Tall Tales and Sailing Ships

I am a photon, and my name is "Christopher Columbus." Like Plato, I have taken a great adventure into the "world of possibilties" that not only encompassed the scope of man's thinking in terms of horizons, but I enlist these same minds to venture into the inclinations of a "ship that follows a global perspective."



In the looking glast I poke fun at what some think is "fictional story" that although mathematically embued and hidden from view, has a basis in our scientific pursuates. That some indeed, would like to curtail to "fiction?"



To have seen such a path followed by Young's experimental "fashionable photon," I like to take "trips" and having recognized the personality with which I as photon assume. I can take this tremendous journey across the great seas, like Columbus did.

But there is more to this story as the "link on the sailing ship" indicates. It is about the pursuate of technologies where such advancements in early universe detection methods arise. They brought me into view, where before, I was some mathematican's play thing. A Toy model, that was representative of my current ability to shine light. Now many see me in this day and age as a "flashlight and torpedo" piercing the veil of "illusions."

That's what I do. I like physics of the moment, and of course theoretical places that I would like to think that I can go. I would like to be present at the beginning of the universe, but I don't think I know how this trigger was initiated or how I came into being. Ah, it would be so easy, if I was just a sailing ship and soliton wave carrier, that could intermingle, and place points of consideration as ports of possible places and home I would like to rest in?

How scare they were these Greek man. Who thought safe harbour was the hope that falling off the world of, would enlisted cubism to discrete things and safety. While greater men looked beyond, and sailed honestly and with integrity to the horizon. Where they were no longer afraid to realize, that gravity had some influence indeed.

Reimann whispers in my ear, "Little photon, you have to follow the course I set."

A Perspective on Powers of Ten?

What do chance encounters bring to the quality of life?


Tabula rasa >(Latin: "scraped tablet", though often translated "blank slate") is the notion that individual human beings are born "blank" (with no built-in mental content), and that their identity is defined entirely by events after birth.

Sometimes we see ingenuity display itself and having a whiteboard and blank slate in front of us, as we see where the expression of ideas can manifest. Low and behold, the flower can become the inherent expression of balance and love in the world, and how quickly such changes to the child can easily be thought of as powers of ten. Did the child know? What did the flower reveal of the child's soul? Quickly aside then, the "truth of science," must shine through?

As a parent, the idealization of ingenuity is always a strong lure for observation in those we hold with pride. A proud mother or father who see years of advancement beyond the normal facets of our everyday life now, in the simplicity of a child.

Many physical quantities span vast ranges of magnitude. Figures 0.1 and 0.2 use images to indicate the range of lengths and times that are of importance in physics.

News From the Front I
Clifford:

Below is a snapshot of a computation I was working on earlier this summer.(There's no wrong answer here. )

So when you see a cartoon like the one to follow, what does it make you think of? In one instance, Cliffords questions as to what topological form expressed, was immediately raised in my mind, but now on a more practical level, do we understand exactly what Clifford was doing? Do we understand what a child can bring from the innocence of perspective, and initiate the idea of powers of ten?

Plato:

While later life provides ample time to have a look at what mathematicains are doing, it is equally nice to understand these relations with the normal world? Is there “theoretically” such a thing?:)

I think so and such relevance in relation to the toy models of feynman diagrams, are these not readily available for introspection among such a blackboard as this?

These are not distractions from trying to understand physics, but are the tools needed to make that understanding possible. It is only through using mathematics that a secure understanding can be achieved. When you see an equation, welcome its concision and clarity and try to ‘read’ the equation just as you would the large number of words it replaces. Learn to get beneath the squiggles and the equals sign and to understand the quantitative assertion that is being made.

So we learn as parents, to supply the little sparks, that could inflate the world of wonder. Draw a child to the mystery of the color of a rainbow, as it shines through one's front door of cut glass.

How much greater the responsibility then of "powers of ten" that any one child could become the spark that ripples throughout the world. All waves, setting probabilities beyond the reverberations of this one chance encounter, could multiply?:)

So do we really think that a child's mind is empty, or that to be born would reveal the deeper implications of abilites that lie dormant for a future time. That only chance encounters would bring perspective later on, that such a design indeed, would have been this encounter, and all reverberations there after, seen in the responsibility of the moment.

So lets think about this, devoid of all implication of racism or sexism. That the truth is much deeper, and the longing for understanding of this empty space( blank slate), can hold so many potential things?

