A Superset Universe?

How would you draw a Universe with all theories as being part of,  as a subset?

Pictorial representations can be very useful in presenting information or assisting reasoning. Venn diagram is an example. Venn diagrams are used to represent classes of objects, and they can also assist us in reasoning about the relations between these classes. They are named after the English mathematician John Venn (1834 - 1923), who was a fellow at Cambridge University.

A few may have taken in the link supplied to a lecture given by Thomas Campbell with regard to his MBT book he had written. Now, I was drawn to the idea of a Venn diagram presented in his lecture and the idea of how one might have use this diagram as a question about the universe and it's subsets? How would you draw it?

I give a current posting by Sean Carroll with regards to his opinion on a book written by Lawrence Krauss. So there all these theories about the nature of the universe and some scientists of course have their opinions.

............Or not, of course. We should be good empiricists and be open to the possibility that what we think of as the universe really does exist within some larger context. But then we could presumably re-define that as the universe, and be stuck with the same questions. As long as you admit that there is more than one conceivable way for the universe to be (and I don’t see how one could not), there will always be some end of the line for explanations. I could be wrong about that, but an insistence that “the universe must explain itself” or some such thing seems like a completely unsupportable a priori assumption. (Not that anyone in this particular brouhaha seems to be taking such a stance.) SEE:A Universe from Nothing?

Physicists have proposed several theories to explain why Λ is so small. One of the most popular -- the "anthropic principle" -- states that Λ is randomly set and has very different values in different parts of the universe (figure 1). We happen to live in a rare region, or "bubble", where Λ has the value we observe. This value has allowed stars, planets and therefore life to develop. However, this theory is also unsatisfactory for many scientists because it would be better to be able to calculate Λ from first principles.

See also:

• Plinko Sounds a Bit like the Galton Board

• Justified true belief

• Memories Arise Out of a Equilibrium

Oh Dear!... How Technology has Changed Things

Mathematics, rightly viewed, possesses not only truth, but supreme beautya beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry.--BERTRAND RUSSELL, Study of Mathematics

The "Talking Pictures" Projection Wagon-

In the 1920's about the only entertainment that came to the rural community of Leakey, Texas was the traveling tent shows. This form of family entertainment would come to the canyon about once a year to the delight of all. Everyone looked forward to the horse drawn wagons that brought the much anticipated entertainment to town. In later years the horses were replaced by the Model T Fords but this form of transportation did not deter the excitement.

See:"Leakey's Last Picture Show" by Linda Kirkpatrick
Vintage photos courtesy Lloyd & Jackie Shultz

It is important sometimes to hone in on exactly what sets the mind to have it exemplify itself to a standard that bespeaks to the idealizations that can come forward from a most historical sense. It is in this way that while one can envision where the technological views have replaced the spoken word in movie pictures, we can see the theatre above as an emblazoned realization of what changes has been brought to society and what may have been lost in some peoples eyes.


This is a photograph of author and philosopher Robert M. Pirsigtaken by Ian Glendinning on the eve of the Liverpool conference of 7th July 2005.

What is in mind is a sort of Chautauqua...that's the only name I can think of for it...like the traveling tent-show Chautauquas that used to move across America, this America, the one that we are now in, an old-time series of popular talks intended to edify and entertain, improve the mind and bring culture and enlightenment to the ears and thoughts of the hearer. The Chautauquas were pushed aside by faster-paced radio, movies and TV, and it seems to me the change was not entirely an improvement. Perhaps because of these changes the stream of national consciousness moves faster now, and is broader, but it seems to run less deep. The old channels cannot contain it and in its search for new ones there seems to be growing havoc and destruction along its banks. In this Chautauqua I would like not to cut any new channels of consciousness but simply dig deeper into old ones that have become silted in with the debris of thoughts grown stale and platitudes too often repeated.

Zen and the Art of Motorcycle Maintenance Part 1 Chapter 1.(Bold added by me for emphasis)

I wanted to take the conversation and book presented by Phil and immortalize it in a way by laying it out for examination. Regardless of my opinions and viewpoint, the world goes on and the written work of Robert Pirsig persists as a "object of the material." In the beginning, no matter the choice to illuminate the ideal, it has been transgressed in a way by giving the symbols of language to a discerning mind and verily brought to that same material world for examination. How ever frustrating this may seem for Pirsig, it is a fact of light that any after word will reveal more then what was first understood. Reflection has this way about it in the historical revelation, of how the times are changing. Things dying and becoming new. The moon a reflection of the first light.

