Vision

It's no secret now, that I see where symbols are very important in the analysis of complex structures, once modeled. Might move the definition of everything we had encountered, from that model assumption. One had to know that Michio Kaku has prep the minds for this deepr understanding, and with it something very powerful abot the symbols he implores.

For the first time, physicists appreciate the power of symmetry in their equations. When a physicist talks about “beauty and elegance” in physics, what he or she often really means is that symmetry allows one to unify a large number of diverse phenomena and concepts into a remarkably compact form. The more beautiful an equation is, the more symmetry it possesses, and the more phenomena it can explain in the shortest amount of space” Pg 76 Einstein's Cosmos by Michio Kaku

In looking at what Michio Kaku presents in his books, one thing I learnt from reading was the powerful way in which such images are implored to help us see in ways that we might not have seen previous.



LEONARD SUSSKIND:

And I fiddled with it, I monkeyed with it. I sat in my attic, I think for two months on and off. But the first thing I could see in it, it was describing some kind of particles which had internal structure which could vibrate, which could do things, which wasn't just a point particle. And I began to realize that what was being described here was a string, an elastic string, like a rubber band, or like a rubber band cut in half. And this rubber band could not only stretch and contract, but wiggle. And marvel of marvels, it exactly agreed with this formula.
I was pretty sure at that time that I was the only one in the world who knew this.

In looking at Susskind, and the history of strings, flashes of insight are very important features of work, which previously and intensely, occupied a mind. Might all of a sudden reveal to it, a synthesis of all that it has worked through, in such an image, as was revealed to Susskind.

These applications are very interesting to me because on two levels, we see where constructive phases would encourage the mathematical mind to work within a environment, and then success where new work might be introduced to help explain previous mathematical processes that lack expression.

As to the historical figurations, such views are important to determining the process which evolution has embedded itself in evolutionary tactics of the brains development (systems of science)?

Are such adaptations significant in the brains developmental encasement, to see where evolution has evolved its capacity to think differently?

Banchoff's fifth dimensional capabilities, as they are explained in regards to computer screens, is something the brain is quite capable of handling. We just didn't know that it could visualize things this way before?



Lastly in the case of Witten, where such work intensely occupies the mind, a nice quiet walk by a stream or anything that frees it from such engagement, might find a free line and direct outward ness to expression.



That's what I call creativity. I have examples of this in terms of the effort of Cubist art and the Monte Carlo methods used to induce idealization in terms of quantum gravity. One method anyway :)


Cubist Art: Picasso's painting 'Portrait of Dora Maar'

Cubist art revolted against the restrictions that perspective imposed. Picasso's art shows a clear rejection of the perspective, with women's faces viewed simultaneously from several angles. Picasso's paintings show multiple perspectives, as though they were painted by someone from the 4th dimension, able to see all perspectives simultaneously.

P. Picasso Portrait of Ambrose Vollard (1910)
M. Duchamp Nude Descending a Staircase, No. 2 (1912)
J. Metzinger Le Gouter/Teatime (1911)

The appearance of figures in cubist art --- which are often viewed from several direction simultaneously --- has been linked to ideas concerning extra dimensions:

Hyperspace: A Scientific Odyssey

A look at the higher dimensionsBy Michio Kaku

"Why must art be clinically “realistic?” This Cubist “revolt against perspective” seized the fourth dimension because it touched the third dimension from all possible perspectives. Simply put, Cubist art embraced the fourth dimension. Picasso's paintings are a splendid example, showing a clear rejection of three dimensional perspective, with women's faces viewed simultaneously from several angles. Instead of a single point-of-view, Picasso's paintings show multiple perspectives, as if they were painted by a being from the fourth dimension, able to see all perspectives simultaneously. As art historian Linda Henderson has written, “the fourth dimension and non-Euclidean geometry emerge as among the most important themes unifying much of modern art and theory."