The citizens of Athens called the plateau Acropolis, the Diadochians succeeding Alexander called it the Summit of Haimon; the early Humanists, following in the footsteps of Petrarch, climbed Mount Ventoux; in the absolutist age the plateau resembled a burial mound; for the founder heroes of our modern civilisation in the eighteenth century it took on the form of a small temple in every English park. Goethe established the [warder (“Türmer”)] (“born to be seen, demanding attention”) as the guardian of high points of view. In the nineteenth century the plateau assumed the form of a capital for monuments and works of art whereas in the twentieth century the plateau assumed the form of the leader’s chancel or the display gondola of the Zeppelins.

The plateau has therefore always been a feature that permits an overall view by means of a general view, of observation as theory and supervision. Whoever wishes to lead, to make revelations or inspire has to prove himself or herself a visionary. But he cannot just stubbornly stare ahead; he has to comprehend the panorama of the world in its unity and a whole. He has to become a super visionary. It is the panoramic view that guarantees the continuity of the view, only the distinct model of a whole that directs it towards futuristic and utopian dimensions. Only those who are able to view things simply, achieve a synopsis by creating a theory, and can see beyond the horizon of visibility to include what is imaginable.

Bazon Brock, "The Plateau of Friendship – Critique of Truth! Problems unite more than beliefs" in 49. Esposizione Internazionale d'Arte, Platea dell'umanità; plateau of humankind; Plateau der Menschheit, plateau de l'humanité, Vol. 1, Milano, Electa, 2001.