The conclusion of the whole matter is just this,—that until a man knows the truth, and the manner of adapting the truth to the natures of other men, he cannot be a good orator; also, that the living is better than the written word, and that the principles of justice and truth when delivered by word of mouth are the legitimate offspring of a man’s own bosom, and their lawful descendants take up their abode in others. Such an orator as he is who is possessed of them, you and I would fain become. And to all composers in the world, poets, orators, legislators, we hereby announce that if their compositions are based upon these principles, then they are not only poets, orators, legislators, but philosophers.

Plato, The Dialogues of Plato, vol. 1 [387 AD] PHAEDRUS.


***

IN announcing himself in the written work with regards to the IQ given in signalling the identity of the character Phaedrus, it was important that one see this in a way that excuses are not made, and allowances not be set forth for what was to become the lone wolf. John Nash too, had his excursions into the bizarre as well, was to know that in the "end of his synopsized life," a certain contention that he had to deal with in this inflection of his disease, as part of his make-up. Was to deal with, while now, he continues to move on with his life. He is aware of the intrusions that personage can do as it infringes from the periphery, as ghosts of his mind too.

To me in reading John Nash's biography in historical movie drama, was to bring attention to what cannot be condoned by exception, when allowing genius to display it's talents, while causing a disruption not only to themself, but to see the elite make allowances for these transgressions. Pattern seeking is not to be be rifting the idea, that we cannot look into the very structure of reality and see what makes it tick? Just that we do not get lost in travelling the journey.

Practising escapism was to deny oneself the responsibility of becoming whole. To allow for genius, as an exception, would mean to not recognize that the intellect is part and parcel of the greater whole of the person called Robert Pirsig or John Nash.

Who of us shall placate failure as a sure sign of genius and allow the student 's failure as acceptable? This was a transgression seen from another perspective and as afterthought realized in a mistaken perception "about broadcasting Phaedrus" as some towering voice from the past as relevant in todays world, because of the location and time in history?


***


Click on link Against symmetry (Paris, June 06)

While I may use the alias of Plato and look at the substance of his written work, it is also from that view point such a discussion had to take place within the context of the written prose about two people in this Socratic method, that while worlds in the dialogues existed in speech, no such persons were there at the time. Yet, such thoughts are transmitted and established in that historical sense, and moved forward to this time.


Against symmetry (Paris, June 06)


To me there are two lines of thought that are being established in science that in Lee Smolin's case is used to move away from the thinking of the idea of Plato's symmetry by example. To see such trademarks inherent in our leaders of science is too wonder how they to, have immortalize the figures of speech, while trying hard to portray the point of view that has been established in thought. These signatures have gone from Heisenberg to Hooft. And the list of names who have embedded this move to science, as a education tool, that is always inherent in the process. That reference is continually made.

IN this sense I do not feel I had done anything wrong other then to ignite the idealization I have about what that sun means to me, as the first light in a psychological sense. Where it resides in people. How divorce we can be from it while going on about our daily duties existing in the world. That there also resides this "experience about our beginnings." To ignite what the word of geometrics has done in the abstract sense. How much closer to the reality such a architecture is revealed in Nature's way, to know that we had pointed our observations back inside, to reveal the world outside.


***

See Also:

Stargazers and Hill Climbers

Evolutionary Game Theory

Inside the Mathematical Universe

Symmetry in Psychological Action

Our basic premise is that minuscule apparent violations of Lorentz and CPT invariance might be observable in nature. The idea is that the violations would arise as suppressed effects from a more fundamental theory.

We have shown in our publications that arbitrary Lorentz and CPT violations are quantitatively described by a theory called the Standard-Model Extension, which is a modification of the usual Standard Model of particle physics and Einstein's theory of gravity, General Relativity.

Symbols are important to convey what we can appreciate in "natures examples." While this image above is about clocks, it is also about "the past and the future." Which clock represents which to you?

I have been having amazing troubles with this until having looked at some of Marcia's Smilack's photography. I am not sure all my definitions are correct to hers but I have somehow seen a lot of my confusion disappear.

While reductionism was holding my mind to the compressible feature and condensible feature to the building blocks of nature, there was a much larger picture going on in discovering the "uncertainty of that micro perspective of the world" we force our minds to venture too.

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 76¹

It is not to nice when one does not include the "source of the writing involved" so I will have to go and look for where I took that quote from(I believe it is the Fabric of the Universe by Brian Greene, but I can't seem to locate the book for checking).