Neurological developments of a spark that can set many trails beyond the image segments of each others brain, that set the mind beyond the limits of probabilities.

Yet, it could be such a simple idea, that "space," is not really empty?:) That "space" is not really empty beyond the stars.

What are those Quantum Microstates

Now two points occupy my mind that hold questions as to what and how such counting can be done in terms of geometric propensity, that would allow these geometries into topological states. First point is:

Lubos Motl said:

We need to get closer to the "theory of everything", regardless of the question whether the destination is a finite or infinite distance away. (And yes, the path should not be infinitely long because there is no physics "below" the Planck length.)

And the second:

Black holes and branes in string theory

But it has been discovered through string duality relations that spacetime geometry is not a fundamental concept in string theory, and at small distance scales or when the forces are very strong, there is an alternate description of the same physical system that appears to be very different.

So what then would say that non linear approaches would now have taken form in our talks, that what was once geoemtrically feasible, had been taken down to the length where no new geometry is involved. So lets see then how shall we verbalize what happens at the horizon, in terms of radiation, that such states never existed to make this possible?

Now there are always reasons that one moves into the historical to gain perspective. By doing this, you gain insight and advance thinking to reveal theoretical developement, and where it has taken us. So by using thse linked paragraph statements, we are revealling something about Blackholes that had been culminative, to have discussions in todays world. Like BPS blackhole dynamics.

Andrew Strominger is an American theoretical physicist who works on string theory. He is currently a professor at Harvard University and a senior fellow at the Society of Fellows. His contributions to physics include:

Now one thing that troubles me about Lubo's statement, is the idea that supersymmetry valuation could ever be entertained, had we not consideedr this avenue of some importance. Not just in terms of symmetry breaking, but of the illustrous states of existance, that would exemply this idea where the superfluid could rest itself, and provide for the base of operation for these new universes?

To the second point, by providing for the idea of a geometry to emerge from this vast ocean of vast probabilites. Again for me, to see this I recognized that "space is not empty", and that such a congregation of gravitonic perception would have to be culminative, in some form for such a superfluid to exist?

So one had to get there geometrically from this ten dimensional perspective to have some basis to fuel developement into other stages of existance. Some geometric form, that would reduce, such valuations to supersymmetrical thinking and allow such a developemental process to cyclical natures. of that same universe.

Strominger: That was the problem we had to solve. In order to count microstates, you need a microscopic theory. Boltzmann had one–the theory of molecules. We needed a microscopic theory for black holes that had to have three characteristics: One, it had to include quantum mechanics. Two, it obviously had to include gravity, because black holes are the quintessential gravitational objects. And three, it had to be a theory in which we would be able to do the hard computations of strong interactions. I say strong interactions because the forces inside a black hole are large, and whenever you have a system in which forces are large it becomes hard to do a calculation.

The old version of string theory, pre-1995, had these first two features. It includes quantum mechanics and gravity, but the kinds of things we could calculate were pretty limited. All of a sudden in 1995, we learned how to calculate things when the interactions are strong. Suddenly we understood a lot about the theory. And so figuring out how to compute the entropy of black holes became a really obvious challenge. I, for one, felt it was incumbent upon the theory to give us a solution to the problem of computing the entropy, or it wasn't the right theory. Of course we were all gratified that it did.

So indeed then three conditions had been satisfied, that issues about the physics involved had something to say about quantum mechanics, gravity and computation of entrophy of blackholes respectively.

The animation shows schematically the behavior of the gas molecules in the presence of a gravitational field. We can see in this figure that the concentration of molecules at the bottom of the vessel is higher than the one at the top of the vessel, and that the molecules being pushed upwards fall again under the action of the gravitational field.

What is black hole entropy?

Suppose we have a box filled with gas of some type of molecule called M. The temperature of that gas in that box tells us the average kinetic energy of those vibrating molecules of gas. Each molecule as a quantum particle has quantized energy states, and if we understand the quantum theory of those molecules, theorists can count up the available quantum microstates of those molecules and get some number. The entropy is the logarithm of that number.
When it was discovered that black holes can decay by quantum processes, it was also discovered that black holes seem to have the thermodynamic properties of temperature and entropy. The temperature of the black hole is inversely proportional to its mass, so the black hole gets hotter and hotter as it decays.

