Harmonic Oscillation

This "math sense" has to become part of one's makeup? An inductive process. Experimentally challenged. Deductive.

If such a idea is held from weak to strong idealizations in terms of comological views, then you get this sense of "energy valuations" as well. If you calculate when the binary pulsar distances around each other, the value of that information has been released in the bulk. This information should become weaker, as the orbits get closer?

The theory of relativity predicts that, as it orbits the Sun, Mercury does not exactly retrace the same path each time, but rather swings around over time. We say therefore that the perihelion -- the point on its orbit when Mercury is closest to the Sun -- advances.

I would think this penduum exercise would make a deeper impression if held in concert with the way one might have look at Mercuries orbit.

Or, binary pulsar PSR 1913+16 of Taylor and Hulse. These are macroscopic valutions in what the pendulum means. Would this not be true?

Part of the Randall/Sundrum picture Sean supplied of the brane world perspectives needed for how we look at that bulk view. If you are to asume that space is not indeed empty, then what is it filled with? Gravitonic perception would make this idea of the quantum harmonic oscillator intriguing to me in the sense that "zero point", would be flat space time. Any curvature parameters would have indeed signalled simple harmonic initiations?

Omega valutions in regard to the what state the universe is in, would have been defined in relation to a triangulation.

The quantum harmonic oscillator has implications far beyond the simple diatomic molecule. It is the foundation for the understanding of complex modes of vibration in larger molecules, the motion of atoms in a solid lattice, the theory of heat capacity, etc. In real systems, energy spacings are equal only for the lowest levels where the potential is a good approximation of the "mass on a spring" type harmonic potential. The anharmonic terms which appear in the potential for a diatomic molecule are useful for mapping the detailed potential of such systems.

But indeed while we understand this large oscillatory factor in our orbits, does it not make sense to wonder how simple that harmonic oscillator can become when we are looking for extra dimensions?

I had a picture the other day of a music instrument of a wire stretched, and weights being applied respectfully. The string when strummed gave certain frequencies accordingly to different mass valuations. This is the early pythagorean instrument I had see a few years ago, that would have similarities with "gourds of water" as weight and levels changed.



Here we seen a torsion pendulum. The way the wire twists and it's resulting valuation.



So you see how simple experimental processes help to correct our views on the way we see things.

From a historical perspective views of scientists with this explanation support the harmonic oscillators as follows:

Let us see how these great physicists used harmonic oscillators to establish beachheads to new physics.

Albert Einstein used harmonic oscillators to understand specific heats of solids and found that energy levels are quantized. This formed one of the key bridges between classical and quantum mechanics.

Werner Heisenberg and Erwin Schrödinger formulated quantum mechanics. The role of harmonic oscillators in this process is well known.

Paul A. M. Dirac was quite fond of harmonic oscillators. He used oscillator states to construct Fock space. He was the first one to consider harmonic oscillator wave functions normalizable in the time variable. In 1963, Dirac used coupled harmonic oscillators to construct a representation of the O(3,2) de Sitter group which is the basic scientific language for two-mode squeezed states.

Hediki Yukawa was the first one to consider a Lorentz-invariant differential equation, with momentum-dependent solutions which are Lorentz-covariant but not Lorentz-invariant. He proposed harmonic oscillators for relativistic extended particles five years before Hofstadter observed that protons are not point particles in 1955. Some people say he invented a string-model approach to particle physics.

Richard Feynman was also fond of harmonic oscillators. When he gave a talk at the 1970 Washington meeting of the American Physical Society, he stunned the audience by telling us not to use Feynman diagrams, but harmonic oscillators for quantum bound states. This figure illustrates what he said in 1970.

We are still allowed to use Feynman diagrams for running waves. Feynman diagrams applicable to running waves in Einstein's Lorentz-covariant world. Are Feynman's oscillators Lorentz-covariant? Yes in spirit, but there are many technical problems. Then can those problems be fixed. This is the question. You may be interested in reading about this subject: Lorentz group in Feynman's world.

Can harmonic oscillators serve as a bridge between quantum mechanics and special relativity?

Lee Smolin saids no to this?

Art and Science

This is going to be quite the blog entry because as little a response might have been from Clifford's links to artistic imagery and it's relation to science. I definitely have more to say.

So being short of time, the entries within this blog posting will seem disjointed, but believe me it will show a historical significance that one would not have considered had one not seen the relevance of art and it's implications along side of science.

