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was quickly hushed up, getting rid of the suspicious part of the design and not
really examining it, and slightly less than in everything, the architect N.Conchelli,
whose doctoral thesis of 1977 "Accounting for initial imperfections and the
accuracy control system for the erection of radial cable-stayed systems "by one of
its names indicates a direct relation to fuller precessional" wire wheel "structures.
The question of the situation with this kind of construction in Russia still requires
its detailed historical (recent-historical) clarification.
In connection with the question of who and what is to blame, special attention is
also paid to the ambiguous creative relationship of Bucky Fuller with his student
Kenneth Snelson, whose knowledge is required, for historical fairness, to call the
Tensegrity structures (at least a number of them) the Fuller-Snelson structures.
Mentioning his relationship with Snelson, Fuller very much appreciates the
giftedness of this man, although the relations between them seem to be still in a
certain sense conflictual (Snelson believes that Fuller appropriated the idea of
Tensegrity, but in his interviews and articles he gives his due his talents and
inspiration) – certainly not by chance Fuller begins the topic of mechanics of
tension systems with the question of patents for their structures. In this sense,
the article "Tensegrity" looks as if not as an excuse, or as an attempt to give a
strong justification for its own inventions and discoveries. Be that as it may, if we
omit the fact that the moment of conflict between the two talents of the teacher
and the student is quite typical of the life event so often encountered in the
History of Science and Technology, which hardly needs additional examples, it
should be noted that the intersection of their life paths had significant
significance for each of them (incidentally, Snellson himself writes about this in
some interviews with him). What is important here is that the artistic world view
of Snelson, which still demonstrates in the brightest way the ability of art to be
the paradigmatic foundation of scientific knowledge (I myself think that science is
the art of knowing), has come into contact with Fuller's philosophical and
technological worldview (quite alien to artistry, by the way – what is its full
longgermanizedwordformation, ornate-poetic language), which is expressed in
principle of "generalized local information-gathering and local problem-solving in
support of the integrity of eternal regeneration" ("Grunch of Giants"), which
certainly took place at least as a pathos at the time of meeting with Snelson.
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When Fuller talks about the Tensegrity union with the Synergetic geometry, it is
very similar to the connection of something "general" with something "special"
(see Chapter 4 for the fourth, fifth and sixth dimensions). In this sense, the
interesting point is that Fuller mentions his recommendation to K. Snelson to
obtain a degree in nuclear physics, and seems to make a somewhat ironic
comment about the fact that Snelson returned from this "boring" theme to art
(and the aesthetic allusions of the Synergetic Geometry Fuller, in his own words,
tried to avoid). What, for the sake of justice, can only testify to the student's
inclination, like his professor, to immediately explore the nature of things with
fresh creative eyes, following his insight, without spending on conformism within
the scientific establishment. However, Snelson is known not only as one of the co-
authors of the Tensegrity ideas, which gave Fuller food for the mind with a bold
guess, but also as the author of the original model of atomic structures that stem
from an artistic worldview corresponding to the moods of the constructivist
environment of the first half of the 20th century. In this sense, the relations of
engineering and artistic order, separated as preferences for individuals, would be
very interesting to compare with the conditions of Vladimir Shukhov's creativity,
when his elegant engineering designs were not willing to recognize other figures
of architectural art (these and other things are in small, but a detailed book of the
researcher of the Russian avant-garde Khan-Magomedov, dedicated to Shukhov,
and my comparison of the "American Leonardo" with the "Russian Edison" is
given below).
Indeed, Tensegrity structures can be seen before Fuller and Snelson from the
Soviet avant-garde artist K. Iogansen in 1921, long before Fuller's meeting with
Snelson; as well as octet truss – the type of construction to which A. Bell
contributed, in addition to Fuller, to the invention; Also, before Fuller, the case of
constructing a triangular spherical structure is known. Well, probably, the bicycle
"wire wheel" was not invented by Fuller. The question, however, is, in what
cognitive projects did all these engineering things arise. Fuller, perhaps, was the
only one whose explanation of their nature was of a total metaphysical nature,
and extended to the entire universe. In addition, it was Fuller who was the
founder of the ideas of applying these engineering capabilities to solve the
functional tasks of human survival based on the principles of resource saving, the
most effective life and energy supply, as he is talking about in his other works. In
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