Perspective of the Theoretical Scientist

Most people think of "seeing" and "observing" directly with their senses. But for physicists, these words refer to much more indirect measurements involving a train of theoretical logic by which we can interpret what is "seen."- Lisa Randall

There are certain advantages to the theoretical perspective that can best portray the concepts of the world they live in with what appears, however abstract, with the minds value of image solicitor impressionism which helps the minds state of acceptance. So it had to be explained first.

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.

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

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:

As if, looking at it from a larger perspective. If you stand outside of the image and see that it is capable of illuminating many angles of perspective. This helped us to see that it is derived from a much larger understanding then what is solidified to the everyday we live in.

For the artist it was a bold move to understanding that perspective could help us see Mona Lisa's smile as moving with us as we move around. So that was the challenge then was to appreciate the value of this artistic push into how we see as to understanding the road non- euclidean took was meet by people as well to culminate in a geometrical transitional form


Hyperspace: A Scientific Odyssey

A look at the higher dimensionsBy Michio Kaku

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

Posted by Plato at Thursday, March 24, 2005 

Then, it quickly comes home to mind that maybe what is given,  lets say in context of Lee Smolin's road to Quantum Gravity of the thing will help us quickly see the value of describing "the space of an interior" with what is happening on the screen/label.

Spacetime in String Theory

More then just a Bekenstein imagery to illustrate a conformal approach to describing what are the contends of the tomato soup can from it's label.



Campbell's Soup Can by Andy Warhol Exhibited in New York (USA), Leo Castelli Gallery

It was necessary to see that the geometric used here were helping to shape perspective around not only "time travel" but a means to an end to use mathematical perspective to actually mean something in relation to understanding our world. A way to describe abstract concepts that were correlated with the progression of those mathematics. Klein's ordering of geometries then take on a new meaning as we move deep into the world we all know and love.

In 1919, Kaluza sent Albert Einstein a preprint --- later published in 1921 --- that considered the extension of general relativity to five dimensions. He assumed that the 5-dimensional field equations were simply the higher-dimensional version of the vacuum Einstein equation, and that all the metric components were independent of the fifth coordinate. The later assumption came to be known as the cylinder condition. This resulted in something remarkable: the fifteen higher-dimension field equations naturally broke into a set of ten formulae governing a tensor field representing gravity, four describing a vector field representing electromagnetism, and one wave equation for a scalar field. Furthermore, if the scalar field was constant, the vector field equations were just Maxwell's equations in vacuo, and the tensor field equations were the 4-dimensional Einstein field equations sourced by an EM field. In one fell swoop, Kaluza had written down a single covariant field theory in five dimensions that yielded the four dimensional theories of general relativity and electromagnetism. Naturally, Einstein was very interested in this preprint .

I quickly divert the attention to the world of Thomas Banchoff because it is an extraordinary move from all that we know is safe. It is not lost to some computer animator world that one engages loses the self in the process? It is also to show that what Lee Smolin tried to distance himself from, was in fact seeking to find itself understood in this way. Concurrent agreement that theoretics was trying to arrive at a consensus of different approaches saying the same thing?

Monte Carlo methods are a class of computational algorithms that rely on repeated random sampling to compute their results. Monte Carlo methods are often used in simulating physical and mathematical systems. Because of their reliance on repeated computation of random or pseudo-random numbers, these methods are most suited to calculation by a computer and tend to be used when it is unfeasible or impossible to compute an exact result with a deterministic algorithm.^[1]

Monte Carlo simulation methods are especially useful in studying systems with a large number of coupled degrees of freedom, such as fluids, disordered materials, strongly coupled solids, and cellular structures (see cellular Potts model). More broadly, Monte Carlo methods are useful for modeling phenomena with significant uncertainty in inputs, such as the calculation of riskdefinite integrals, particularly multidimensional integrals with complicated boundary conditions. It is a widely successful method in risk analysis when compared with alternative methods or human intuition. When Monte Carlo simulations have been applied in space exploration and oil exploration, actual observations of failures, cost overruns and schedule overruns are routinely better predicted by the simulations than by human intuition or alternative "soft" methods.^[2]

For me it had to make some sense such transference from that artistic impressionism help to direct the mind to the ways and means of understanding quantum gravity was being inspected in terms of Monte Carlo methods to understanding. These had a surface value in my mind to an accumulate acceptance of the geometry and methods used to model this understanding.




So you understand now how we arrived at an interpretation of the value of lets say Dyson's opinion about how we might view Riemann's Hypothesis?

Dyson, one of the most highly-regarded scientists of his time, poignantly informed the young man that his findings into the distribution of prime numbers corresponded with the spacing and distribution of energy levels of a higher-ordered quantum state. Mathematics Problem That Remains Elusive —And Beautiful By Raymond Petersen

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DNA Computing

DNA computing is a form of computing which uses DNA, biochemistry and molecular biology, instead of the traditional silicon-based computer technologies. DNA computing, or, more generally, molecular computing, is a fast developing interdisciplinary area. Research and development in this area concerns theory, experiments and applications of DNA computing See:DNA computing

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Clifford of Asymptotia is hosting a guest post by Len Adleman: Quantum Mechanics and Mathematical Logic.

Today I’m pleased to announce that we have a guest post from a very distinguished colleague of mine, Len Adleman. Len is best known as the “A” in RSA and the inventor of DNA-computing. He is a Turing Award laureate. However, he considers himself “a rank amateur” (his words!) as a physicist.

Len Adleman-For a long time, physicists have struggled with perplexing “meta-questions” (my phrase): Does God play dice with the universe? Does a theory of everything exist? Do parallel universes exist? As the physics community is acutely aware, these are extremely difficult questions and one may despair of ever finding meaningful answers. The mathematical community has had its own meta-questions that are no less daunting: What is “truth”? Do infinitesimals exist? Is there a single set of axioms from which all of mathematics can be derived? In what many consider to be on the short list of great intellectual achievements, Frege, Russell, Tarski, Turing, Godel, and other logicians were able to clear away the fog and sort these questions out. The framework they created, mathematical logic, has put a foundation under mathematics, provided great insights and profound results. After many years of consideration, I have come to believe that mathematical logic, suitably extended and modified (perhaps to include complexity theoretic ideas), has the potential to provide the same benefits to physics. In the following remarks, I will explore this possibility.

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.

"

Vision

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

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

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



LEONARD SUSSKIND:

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

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

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

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

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

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



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



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


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

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

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

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

Hyperspace: A Scientific Odyssey

A look at the higher dimensionsBy Michio Kaku

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