Microstate Blackhole Production

Peter Steinberg

Unfortunately, all of this is overstated. At RHIC we don't make a "real" black hole, in the sense envisioned by Einstein's General Theory of Relativity. Rather, Nastase's point of view is that RHIC collisions can be described by a "dual" black hole. But what does "dual" mean in this context? It's not "two-ness" in any sense, but rather indicates that one can write down a theory which describes the collision as a black hole, but in a completely different world than that we see around us. To make his model work, he (and many other researchers who are exploring this direction) make a calculation of a black hole in 10 dimensions in order to describe difficult (but gravitationally benign) aspects of the strong interaction in 4 dimensions.

Lagrange points

As always, the pictures serve as links, as well as highlighted paragraphs in blue, and having once visited, purple. Pictures and paragraphs that are highlighted in gold are in conjunction and are direct links to sites, as well as fawcetts, within this blog. The neurolgical funcxtion of imagery was designed this way and I would encurgae wikipedia to use this idea in the images that they use. I suspect server updates reduce links back to them, which is retarded since all apragraph staements can be assigned to them quite easily.

This is the advancement in imagery use that mental powers had to keep pace with in computer developement. We know streaming video is quite useful, so why not the neurological fucntioning of "the image" that your minds can produce, that connect as these highlighted paragraphs can do?



These ideas make sense when you understand the effects of gravitational variances, and can see, what the effect of a fifth dimensional perspective can do. I think the writer understood what I was saying in article that follows?

Figure 2 shows a map of the gravity field of the Sun-Earth restricted three body problem. The contours show that the steepest gradients surround the Earth and Sun, with the five Earth Lagrange Points located in equilibrium regions with relatively gentle gradient. L1-L3 are unstable saddle points, and spacecraft positioned here will always drift away from the equilibrium. L4 and L5 are stable equilibria, and objects can orbit here indefinitely. The blue arrows show that L4 and L5 are actually atop a potential hill - it is the additional effect of the "Coriolis force" that makes them stable.
-----------------------------------------------

This newly found Interplanetary Superhighway is a perfect example of the overlap between classic analysis and modern numerical techniques. The genius minds of Euler and Lagrange used the new technique of calculus to solve the restricted three body problem and show the existence of these intriguing equilibrium points in space. Now, 200 years later, we are employing our own ground-breaking methods using dynamical systems theory and supercomputers, and taking our first steps along the invisible tunnels stretching through the solar system

If one didn't understand this application from a fifth dimensional perspective how would "this viewer" made any sense?



Such develoepments and perspective allow other views to develope in relation to how we see this planet, beyond the bubble enclosures one might have developed and culminates in this Thalean view.:)

This all leads to the developement of the Thalean view It is mathematically orientated although I have much to learn, I made use of a developing perspective that few would have realized, had they not put these things together. That's what I try to do, anyway.

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)

Information on Entanglement

Atomic dance

What the teams at the University of Innsbruck and the US National Institute of Standards and Technology (Nist) did was teleport qubits from one atom to another with the help of a third auxiliary atom.

It relies on a strange behaviour that exists at the atomic scale known as "entanglement", whereby two particles can have related properties even when they are far apart. Einstein called it a "spooky action".

Lots of people haven't a clue what entanglement is all about. That's why this site is most helpful

To understand quantum entanglement, several ideas and words must be explained, especially the idea of a photon. The photon is a key concept in physics, and so critical to entanglement that its behaviours must be fully understood. Yet before delving into the details of photons, we need to understand the world of the very tiny, beginning with waves and atoms.

I would like to thank the person for giving this link, as it can helps others as well as myself understand the entanglement issues much more easily through generalization.

I would like to respond in kind.

The History of Dark Matter Theory

The existence of dark matter was first suggested in the early 1930's by the Swiss physicist Fritz Zwicky who calculated that the radial velocities of eight galaxies was 400 times greater than that expected by the shared gravity of luminous matter in those galaxies. The explanation given by Zwicky to his extraordinary find was to suggest the existence of what he called "dark matter", or matter which cannot be directly observed but can be inferred indirectly by its gravitational influence on visible matter. Analogously, imagine a caveman, who never saw a modern city, looking at New York at night. Naturally he will assume that New York is just a collection of light sources since all he can see is a variety of bright dots. Just like New York, space has much more then meets the eye.

Microstate Blackhole Production

I thought it important that some clarity be brought to this subject. So by bringing some information together that I had been thinking about, I would blog it.

