THE FLASH-LAG EFFECT: AN OVERVIEW

Are we Living in the Past?

(Please note: this page is not currently maintained, and has not been updated since 2002)
 
The flash-lag effect is a visual illusion wherein a flash and a moving object that appear in the same location are perceived to be displaced from one another (MacKay, 1958; Nijhawan, 1994).  In recent years, two explanations have been forwarded, motion extrapolation and latency difference. THE FLASH-LAG EFFECT: AN OVERVIEW

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The question is can the make up of our neurological brains be considered in context of the cosmos happenings and that we find a correlation that is the simplicity as the rule about birth and death of a universe, can be found in our own makeup? Just having a look back with regard to the title and did a little research.

You need to define the Equilibrium in context of the Past/Future? David Albert Interview is most helpful in relation to Sean Carroll. Plato:Time 53:48 David mentions the point about a memory forming out of a equilibrium which not only encompasses the future, but can also include the past.

At the time I was looking to explain how cosmologists are "boxed in" as to the age of the universe. The question is, how ever could this universe have come into being. How could one have existed ever before? There were theoretical explanations for this.

In one form or another, the issue of the ultimate beginning has engaged philosophers and theologians in nearly every culture. It is entwined with a grand set of concerns, one famously encapsulated in an 1897 painting by Paul Gauguin: D'ou venons-nous? Que sommes-nous? Ou allons-nous? "Where do we come from? What are we? Where are we going?" Cycle of Birth, Life, and Death-Origin, Indentity, and Destiny by Gabriele Veneziano

Where Do We Come From? What Are We? Where Are We Going?

  "On the right (Where do we come from?), we see the baby, and three young women - those who are closest to that eternal mystery. In the center, Gauguin meditates on what we are. Here are two women, talking about destiny (or so he described them), a man looking puzzled and half-aggressive, and in the middle, a youth plucking the fruit of experience. This has nothing to do, I feel sure, with the Garden of Eden; it is humanity's innocent and natural desire to live and to search for more life. A child eats the fruit, overlooked by the remote presence of an idol - emblem of our need for the spiritual. There are women (one mysteriously curled up into a shell), and there are animals with whom we share the world: a goat, a cat, and kittens. In the final section (Where are we going?), a beautiful young woman broods, and an old woman prepares to die. Her pallor and gray hair tell us so, but the message is underscored by the presence of a strange white bird. I once described it as "a mutated puffin," and I do not think I can do better. It is Gauguin's symbol of the afterlife, of the unknown (just as the dog, on the far right, is his symbol of himself).