The idea here is to open this post entry with what was inherent in our actions "psychologically" could have had some basis in what we recognize of our relationship with nature. The relationship with the world around us. When are we most receptive to nature?

"
Golden Rectangle

I took the picture at a time of day when the tide was at exactly the right place to create this image: when the surface of the water reflected the underside of the bridge and they combined, together they produced what I named the Golden Rectangle as a nod to Pythagoras (my hero). The sensation I experienced at the time was of balancing consciousness and feeling.

By "bridging," a "whole picture materializes in reflection" in which we can "cross with" newly formed ideas. Had to have some basis in which the picture taken, may have a had a "greater meaning." How could it ever had made sense if you had not recognized what "the water to mean," and what the reflections cause us to recognize, as we learn to discover this wholeness within self?

"Striving" to bring "this perfection" to it's rightful place amongst the inquirers? What the resulting relation of student who takes the picture, will find as they delve into the world of what the unconscious "may represent" as it reflected from the reality onto the open water. The "past reflected" to what can manifest "toward" reality.

The future is then part of the "unconscious recognition" of what can be eventually be reflected, has some basis, before, "the past" can ever be solidified into reality?



It is important for you to see the source of this image of the circle within circles to understand that when you "mouse over the picture" you see how the "two pictures are used" to further my points about this interaction.

One has to follow the picture above to finally get to the source of this picture. It has been used to explain the process of distinguishing of explaining "the inner/outer" at any one time, while these processes could have transfixed us to one of it's particular domain.

So by completing "this circle," I had too, in some way, include the idea of "symmetry of psychological action," as I had come to instill this act of "the student/teacher within each of us." Had to gain independence by growing confidence in engaging the world. That is was necessary, to not be thwarted by the restrictions of, "being less then desired," or a "broken flower pot" on this road to discovery.

Finally, we also hope that this series furthers the discussion regarding the nature and function of 'the mandala'. In the spiritual traditions from which Jung borrowed the term, it is not the SYMMETRY of mandalas that is all-important, as Jung later led us to believe. It is their capacity to reveal the asymmetry that resides at the very heart of symmetry. By offering a new view about how consciousness itself is structured - in a fundamentally paradoxical fashion - and how these structurings are reflected in principles according to which the mandala is organized, we are able in this series to show how personality itself may be thought of as having an essentially 'liminocentric' design.

Symmetry Breaking



It was never my intent to confuse people by bring this "psychological action" to the forefront in relation to "science's measure of the statement," but to help people become aware of this relationship we have with reality. That you can "gain confidence within the self" to explore beyond the limitations of what science saids in terms of acceptable proofs and attempts at falsification." By setting the goals, in your explorations to discover "more about the world we live in" then just laying our heads to rest on "a medium" to take over. What does it mean to you?


The two clocks depicted in the official logo for the CPT '04 meeting are related by the parity transformation (P). The inversion of black and white represents charge conservation (C), while time reversal (T) is represented by the movement of the hands of the clock in opposite directions.

Coxeter and Plato's Cave

IN Beyond the Dance of the Sun I give an image of Plato's Cave for consideration, about dimensinal perspectve.

This is not only held in my mind in terms of what free people are chained in their perspectives, but I also feel, that the leading characteristics were kindly put forward not only by my own position, but by those who I have listed throughout this blog.

Bolya, Heisenberg and Hooft?

There are "no wares" here to market(no advertising) other then what perception has granted me by "learning" and assuming the inherent nature of the leading perspectves in geometries and their relation to the real world.

Visitors' shadows manipulate and reshape projected images of "Buckyballs." "Buckyball," or a buckminsterfullerene molecule, is a closed cage-structure molecule with a carbon network. "Buckyball" was named for R. Buckminster "Bucky" Fuller (1895-1983), a scientist, philosopher and inventor, best known for creating the geodesic dome.

Imagine then, that such nanotechnology sites have taken us down to microperspectives and there are such things in the "geometry of being" that would dictate the technolgies that we use?

Was it so distant from the real world that such "projective geometries" exposed the correlation of knowledge from a man like Coxeter, that you would say "I would rather demomnstrate the technological aspect because this is real?"

You know you had to be more suttle then this. You knew you had to think of the sun's ray and "think" beyond in the Sun/Earth Relation in a lagrangian perspective. But you refuse?

It is better then, that the cynics remain chained. And allow themselves to spread their venom about the callousness of "good people who had ventured forth" and asked about dimensional perspective. Who is it, that remains in the box?