Did Picasso Know About Einstein

Arthur Miller

Miller has since moved away from conventional history of science, having become interested in visual imagery through reading the German-language papers of Einstein, Heisenberg and Schrödinger - "people who were concerned with visualization and visualizability". Philosophy was an integral part of the German school system in the early 1900s, Miller explains, and German school pupils were thoroughly trained in the philosophy of Immanuel Kant.

Piece Depicts the Cycle of Birth, Life, and Death-Origin, Identity, and Destiny by Gabriele Veneziano
The Myth of the Beginning of Time

The new willingness to consider what might have happened before the big bang is the latest swing of an intellectual pendulum that has rocked back and forth for millenia. In one form or another, the issue of the ultimate beginning has engaged philosophers and theologians in nearly every culture. It is entwined witha grand set of concerns, one famosly encapsulated in a 1897 painting by Paul Gauguin: D'ou venons? Que sommes-nous? Ou allons-nous?

Scientific America, The Time before Time, May 2004.



Sister Wendy's American Masterpieces":

"This is Gauguin's ultimate masterpiece - if all the Gauguins in the world, except one, were to be evaporated (perish the thought!), this would be the one to preserve. He claimed that he did not think of the long title until the work was finished, but he is known to have been creative with the truth. The picture is so superbly organized into three "scoops" - a circle to right and to left, and a great oval in the center - that I cannot but believe he had his questions in mind from the start. I am often tempted to forget that these are questions, and to think that he is suggesting answers, but there are no answers here; there are three fundamental questions, posed visually.

"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).

"All this is set in a paradise of tropical beauty: the Tahiti of sunlight, freedom, and color that Gauguin left everything to find. A little river runs through the woods, and behind it is a great slash of brilliant blue sea, with the misty mountains of another island rising beyond Gauguin wanted to make it absolutely clear that this picture was his testament. He seems to have concocted a story that, being ill and unappreciated (that part was true enough), he determined on suicide - the great refusal. He wrote to a friend, describing his journey into the mountains with arsenic. Then he found himself still alive, and returned to paint more masterworks. It is sad that so great an artist felt he needed to manufacture a ploy to get people to appreciate his work. I wish he could see us now, looking with awe at this supreme painting."

Art Mirrors Physics Mirrors Art, by Stephen G. Brush

Arthur Miller addresses an important question: What was the connection, if any, between the simultaneous appearance of modern physics and modern art at the beginning of the 20th century? He has chosen to answer it by investigating in parallel biographies the pioneering works of the leaders of the two fields, Albert Einstein and Pablo Picasso. His brilliant book, Einstein, Picasso, offers the best explanation I have seen for the apparently independent discoveries of cubism and relativity as parts of a larger cultural transformation. He sees both as being focused on the nature of space and on the relation between perception and reality.

The suggestion that some connection exists between cubism and relativity, both of which appeared around 1905, is not new. But it has been made mostly by art critics who saw it as a simple causal connection: Einstein's theory influenced Picasso's painting. This idea failed for lack of plausible evidence. Miller sees the connection as being less direct: both Einstein and Picasso were influenced by the same European culture, in which speculations about four-dimensional geometry and practical problems of synchronizing clocks were widely discussed.

The French mathematician Henri Poincaré provided inspiration for both Einstein and Picasso. Einstein read Poincaré's Science and Hypothesis (French edition 1902, German translation 1904) and discussed it with his friends in Bern. He might also have read Poincaré's 1898 article on the measurement of time, in which the synchronization of clocks was discussed--a topic of professional interest to Einstein as a patent examiner. Picasso learned about Science and Hypothesis indirectly through Maurice Princet, an insurance actuary who explained the new geometry to Picasso and his friends in Paris. At that time there was considerable popular fascination with the idea of a fourth spatial dimension, thought by some to be the home of spirits, conceived by others as an "astral plane" where one can see all sides of an object at once. The British novelist H. G. Wells caused a sensation with his book The Time Machine (1895, French translation in a popular magazine 1898-99), where the fourth dimension was time, not space.

The Search for Extra Dimensions
OR Does Dzero Have Branes?

by Greg Landsberg

Theorists tell us that these extra spatial dimensions, if they exist, are curled up, or "compactified."In the example with the ant, we could imagine rolling the sheet of paper to form a cylinder. If the ant crawled in the direction of curvature, it would eventually come back to the point where it started--an example of a compactified dimension. If the ant crawled in a direction parallel to the length of the cylinder, it would never come back to the same point (assuming a cylinder so long so that the ant never reaches the edge)--an example of a "flat"dimension. According to superstring theory, we live in a universe where our three familiar dimensions of space are "flat,"but there are additional dimensions, curled up so tightly so they have an extremely small radius

Issues with Dimensionality

"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."

