Heller M, Woodin W.H. (eds.) Infinity. New research frontiers (CUP, 2011)(ISBN 1107003873)(O)(327s)_MAml_

the art of immensity 209Figure 9.2. Edward Hopper (1882–1967), Cape Cod Morning (1950), 86.7 × 101.9 cm. NaturalMuseum of American Art, Washington, D.C., USA.in moving our perception from a physical infinity (just endless space) to a metaphysicalinfinity (a mysterious but real presence to which our being is outstretched). Becausewe are more profoundly attracted by a metaphysical than a physical infinity, Leopardi’shedge adds considerable aesthetic power to his verse. In fact, the poetic force of thisimage does not depend on whether we assume that what lies beyond the hedge isan immense finite territory or an actually infinite space: now our attention has beenpointed to an Infinite of a deeper nature.We can see the same concept at work in some modern paintings. In Edward Hopper’sCape Cod Morning (Hopper 1950), for example, we find almost literally depicted ahedge that “from so great a part of the farthest horizon excludes the gaze” (Fig. 9.2).We do not see the horizon, hidden by the plants in the background, but this conveys aneven stronger sense of the vastness through the presence of the human figure, behindthe windows, looking at infinity into a limpid sunrise. We reflect ourselves in the gazeof that woman: perhaps we see more clearly infinity through the eyes of another thanthrough our own eyes. Equally impressive is Hopper’s Rooms by the Sea (Hopper1951), in which the “hedge effect” reaches an apex: the portion of unconfined sea justglimpsed through the open door attracts all our attention and imagination, with a forcethat is incomparable to what we would have with an open view on the sea as a whole.Now we can go back to our initial question: what contribution can our scientificvision of the universe give to our perception of infinity as an ultimate reality? Ourquick surveys on infinity from the scientific and artistic angles may suggest a clue.