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Artificial Intelligence, both as a hope of making substantial progress, and a fear of the unknown and unimaginable, has its roots in human dreams. These dreams are materialized by means of rational intellectual efforts. We see the beginnings of such a process in Lullus’s fancies. Many scholars and enthusiasts participated in the development of Lullus’s art, . Amongst them, Athanasius Kircher distinguished himself. Gottfried Leibniz ended the period in which the idea of artificial intelligence was shaped, and started the new period, in which artificial intelligence could be considered part of science, by today’s standards.

At the heart of the analyzes proposed by Moshe Idel is the change of perspective that we find in the work of Ioan P. Coulianu in the last stage of his creation. Coulianu leaves the field of historical-philological approach of religious phenomena to explain the development of religions from a fractal perspective, as an actualization of potentials found from the very beginning, which, combined in different ways, produce different results, Idel finds that the sharp methodological shift that Coulianu has been carrying out since 1986, a stage that also coincides with the one after the death of Mircea Eliade, has been interpreted by two of the most important Romanian intellectuals. Moshe Idel considers that their explanations do not address the specificity of the new approach as formulated by Couliano himself. They appear, on the one hand, as an overly simplistic explanation of a vision of great complexity reduced to a form of psychological complex, and on the other hand, the reduction to a theological perspective that appeals to the intervention of a transcendental power, Idel gives a nuanced explanation of this methodological turn, while suggesting that in order to better understand what is happening in the last stage work, it would be better to talk about the \"American Couliano\" instead of the \"last Couliano\".

Quadrilles were a popular genre of group dancing in the nineteenth century. Existing melodies were normally used to accompany the dancing sessions, but the monotony of their repetition and the cost of a professional piano player capable of improvising were an issue. Thus, the idea of a “machine” that would be able to endlessly produce quadrille music at no cost was suggesting itself. The Quadrille Melodist, a paper-based system for the generation of piano pieces, was published in nineteenth-century Victorian London by John Clinton, a “professor in the Royal Academy of Music.” Already in 1650, Athanasius Kircher proposed in his Musurgia Universalis a device consisting of stripes with short snippets of music that could be used to create combinatorial pieces and variations. By the beginning of the nineteenth century, a whole genre of quasi-algorithmic compositions was emerging, spurred by the popularity of such works as the Musikalisches Würfelspiel, a piece attributed to Mozart. In this article, I analyze the Quadrille Melodist against the background of the history of combinatorial music. I contrast its unique features with other predigital, as well as later digital, music systems and discuss its design with respect to the phenomenon of predictability in dance music. Additionally, I discuss reasons for the circumstance that the historically advertised number of possible quadrilles, 428 million, is much smaller than the real number of combinations.

This article positions multidisciplinary artist Friedl Dicker-Brandeis at the center of a web that spans Vienna 1900, the Weimar Bauhaus, and interwar Vienna. Using a network metaphor to read her work, she is understood here as specialist of the ars combinatoria, in which she recombines genre and media in unexpected ways. She translates the language of photograms into painting, ecclesiastical subject matter into a machine aesthetic, adds found objects to abstract paintings, and paints allegories and scenes of distortion in the idiom of New Objectivity, all the while designing stage sets, costumes, modular furniture, toys, and interiors. While she has been the subject of renewed attention, particularly in the design world, much of her fine art has yet to be assessed. She used the idioms of twentieth-century art movements in unusual contexts, some of these very brave: in interwar Vienna, where she created Dadaistic posters to warn of fascism, she was imprisoned and interrogated. Always politically engaged, her interdisciplinary and multimedia approach to art bridged the conceptual divide between the utopian and critical responses to war during the interwar years. Such engagement with both political strains of twentieth-century modernism is rare. After integrating the interdisciplinary lessons of Vienna and the Weimar Bauhaus into her life's work, she shared these lessons with children at Terezín.

While it is not possible to identify exact sources for the square tables that Johannes Trithemius and, after him, Blaise de Vigenère presented in their cryptographic publications, there is good evidence that Trithemius may have been influenced by a variety of materials: He knew the figural poetry of Rabanus Maurus (780-856) that frequently used squares with a grid of 36 letters; he was fully aware of the medieval ars combinatoria and the works of the Mallorcan philosopher and theologian Raymundus Lullus (1233-1316), where he would have also found combinatorial circular disks; and he may have discerned a pattern for his square table in the medieval Easter or Lenten tables used for the calculation of the forty days of Lent and the days of Easter over a period of years.