And who could not forget Salvador Dali?

In geometry, the tesseract, or hypercube, is a regular convex polychoron with eight cubical cells. It can be thought of as a 4-dimensional analogue of the cube. Roughly speaking, the tesseract is to the cube as the cube is to the square.

Generalizations of the cube to dimensions greater than three are called hypercubes or measure polytopes. This article focuses on the 4D hypercube, the tesseract.

So it is interesting nonetheless isn't it that we would find pictures and artists who engaged themselves with seeing in ways that the art seems capable of, while less inclinations on the minds to grasp other opportunities had they had this vision of the artist? They of course, added their flavor as Salvador Dali did in the painting below this paragraph. It recognize the greater value of assigning dimensionality to thinking that leads us even further had we not gone through a revision of a kind to understand the graviton bulk perspective could have so much to do with the figures and realization of what dimensionality means.



So while such lengths had been lead to in what curvature parameters might do to our views of the cosmos, it wasn't to hard to envision the realistic valuation of graviton as group gatherings whose curvature indications change greatly on what we saw of the energy determinations.

Beyond forms
Probability of all events(fifth dimension)
vvvvvvvvvvvvv           Future-Time
vvvvvvvvvvv                  |
vvvvvvvvv                   |
vvvvvvv                    |
vvvvv                     |
vvv                      |
v                       |
<<<<<<<<<<<<>>>>>>>>>>>now -------|
flash fourth dimension with time     |        
A                       |
AAA                      |
AAAAA                     |
AAAAAAA                    |
AAAAAAAAA                   |
AAAAAAAAAAA                  |
AAAA ___AAAAA                 |
AAAAA/__/|AAAAA____Three dimension          
AAAAAA|__|/AAAAAA               |
AAAAAAAAAAAAAAAAAAA              |
|
___                      |
/__/ brane--------two dimension
\ /              
.(U)1=5th dimension

I hope this helps explain. It certainly got me thinking, drawing it:)

Similarly a hypercube’s shadow cast in the third dimension becomes a cube within a cube and, if rotated in four dimensions, executes motions that would appear impossible to our three-dimensional brains.

So hyperdimenionsal geometry must have found itself describable, having understood that Euclid's postulate leads to the understanding of the fifth. A->B and the field becomes a interesting idea, not only from a number of directions(Inverse Square Law), dimensional understanding of a string, that leads from the fifth dimensional perspective is a point, with a energy value that describes for us the nature of curvature, when extended to a string length(also becomes the point looking at the end, a sphere from a point, and at the same time a cylinder in its length).

In looking at Einsteins fourth dimension of time, the idea of gravity makes its appearance in respect of dimension.

So how is it minds like ours could perceive a fifth dimensional perspective but to have been lead to it. It is not always about points( a discrete perspective)but of the distance in between those points. We have talked about Gauss here before and Riemann.

Who in Their Right Mind?


Penrose's Influence on Escher
During the later half of the 1950’s, Maurits Cornelius Escher received a letter from Lionel and Roger Penrose. This letter consisted of a report by the father and son team that focused on impossible figures. By this time, Escher had begun exploring impossible worlds. He had recently produced the lithograph Belvedere based on the “rib-cube,” an impossible cuboid named by Escher (Teuber 161). However, the letter by the Penroses, which would later appear in the British Journal of Psychology, enlightened Escher to two new impossible objects; the Penrose triangle and the Penrose stairs. With these figures, Escher went on to create further impossible worlds that break the laws of three-dimensional space, mystify one’s mind, and give a window to the artist heart.

Penrose and Quanglement


Order and Chaos, by Escher (lithograph, 1950)

Bubble World and Geometrodynamics

As I related in the blog entry comments of "trademarks of the geometers II" it was from that perspective the relation developed on plate 47 and indications of YING Yang interconnectivity to oriental philosophy that I encouraged bubble idealizations.



I think he(meaning site linked on new views) understood immediately the reference I made to the "Taoist symbol" and the relation to the Calabi Yau, in terms of the rotation being complete. No singularity, but the turning inside out of the state of the current universe to expressions detailed in the culmination of such gravitational collapses. I had to look for examples like this.