Focus then, on the science and what has been accomplished. You need no further explanation. No "back reaction" to what constituted this science.

HOUSTON, Texas, Oct. 31 -- Nobel laureate Richard Smalley, co-discoverer of the buckyball and widely considered to be one of the fathers of nanotechnology, died Friday at the age of 62 after a long battle with cancer.
Rice University professor Smalley shared the 1996 Nobel Prize in chemistry with fellow Rice chemist Robert Curl and British chemist Sir Harold Kroto for the 1985 discovery of a new form of carbon nicknamed buckyballs. Shaped like soccerballs and no wider than a strand of DNA, buckyballs each contain 60 carbon atoms arranged in a hollow sphere resembling two conjoined geodesic domes. Smalley coined the name "buckminsterfullerene" for the discovery in honor of architect and geodesic dome inventor Buckminster Fuller.

Fullerenes -- the family of compounds that includes buckyballs and carbon nanotubes -- remained the central focus of Smalley's research until his death. According to colleagues, Smalley's belief that nanotubes were a wonder material that could solve some of humanity's problems -- such as clean energy, clean water and economical space travel -- led him to crusade for more public support for science and to help found a business, Carbon Nanotechnologies Inc., in 2000 to make sure his discoveries made it to the marketplace where they could benefit society. Smalley was convinced that nanotubes could only be used to solve society's problems if they were manufactured in bulk and processed economically.

The socialogical foundation of thinking about our world here then is a far cry from the very foundationof the geometries and how human being may envision. How they may descend into mind. Thre posisbilties are endless,a nd I would just point to the images of flowers and the kalidescope they cause, as they reveal strange nodes and anti-nodes brought forth in mandalic pattern interpretations.

What symmetry is this, that we can create such patterns and see how beautiful they are? Some like Clifford like th easymmetry of certain flowers?

Again such liminocentric structure are a inhernet part of our consciousness developement and following this process, into reality is a very important step. Some will only like the pictures and some will venture deeper. That's always be the way of it.

How would I know this?:)

Basis of Reality by Geometric Design?

I would like to continually like to remind one of Plato's cave. If the sun is behind us, how do you relate what is seen dimensionally, and describe it from first principles? The shadows are used in a way to draw our attention to our limitations of thinking.



So I moved this internally, and the sun behind, becomes the sun from a center realized inside. Circles within circles, topologically and constructively asking, which way are we seeing now?

I was thinking here that to get to the "truer source of reality" what underlies our basic intepretations of such "thought constructs," would be to defined essentially in a geometric way, first. This is how first principle is established, as observation to a "geometric way" leads all concepts from this beginning?

Man ponders shadow, or shadow ponders itself?

So let's say you are this fellow sleeping on the bus, and he is having deep suttle thoughts about life. He generalizes what he might see of "mass psychosis" in a geometical way, as well as, see science, necessary as the basis of this expression?

You also hads to know where the beginning of all expression arose from, so this defintion is very important in that respect?

Although theoretical, it establishment with the basis of science would be very important. As Feynman diagrams are.

Example here given with Dirac?

Paul Dirac:

When one is doing mathematical work, there are essentially two different ways of thinking about the subject: the algebraic way, and the geometric way. With the algebraic way, one is all the time writing down equations and following rules of deduction, and interpreting these equations to get more equations. With the geometric way, one is thinking in terms of pictures; pictures which one imagines in space in some way, and one just tries to get a feeling for the relationships between the quantities occurring in those pictures. Now, a good mathematician has to be a master of both ways of those ways of thinking, but even so, he will have a preference for one or the other; I don't think he can avoid it. In my own case, my own preference is especially for the geometrical way.

Picture is link :)

So the thought construct is very dependant on how we would look at reality and this might inject various geometric processes, yet, we are very aware of the timeline, and where this expression arose from. This is what first principle must do?

While we like to think of the "building blocks of matter" you may of liked to call them strings in the first microseconds, this still does not take you to the source of the expression of what is now geometrically enhanced? So one siads there is no geometry? And of course the Pizza Guy is amazed at how all this could exemplify itself in some way in which the false vacuum and the true vacuum can tunnel from one to another.

So definition of "brane thinking" here encases a lot of information conceptually, as we speak about the reality of such things, and how they arose? These are contained in the most simplfied picture forms. It is necessary to see into how the workings of all "thought constructs," will manifest. Why pictures beomes links to a much more detail way of thinking geometrically.

I gave Dirac as a example.



I also link Albrect Durer for a example as well.

