other than of his own choosing.” On another occasion, he remarked: “We are born and we die and there’s nothing else. We’re just part of animal life.”Thus, Bacon, in terms of humanity and the supernatural, reached not only a position of unbelief but of despair. His paintings express modern humanity’s condition: dehumanized man dispossessed of any durable paradise.Bacon poignantly illustrates his despair in a number of his paintings. A casual glance at his Crucifixion (1933) reveals that the stick-like limbs of a luminous and fantastic insect were superimposed by Bacon onto the crucifixion of Christ. Biographer Andrew Sinclair writes: “As he said later, he wanted his pictures to look as if a human being had passed between them like a snail, leaving a trail of slime.” Despite his atheism, Bacon identified his own suffering from his homosexuality and anguish with the martyrdom of Christ.Bacon’s Three Studies for Figures at the Base of a Crucifixion (1944) seems to depict the loss of all hope. One commentator notes: “The forcefulness with which these three Greek Furies…hurl their misery and rage at us proves the extent of his own loss of faith.”Bacon painted Three Studies under a tremendous hangover. “It’s one of those pictures,” Bacon later said, “that I’ve ever been able to do under drink. I believe that the drink helped me to be a bit freer.”One art analyst noted that the “figures in the three canvases were joined in the theme of the violence that men did to one another by the power of sex and hatred. The body on the right, lying head down, suggested an inverted crucifixion by Cimabue, which Bacon thought was like ‘a worm crawling…just moving, undulating down the cross’.”Bacon’s work epitomizes the spirit of twentieth century man—a grasping for meaning and dignity within an environment of dehumanization and meaninglessness. He once said: “Nietzsche forecast our future for us—he was the Cassandra of the nineteenth century—he told us it’s all so meaningless we might as well be extraordinary.”Bacon’s human corpses (his figures of Christ hung like mutton in a butcher’s shop) showed a belief in the absolute mortality of man without hope of redemption. “Of course, we are meat,” he said, “we are potential carcasses.”Bacon’s distorted and idiosyncratic images bear eloquent witness to the actual events of the post-war period and more generally to twentieth century humanity’s innate capacity for mass violence. The artist as prophet, Bacon is the extreme voice of despair in which people are totally dehumanized, blurred, decrepit banshees. Robert Hughes writes: “In his work, the image of the classical nude body is simply dismissed; it becomes, instead, a two-legged animal with the various addictions: to sex, the needle, security, or power.”While it may be true, as Bacon said, that “you only need to think about the meat on your plate” to see the general truth about mankind in his paintings, no modern artist has hammered at the twentieth century human condition with more repetitive pessimism.Up until recently, the public has been exposed to Bacon’s finished paintings. Now with the release of the artist’s sketches from the Joule Archive, we get a glimpse of the genius at work.Bacon first met Barry Joule in 1978, when the two men began a friendship that would last fourteen years. In April 1992, Bacon arranged to make a trip to Spain and asked Joule to drive him to the airport. Before they set off, Bacon gave Joule a collection of material, which Joule understood to be a gift. Bacon revealed little about the gift and died a few days later in Madrid.This amazing bundle turned out to be an old photograph album full of sketches, as well as a number of books and a collection of over 900 photographic images—many of them worked over by hand. The album’s two covers are painted with large crosses, which have given the work its current name—”The X album.” The book’s inside covers feature drawings, and the 68 pages from the album held in the Joule Archive feature a further series of boldly worked oil sketches and collages, filling the front and back of the sheets. Many of the images in the album relate to Francis Bacon’s works from the ‘50s and ‘60s, and arguably, most of the album was executed toward the end of this period.With Bacon’s Eye: Works on paper attributed to Francis Bacon from the Joule Archive (Barbican Art and 21 Publishing, 2001), we have reproductions from “The X Album.” This amazing work contains images that are, by turn, erotic, beautiful and appalling—yes, typically Bacon.

Thanks for your time.


Everette Hatcher, everettehatcher@gmail.com, cell ph 501-920-5733, Box 23416, LittleRock, AR 72221


Steven Weinberg Discussion (3/8) – Richard Dawkins

Steven Weinberg, Author

How Should We Then Live | Season 1 | Episode 6 | The Scientific Age


Steven Weinberg Discussion (4/8) – Richard Dawkins

I am grieved to hear of the death of Dr. Steven Weinberg who I have been familiar with since reading about him in 1979 in WHATEVER HAPPENED TO THE HUMAN RACE? by Dr. C. Everett Koop and Francis Schaeffer. I have really enjoyed reading his books and DREAMS OF A FINAL REALITY and TO EXPLAIN THE WORLD were two of my favorite!

C. Everett Koop
C. Everett Koop, 1980s.jpg


Steven Weinberg Discussion (5/8) – Richard Dawkins

Francis Schaeffer : Reclaiming the World part 1, 2

The Atheism Tapes – Steven Weinberg [2/6]

The Story of Francis and Edith Schaeffer

Steven Weinberg – What Makes the Universe Fascinating?

On November 21, 2014 I received a letter from Nobel Laureate Harry Kroto and it said:

…Please click on this URL

and you will hear what far smarter people than I have to say on this matter. I agree with them.

Harry Kroto


Below you have picture of Dr. Harry Kroto:


I have attempted to respond to all of Dr. Kroto’s friends arguments and I have posted my responses one per week for over a year now. Here are some of my earlier posts:

Sir David AttenboroughMark Balaguer, Patricia ChurchlandAaron CiechanoverNoam Chomsky,Alan DershowitzHubert Dreyfus, Bart EhrmanIvar Giaever , Roy GlauberRebecca GoldsteinDavid J. Gross,  Brian Greene, Susan GreenfieldAlan Guth, Jonathan HaidtHermann HauserRoald Hoffmann,  Bruce HoodHerbert Huppert,  Gareth Stedman JonesShelly KaganStuart Kauffman,  Lawrence KraussHarry Kroto, Elizabeth Loftus,  Alan MacfarlanePeter MillicanMarvin MinskyLeonard Mlodinow,  Yujin NagasawaDouglas Osheroff,   Saul PerlmutterHerman Philipse,  Robert M. PriceLisa RandallLord Martin Rees,  Oliver SacksMarcus du SautoySimon SchafferJ. L. Schellenberg,   Lee Silver Peter Singer,  Walter Sinnott-ArmstrongRonald de Sousa, Victor StengerBarry Supple,   Leonard Susskind, Raymond TallisNeil deGrasse Tyson,  .Alexander Vilenkin, Sir John WalkerFrank WilczekSteven Weinberg, and  Lewis Wolpert,


In  the 1st video below in the 50th clip in this series are his words. 

50 Renowned Academics Speaking About God (Part 1)

Another 50 Renowned Academics Speaking About God (Part 2)

A Further 50 Renowned Academics Speaking About God (Part 3)


Steven Weinberg: To Explain the World

I have a friend — or had a friend, now dead — Abdus Salam, a very devout Muslim, who was trying to bring science into the universities in the Gulf states and he told me that he had a terrible time because, although they were very receptive to technology, they felt that science would be a corrosive to religious belief, and they were worried about it… and damn it, I think they were right. It is corrosive of religious belief, and it’s a good thing too.

Steven Weinberg


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