This idea was based on example lead from geometrical insight, I had encouraged from the understanding of that same gravitational collapse. This was derived from correlative attempts to encourage such "geometrical dynamics" revealled in sonoluminence examples, set out in experimental fashion, that physics might have encouraged, and then related back to the maths.

I never really understood this inclination of myself, but drawing examples in society seemed to be the way of it, so that the understanding could have found examples. It couldn't be that abstract that we could not find some relation, could it?

It seems I cannot locate my list references to the idea of gravitational collpase so I will have to refill this article with links to help direct the attention I gained from observing this inherent geometrical inclination .


The glass cell used by Fink and colleagues, surrounded by the eight high-frequency sound generators

The team believes this method can be modified to make the bubble collapse even faster, which would lead to greater light intensities. This would allow physicists to study the relationship between pressure, light intensity and temperature in sonoluminescence in more detail

So the point here is not to take sonoluminece as "the process" but of looking deeper into the geoemtrical design that ask blackhole creation, to give indicators as to the depth and contact glast might reveal from a inception point, with viable measures detailled through "calorimetric evidence" and design.

From a cosmological standpoint, this helped me to see the values of the curvature parameters that exist at the outer most edge of our cosmos. Is it right I am not sure?

A recipe for making strings in the lab

All you educated people must forgive me here. I do not have the benefit, of the student and teacher relationship, yet I rely heavily on my intuitive processes. I cannot say whether for sure these are always right. IN this sense, I would not have been liked to call a Liar, or one who had ventured forth to spread illusionary tactics to screw up society.

On the contrary, my ideal is set in front of my mind, and all things seem to gather around it most appropriately. A place and time, where good educators have watched out for the spread and disemmination, that could lead society away from, good science? I will give credit to Peter Woit in this sense. Lubos Motl for staying the course. As to those who excell these views for us as well. We are your distant cousins in need of education and for those, in the backwoods of isolation.

Fixations on Objective Design

This is far from the truth of my goal, and "fixations on objective design" of reality, are not what I was hoping to reveal. More, the understandng, that to get there, there are some considerations to think about.

The idealization in theoretcial developement should show this. The physics must accompany the development of this lineage of mathematics, as well as the lineage of physics must lead mathematics? What is the true lineage? Could any mathematican tell me or are they limited to the branches they deal with in physics?

Now back to the topic of this thread.

When I was a kid, I liked to take buttons and place a thread through them. Watching Mom, while I prep the button, she got ready to sew. I would take both ends of the thread and pull it tightly. I liked the way the button could spin/thread depending on how hard I pull the thread.



Now for some of you who don't know, the pythagorean string tension was arrived at by placing gourds of water on strings, to dictated the harmonical value, "according to weight?"

It is said that the Greek philosopher and religious teacher Pythagoras (c. 550 BC) created a seven-tone scale from a series of consecutive 3:2 perfect fifths. The Pythagorean cult's preference for proportions involving whole numbers is evident in this scale's construction, as all of its tones may be derived from interval frequency ratios based on the first three counting numbers: 1, 2, and 3. This scale has historically been referred to as the Pythagorean scale, however, from the point of view of modern tuning theory, it is perhaps convenient to think of it as an alternative tuning system for our modern diatonic scale.

So we see the nature spoken too, in a much different way?

KakuIf strings are to be the harmony then what music do such laws of chemistry sing? What is the mind of God? Kaku saids,"According to this picture, the mind of God is Music resonanting through ten- or eleven dimensional hyperspace which of course begs the question, If the Universe is a symphony, then is there a composer to the symphony."

Simply put, superstring theory says all particles amf forces are manifestations of different resonances of tiny one dimenisonal strings(or possibly membranes) vibrating in ten dimensions.


Artist's impression of the setup.

The disks represent the bosonic condensate density and the blue balls in the vortex core represent the fermionic density. The black line is a guide to the eye to see the wiggling of the vortex line that corresponds to a so-called Kelvin mode, which provides the bosonic part of the superstring

(image and text: )arXiv.org/abs/cond-mat/0505055.

Now I will tell you why this elementary experiment is very good for fixing the mind around some potential idea? Now, when I look at it, and look at the ball placings on each disk ( are they in the same spot....hmmm yes this could be a problem), each disk will automatically spin according to the placement of the ball, in relation to it's edge. Now when you place this in line, like a one dimensional string, as if you see this string vibrate, imagine how you would get these waves to exemplify themself and the disk placement acccordingly.