On Blogging and Experiment

Variation of the Standard Two-Pin-hole "welcher-Weg" Optics Experiment



George R. Welch setting up an optics experiment with graduate student Sophia Ilina

Uncertain Principles :

So, “A Week in the Lab” has come to an end. The experiment itself goes on, of course, but the week of blogging the experiment is at an end.

As physics, it wasn’t terribly successful– the experiment didn’t succeed, after all. As a life-in-science blogging event, I think it worked pretty well. I got to cover a fair range of the experimental physics process, from the basic design stuff, to the nuts-and-bolts assembly, to the prelimanry calibration measurements, to the process of figuring things out from sketchy data, to the frustration of an incomplete experiment. I wouldn’t call it the most successful week of my experimental physics career, but I think I might be happier with how this played out than anything else I’ve done on this blog. I’ll have to look back at it again in a couple of weeks and see if I still feel that way, but at least at this early stage, I like the results.

Plato:

So I thought I would point you to another case. I mean sure there is going to be trials and errors.

I was pointed to the failure of the system of blogging that did not seem up to par with a link given by Sean in regards to experimentation and it's falure? While I see it as a success, presented in the following way.

The Ties that Bind?
John Cramer:)

The Blind Men and The Quantum (1,338k) - The First Hal Clement Memorial Lecture, given at the Boskone 41 Science Fiction Convention, Boston Sheraton Hotel, February 15, 2004. A 50 minute discussion of quantum paradoxes and interpretations, with emphasis on new data (The Afshar Experiment) that appears to falsify the Copenhagen and Many-Worlds Interpretations, but is consistent with the Transactional Interpretation.

It sort of stays in the family.:)

kathryn cramer

The Transactional Interpretation, which involves a forward/back in time handshake, is one of the few (perhaps the only) interpretation(s) left standing after the Afshar test.

Why is it so important? If scientific perspective had been isolated from the vast resources of people spread throughout such probabilistic valuations in science? In consideration, how would chance have it, that someone could comment on the experimentation? Help the experimentor, and discuss it from a theoretical standpoint how such and such should go? Lubos comment section helps greatly here to assess how this might have gone?

Shahriar S. Afshar

Dear Lubos,

"Therefore we have humiliated Bohr, Heisenberg, Dirac, the Copenhagen interpretation, complementarity, the uncertainty principle, quantum mechanics as well as the rest of physics."

From the content of your response, I can only conclude that you have not fully read my preprint:
www.irims.org/quant-ph/030503/

Now that the process has been seen in this context of blogging potential I thought I would add one more for consideration? In terms of what Aldeberger had to say to those on Cosmic Variance in terms of those extra dimensions and the experimental process Evotos is unfolding in this regard.

The 5th Dimension and the Networld

Hi Darwin,

You thought my statement foolish, about Immanuel Kant?

Instead of Darwin I thought maybe you might envision yourself as Aristotle, as you stand beside me, under the "arche.":)

That what religion does is build concrete things, and so to models, for apprehension. If you stand and look at the room, why would I ever direct you to the picture on the wall? You have to draw back and take in a wider picure of what you see of Plato?:)

To them, I said,
the truth would be literally nothing
but the shadows of the images.

-Plato, The Republic (Book VII)

Gerard t'Hooft, as well as Heisenberg, used comparative views establish from the Dialogues. These things were taken into the schools of learning.

So by your reasoning, condensed matter physicists would be really happy to just deal with matter principles(whatever the building blocks of matter are?)The bottom up approach, while holography by philosophical attachment, should become irrelevant while we discuss the dimensional significance of where we are now in the networld?:)

I am a student and learning, please be kind.:)

Angels and Demons

Now how could such good thinking minds have not seen that the publics understandings might have been warped by the very underpinnings of good science men/woman, and all the issues become some fictional story for what evils and saints can do for us.



So was it some distant function of creation that we should not recognize the negative effect of all "good things" that will emerge from the actions of what is revealled to us in our "rainbows and aurora's," that we would not seem pleased as to the emissions have to say in the wave forms that surround such things?

Can we hope to use antimatter as a source of energy? Do you feel antimatter could power vehicles in the future, or would it just be used for major power sources?

There is no possibility to use antimatter as energy "source". Unlike solar energy, coal or oil, antimatter does not occur in nature: we have to make every particle at the expense of much more energy than it can give back during annihilation.