Now it is most important that you see the tension of this string vibrate, in relation to how we see the disks spin. Pull tightly on the string and you get a wonderful view of a oscillatory nature, that is dictated by the respective placement of the balls on the disk. Good stuff!

In brackets above, the exploration of artistic rendition is very good, because it allows you to further play with this model and exhaust it's potential. Would it be incorrect to say, that ball placement and vibratory placement can be related to string harmonics? In this case, how would KK tower and circle allocation to disk identify this string, but to have some signature in the way these disks spin,,individually and as a whole(one string)

The link below was 2000 but it is effective in orientating thoughts?

To find extra dimensions of the type studied by the CERN group, experimenters are on the alert for what they call Kaluza-Klein towers, which are associated with carriers of the nongravitational forces, such as the photon of electromagnetism and the Z boson of the weak force. Excitations of energy within the extra dimensions would turn each of these carriers into a family of increasingly massive clones of the original particle—analogous to the harmonics of a musical note.

For me, nodal impressions at spots, serve me well to see the vibratory nature of the reality that we live in. Balloons with dyes spread around it, and sound application help us see where such nodal point considerations would settle themself to these distinctive notes. You take the sum(it harmical value, in order to distinctively classify the partcle/object?

Maybe we can have experts describe this in a most genaral way, where I might have complicated the picture:?) What I did want to say about artistic rendition, is like the work of Penrose. It is very important it culminates the vision, to real things? As I showed in Monte Carlo effect. Or, John Baez's view of Plato's God?

Ultracold Superstrings byMichiel Snoek, Masudul Haque, S. Vandoren, H.T.C. Stoof

Supersymmetric string theory is widely believed to be the most promising candidate for a "theory of everything", i.e., a unified theory describing all existing particles and their interactions. Physically, superstring theory describes all particles as excitations of a single line-like object. Moreover, the bosonic and fermionic excitations are related by supersymmetry. A persistent problem of string theories is the lack of opportunity to study them experimentally. In this Letter, we propose and analyze a realistic condensed-matter system in which we can create a non-relativistic Green-Schwarz superstring in four space-time dimensions. To achieve this, we make use of the amazing tunability that is now possible with ultracold trapped atomic gases. In particular, for the creation of the superstring we consider a fermionic atomic gas that is trapped in the core of a vortex in a Bose-Einstein condensate. We explain the tuning of experimental parameters that is required to achieve supersymmetry between the fermionic atoms and the bosonic modes describing the oscillations in the vortex position.

Now what is very interesting to me is the way such harmonical value can be seen in in relation to particle identification. It is not always easy to see how such disks and toys could exemplify this for us, but I am trying. If we wanted to see the new toy and the relations that I will show how would this all relate to the disk and the ball on it?



I wanted to look at what you were saying to "try," and understand.

One of the most exciting predictions of Einstein's theory of general relativity is the existence of a new type of wave, known as a gravitational wave. Just as in electromagnetism, where accelerating charged particles emit electromagnetic radiation, so in general relativity accelerating masses can emit gravitational radiation. General relativity regards gravity as a curvature of spacetime, rather than as a force, so that these gravitational waves are sometimes described as `ripples in the curvature of spacetime'.

This mode is characteristic of a spin-2 massless graviton (the particle that mediates the force of gravity). This is one of the most attractive features of string theory. It naturally and inevitably includes gravity as one of the fundamental interactions.

By looking at the quantum mechanics of the relativistic string normal modes, one can deduce that the quantum modes of the string look just like the particles we see in spacetime, with mass that depends on the spin according to the formula

Remember that boundary conditions are important for string behavior. Strings can be open, with ends that travel at the speed of light, or closed, with their ends joined in a ring.

See:

Quantum Harmonic Oscillators

Distinctions of Holographical Sound

Supersymmetrical Realities

Fusion Power Within Reach?

Controlling the eddies and whirls of the writhing plasma so that it can burst into life as a miniature Sun has been a formidable, and so far only partially met, engineering challenge.

"If we follow the Mast idea and not the Jet one, we could imagine a string of medium-scale fusion reactors instead of a few very big ones," said Dr Sykes

I was well aware that this is a troubling issue for a lot of people and having found some geometrodynamical explanation and fluidity in coninous expression we had to move our current understanding into the non-euclidean realms.



I have been looking at this process trying to comprehend how this feature of the universe could have ever come into existance? So I was looking for ways to help me determine how such states of existance, at the beginning of the universe could have ever signalled the rebirth of the cosmos and it's potentials.

The Sudbury Neutrino Observatory


Understanding John Ellis's work here in microstate blackhole developement, was part of this view that would direct our questions to the rejuvention process in the reality around us. Any attempts to further define reality in a "negative sense," would run into trouble with supersymmetric valuations to model assumptions?Recognizing the weak field manifestations present in gravity determinations, makes this a interesting idea in face of what we see around in our response to the sun and what energy approaches us, for interactions in these giant baths, or the Auger experiment?

Star In a Jar

During a single cycle of the sound field, the pressure exerted on the bubble (green) follows a sinusoidal pattern. The bubble radius (red) expands during the rarefaction part of the sound field and collapses during the ensuing compression. At the minimum radius, a photomultiplier trained on the bubble records a flash of light (blue). The implosion also generates an outgoing pulse of sound detected by a microphone about 1 mm from the bubble, as shown by the spike on the sound wave. The time delay between the collapse and this spike is due to the finite speed at which sound propagates in water.

I have been following this progress for reasons that would help me understand the geometrical/topological possibilties, such expressions might help in determining these underlying causes as Einstein demonstrated as we moved to Elliptical Geometry of Reimann.

SONOFUSION – FACT OR FICTION?
The fact that we have a bubble cluster (rather than a single bubble) is significant since when the bubble cluster implodes the pressure within the bubble cluster may be greatly intensified [Brennen, 1995], [Akhatov et al, 2005]. Indeed, figure-10 [Nigmatulin et al, 2005] shows a typical pressure distribution (where r = Rc is at the edge and r = 0 is at the center of the bubble cluster during the bubble cluster implosion process. It can be seen that, due to a converging shock wave within the bubble cluster, there can be significant pressure intensification in the interior of the bubble cluster.

The physical processes underlying the phenomenon of sonoluminescence have not been clearly resolved by previous measurements. The possibility that sonoluminescence might involve such extreme conditions that it could produce neutrons makes measurements of parameters such as the source temperature, diameter, and density valuable. We report attempts to measure the diameter and duration of single sonoluminescence flashes. For both parameters, our results were limited by the resolution of the instruments, giving upper limits on source diameters of three microns and upper limits on emission durations of twelve picoseconds.

As I was saying, to get to these supersymmetrical realities, such convergenances of of sound analogies were quickly adopted as signs of what gravitonic perception might help in distinquishing the concentration and hence cyclication? This would help explain that early universe. This basis of geometric/topological approach was the basis of my exploration, for I see such comprehension necessary in the determination of a consistent method of approach?

This lead to the insight of the nature of the bubble explosions and contrasts to current consideration presented by blackhole radiation. How could this ever become possible to know that the size of ths bubble would have reached a critical point and found entropic issues like expansion relevant to the cooling features of our universe now? CMB was relevant to the state the universe was in and it's curvature, based on Friedmann equations. As to whether or not, such a crunch was emminent.

The team believes this method can be modified to make the bubble collapse even faster, which would lead to greater light intensities. This would allow physicists to study the relationship between pressure, light intensity and temperature in sonoluminescence in more detail.

Once it becomes apparent that we would look for such models for comparing current states of existance with the supersymmetrical realities it was very important to distinquish early uiverse formation to infomration released from supernova explosions. Consder what was what was released into the bulk.

According to Didenko and Suslick, this suggests that chemical reactions would soak up too much of the energy for nuclear fusion to take place, especially for bubbles in volatile liquids like acetone. The molecules of vapour in such bubbles are complex, and would absorb much more energy than the water vapour that they studied. But Suslick does concede that "the possibility of fusion occurring in low-volatility fluids - such as liquid metals and molten salts - cannot be ruled out at this time."

Such topological expressions had me wonder how could such expresssion ever be considered, if we did not have some method in which to ascertain the early universe? Could it have reached supersymmetrical proportions and with this, the cyclical nature of expression. One needed the blackhole for this.