You might imagine antimatter as a possible temporary storage medium for energy, much like you store electricity in rechargeable batteries. The process of charging the battery is reversible with relatively small loss. Still, it takes more energy to charge the battery than what you get back out of it. For antimatter the loss factors are so enormous that it will never be practical.

If we could assemble all the antimatter we've ever made at CERN and annihilate it with matter, we would have enough energy to light a single electric light bulb for a few minutes.

So while good thinking men and woman dance with the ideas of Einsteins geometrical propensities to answer thse functions, what spherical relation would have said, that for every sun that burns out, it will rejuvenate itself, by strict geometrical functions in anti-matter creation to bring forth this "new vision" of the world.

Create this wonderful unlimited resource of energies that exist around us now?

So again let's take this back to the Pierre Auger examination of what is taking place outside of the collider expeirments. While it is nice to have these controls, why were we not informed about the potentiality of what exists as you pursue your visons to the very beginnings of this universe? That this beginning would take place right next to you? Is this wrong that we not assign astronomical valuations to the very nature of our world now, as such interactions take place between the sun and earth? That in those compacted dimensions, such calculations would reveal the thinking of relative and mathematical entities, as signals of the events that can take place everyday around us as well.

Einstein was very revealling in what could be taken to a larger scale for what could split apart, so it is not so unlikely that ourvisions have been curtailled,just becuase we did not se the actions that could take plac ein a larger scenario?

So did Heisenberg see what was revealling towards these geometerical propensities, as events unfolded themselves?

Update:

if your foci is "string" enough, you might realize it is less than K=0 :)


All M.C. Escher works (c) 2001 Cordon Art BV - Baarn - the Netherlands. All rights reserved. www.mcescher.com

While some believe in positive curvatures they also understand that the inception could have a negative effect, yet it would not be "angel and demons" they espoused?

We are all better then that, right? There is a "greater whole" we are each part of? To further extend this empowerment beyond "good and evil in religion" think of sound then, and the related entry below. Maybe, it will have a certain resonance for you?

Music of the Spheres

About how the brain's neuronic vitalities of vison are enhanced, and related?

Wunderkammern

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)

Visualization: Changing Perspective

I give some perspective on "image use and artistic expression." But such journeys are not limited to the "ideas of a book" or "a painting" in some form of geometric code.

Some will remember Salvador Dali picture I posted. I thought it okay, to see beyond with words, or how one might see a painting and it's contribution to thoughts. Thoughts about a higher dimensional world that is being explained in ways, that we do not generally think about.

So while it is not mysterious, there is some thought given to the ideas of moving within non-euclidean realms. In the one hand, "discrete forms" have us look at how such a model in terms of quantum gravity is built, and these images and paintings, accordingly?


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.


Click on image for a larger view

On page 65 of Hyperspace by Michio Kaku, he writes, "Picasso's paintings are a splendid example, showing a clear rejection of the perspective, with woman's faces viewed from several angles. Instead of a single point of view, Picasso's paintings show multiple perspectives, as though they were painted by someone from the fourth dimension, able to see all perspectives simultaneous

Talk of the Nation, August 20, 2004 · How did Leonardo da Vinci use math to influence the way we see the Mona Lisa? And how does our visual system affect our perception of that, and other, works of art? A look at math, biology and the science of viewing art.

This idea of dimension seemed an appropriate response to what I see in the Monte Carlo effect. I mean here we are trying to dewscibe what dimenison might mean in terms of a gravity issue. Is there any relevance?

What are Surfaces and Membranes?

Surfaces are everywhere: the computer screen in front of you has a smooth surface; we walk on the surface of the earth; and people have even walked on the surface of the moon.

By surface we mean something 2 dimensional (*). Clearly objects like a coffee cup or a pencil are 3 dimensional but their edges - their surfaces - are 2 dimensional. We can put this another way by seeing that the surface has no thickness - it is just the places where the coffee cup ends and the air or coffee begins.

Surfaces can be flat, like a table top, or curved like the surface of a football, a balloon or a soap bubble. The surface of water can be either flat without ripples, or curved when it has ripples or waves on it.

We use the word membrane to mean a sheet-like 2 dimensional object, an object with area but very little or no thickness. Good examples are sheets of paper or a piece of plastic food wrap. Just like surfaces, membranes can be flat or curved; rough or smooth.

Quantum Gravity Simulation

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:

Dimensionality


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.

Art Mirrors Physics Mirrors Art, by Stephen G. Brush

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.

Piece Depicts the Cycle of Birth, Life, and Death-Origin, Indentity, 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 with a grand set of concerns, one famously 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.

"