Kenneth Suslick

When a gas bubble in a liquid is excited by ultrasonic acoustic waves, it can emit short flashes of light suggestive of extreme temperatures inside the bubble. These flashes of light, known as 'sonoluminescence', occur as the bubble implodes, or cavitates. Now Didenko and Suslick show that chemical reactions occur during cavitation of a single, isolated bubble,and they go on to determine the yield of photons, radicals, and ions formed. (Photo credit: Kenneth S. Suslick and Kenneth J. Kolbeck)

Researchers Report Bubble Fusion Results Replicated

Earlier test data, which were reported in Science (Vol. 295, March 2002), indicated that nuclear fusion had occurred, but these data were questioned because they were taken with less precise instrumentation.

“These extensive new experiments have replicated and extended our earlier results and hopefully answer all of the previous questions surrounding our discovery,” said Richard T. Lahey Jr., the Edward E. Hood Professor of Engineering at Rensselaer and the director of the analytical part of the joint research project.

Nothingness?

If you assume something always had to exist, then to me, this statement of nothingness is quite puzzling to me.


The most surprising difference for the quantum case is the so-called zero-point vibration" of the n=0 ground state. This implies that molecules are not completely at rest, even at absolute zero temperature.

String theory suggests that the big bang was not the origin of the universe but simply the outcome of a preexisting state

The title to me, was always illucive in regards to Henning Genz, yet these two quotes helped to futher define the attributes of gravitational and electromagetic waves.


Nothingness, by henning genz, pg 179

The energy of the liquid wave is energy associated with gravitation and motion of its molecules; the energy of light is energy pure and simple, associated with every illuminated point in space.

pg180

Back to light:Let's remember that it is tantamount to an oscillation of abstract field quantities in space, not an oscillation of space proper. But the latter exists,too.

From a gravity perspective I am always wondering how to tell the dynamical nature of the universe. It is easily ascertained by implications of GR cosmologically, but if moving to the higher energies, then how would photon interaction reveal itself in a quantum mechanical world, where probabilties reign?

The statistical sense of Maxwell distribution can be demonstrated with the aid of Galton board which consists of the wood board with many nails as shown in animation. Above the board the funnel is situated in which the particles of the sand or corns can be poured. If we drop one particle into this funnel, then it will fall colliding many nails and will deviate from the center of the board by chaotic way. If we pour the particles continuously, then the most of them will agglomerate in the center of the board and some amount will appear apart the center.

Is there some marble test that would help us shape our views of the dynamics of lets say bubble technolgies that would define perspective about points on this bubble? Like the Bell curve, or some BEC condensate, or a soliton wave being applicabile to describing that graviton holographically?



You had to appreciate I think the ideas behind cosmic string developement from the early universe to undertand that such probabilties, were being define as selective features of the universe, like ours being to support the life is dones here. How does the cosological constant fair here? Why not some other kind of universe?

HIgher Dimensions Without the Geometry?

In Illusions and Miracles I became concerned with what the mind's capabilties which could encounter fifth dimensional views. That such examples were needed, and found in relation to Thomas Banchoff.

Having understood the early development from Euclidean perspective, our furthered evolutionary developement of the geometries, were gained by moving beyond the fifth postulate. I became comfortable with a dynamical realization about our universe(Omega), and about the idealization of curvature in dynamical fields of supergravity.

I made the statement that GR is reduced from the higher geometries and along with that view the understanding that things existed in earliers states of being. Robert Laughlin's views of complexity and symmetry breaking would reveal to me, that the matter states of form, were derived from "other states of existance". This is a fundamental realization of higher dimensional attributes revealled in the topologies/geometries. So from higher, and the continuity of, topological considerations to the firmly fixed realms of geometries in the forms? So from early universe to now, what views allow us to consider that symmetical breaking that has gone through phase transitions, to get from the planck epoch phase of our universe to today?

Having come in contact with a new type of thinking in the realm of the geometries, it became very important to me to understand how this could have manifested early in our historical background? I followed it through GR in order for this to make sense, I continued to move and consider the higher dimensional relevance new models might use in their move to the abstracts realms of thinking.

Here I would interject the realization of string theory, and ask why such a rejection mathematically, would dimiss the subject of strings based on this dimensional realization, and then quickly disperse, string's relevance because of the higher dimensional significance brought to bear on the attribtues of the minds capabilties? Part of the develpement of the brains compacity was the realization that such images produced(higher topological math forms), could indeed symmetryically break to forms within the world. Forms within mind, that could lead to solification in the math? When is a Pipe a Pipe?:)

This is what had troubled me most, noting Peter Woit's rejection of the value of his "anti" campaign of string theory evolution. Maybe, it was more then the idea of the subject and it's established views that he felt were as much part of the illusion as any other theory, that found itself unscientifically determined? Based on the constructs string theory developed? Maybe it was the funding biased felt towards this subject, and lack of, somewhere else. We wouldn't know this, because he had no alternative?

When Gravity Becomes Strong......

The value of non-Euclidean geometry lies in its ability to liberate us from preconceived ideas in preparation for the time when exploration of physical laws might demand some geometry other than the Euclidean. Bernhard Riemann

It is very important that this progresssion of thinking leaves the surface of the earth for a greater understanding of where our views might be taken from? If we move ourselves beyond the two dimension surface of earth's fields, the agricultural enlightenment, was greatly enhanced from the sheep herders(Romans) of days of ole.

The developement in dimensional perspective is well understood in the art that has progressed in this evolutionary context as well. One has to wonder indeed why Penrose would seek solace from Escher in the developement of the idealizations of thinking beyond the box:)To see such tessellations and intelocking fundamentals of black and white to realize, that dependance of one or the other defines the lines of existance.

Is it so clear here in the understanding of gravity? I think Einstein made this as simple as one can imagine, and to leave eucldean perspective you had to leave the planet earth in our thinking. It was a transformative picture of what we had always learnt to deal within in engaging the dynamics of earth everyday happenings. That the graduation and metamorphsis of thinking, was a greater realization from viewing the planet earth as a whole.

Can it go from beyond here, to a more illustrious view. You bet it can.


According to Einstein's theory of general relativity, the sun's gravity causes starlight to bend, shifting the apparent position of stars in the sky.

I am sort of updating here from a previous post on how one can use images to orientate the rise from euclidean perspective. Dilation and the Cosmic String

This is a very important lesson for me in moving into non eucldean perspectives and may seem trivial to some. How very important this is, is part and parcel of understanding GR . Without this geometrical principle being developed within the mind, then why would any topic like GR make sense on a cosmological scale?

Developing this intuitiveness about curvature parameters was very helpful in getting to the senssation of lensing and time dilation. Einstein in his provoking thoughts about a pretty girl was most helpful in orientating a much subtle logic to what curvature implied, once this progression is understood in relation to photon interaction.

On the Effects of External Sensory Input on Time DilationA. Einstein, Institute for Advanced Study, Princeton, N.J.

Abstract: When a man sits with a pretty girl for an hour, it seems like a minute. But let him sit on a hot stove for a minute and it's longer than any hour. That's relativity.

As the observer's reference frame is crucial to the observer's perception of the flow of time, the state of mind of the observer may be an additional factor in that perception. I therefore endeavored to study the apparent flow of time under two distinct sets of mental states.

Einstein@home is a program that uses your computer's idle time to search for spinning compact stars (such as pulsars) using data from the LIGO and GEO gravitational wave detectors. While we are still testing, we are close to deploying a production version of Einstein@home, as part of the American Physical Society's World Year of Physics 2005 activities.

Curvature Parameters

How does get this intuitive feeling embedded within thinking if it has not grokked the significance on a cosmological scale?



When one first begins to comprehend the intuitive possibilities the universe can move through, I was was struck, by the coordination of how we could see in terms of non-euclidean prospectives, and find correlation, with what was happening on a cosmological scale.



AS I looked at the the Friedmann Equation the connection to this dynamical movement in the cosmos, revealed itself, when you accepted the move to Reimannian understanding?



It was important that the connections and links to teachers be recognized. For what Gauss himself imparted, was also demonstrated in the work of Einstein, to bring Gaussian curvature along into the dynamical world gravity would reveal of itself when Einstein was completed.

But the Euclidean model stops working when gravity becomes strong

Once it came to understanding the metric and the distance function, between two points a new world was revealed. It became very interesting to see how non-euclidean was lead too, and how the work of GR blended together in a new perspective about the reality we live in. It no longer made sense to think of that space between those two points other then in the mathematical ideas of NCG.

Virtual interactions make the electron charge depend on the distance scale at which is it measured.



How would not derive some sense of this fluctuation if we did not understand the dynamical nature that has been revealed to us? On large scales it seems so easy, while in these micro states, it's all spread out and fuzzy. So at planck length, how would we describe the motions we understand of the spacetime fabric if we change the quantum mechanical description of it?

dS²=c² dT²-dX²

The amount of dark matter and energy in the universe plays a crucial role in determining the geometry of space. If the density of matter and energy in the universe is less than the critical density, then space is open and negatively curved like the surface of a saddle