Horatiu is referring to a mathematical similarity between the physics of the real world, which govern RHIC collisions, and the physics that scientists use to describe a theoretical, “imaginary” black hole in a hypothetical world with a different number of space-time dimensions (more than the four dimensions — three space directions and time — that exist in our world). That is, the two situations require similar mathematical wrangling to analyze. This imaginary, mathematical black hole that Horatiu compares to the RHIC fireball is completely different from a black hole in the real universe; in particular, it cannot grow by gobbling up matter. In other words, and because the amount of matter created at RHIC is so tiny, RHIC does not, and cannot possibly, produce a true, star-swallowing black hole.

Unfortunately, all of this is overstated. At RHIC we don't make a "real" black hole, in the sense envisioned by Einstein's General Theory of Relativity. Rather, Nastase's point of view is that RHIC collisions can be described by a "dual" black hole. But what does "dual" mean in this context? It's not "two-ness" in any sense, but rather indicates that one can write down a theory which describes the collision as a black hole, but in a completely different world than that we see around us. To make his model work, he (and many other researchers who are exploring this direction) make a calculation of a black hole in 10 dimensions in order to describe difficult (but gravitationally benign) aspects of the strong interaction in 4 dimensions.

This is not to undersell how interesting RHIC collisions are: if we in fact can use this "dual black hole" language to describe the collisions we are making daily, this may be a real advance in our understanding. But no-one I have ever spoken to has suggested that this black hole can or does act like a traditional black hole in our observed universe (although this possibility has been considered, and has been generally discounted as an implausible scenario).

Missing Energy

Given the dearth of knowledge about gravity in the subcentimeter range, the group is looking for any kind of deviation from expectations, not just extradimensional effects, he says. Nonetheless, the excitement about extra dimensions helps spur the group on, Price says.

If the strength of gravity takes a sharp turn upward at around 1 TeV, as the Stanford-Trieste scenario implies, an opportunity opens for testing this theory also in accelerators. Collisions at such energies could produce gravitons in large numbers, and some of these particles would immediately vanish into the extra dimensions, carrying energy with them. Experimenters would look for an unusual pattern of so-called missing energy events.

This and more subtle effects of extra dimensions could show up at existing accelerators, such as LEP and the Tevatron at Fermilab, only if the dimensions have scales nearly as big as a millimeter. The powerful LHC will greatly improve the chances for detecting missing energy events and other prominent extradimension effects.

In 1930 Wolfgang Pauli proposed a solution to the missing energy in nuclear beta decays, namely that it was carried by a neutral particle This was in a letter to the Tubingen congress. Enrico Fermi in 1933 named the particle the "neutrino" and formulated a theory for calculating the simultaneous emission of an electron with a neutrino. Pauli received the Nobel Prize in 1945 and Fermi in 1938. The problem in detection was that the neutrinos could penetrate several light years depth of ordinary matter before they would be stopped.

Dissident:

If you perform an experiment in which some of the energy you put in seems to disappear somewhere, unaccounted for, then yes, you have some explaining to do. Conservation of energy is not something we’d give up lightly; rewriting all those textbooks would be exhausting… but large extra dimensions would certainly not top the list of things to consider.

First of all, “missing energy” is a normal feature of collider experiments, since you can’t expect to catch all the stuff that comes out of them. You have two particle beams banging into each other inside a tunnel of finite width; any decay products flying off into the tunnel are lost. Around the collision point, you have detectors which, while huge and most impressive, also have blind angles and - most importantly - finite size.

Stanford’s Savas Dimopoulos: New Dimensions in Theoretical Physics

Our new picture is that the 3-D world is embedded in extra dimensions,” says Savas Dimopoulos of Stanford University. “This gives us a totally new perspective for addressing theoretical and experimental problems.

The machine, dubbed ATLAS (A Toroidal LHC ApparatuS), is one of four facilities to be located at a powerful accelerator, the Large Hadron Collider (LHC), now under construction near Geneva, in Switzerland

Some Distant Bounding Surface

I mean when I referred to fifth dimensional views you know that the computer screen includes not only it's functionability in relation to science, but adds that bit of extended flavour to model construction we call imaging right?

a) Compactifying a 3-D universe with two space dimensions and one time dimension. This is a simplification of the 5-D space­time considered by Theodor Kaluza and Oskar Klein. (b) The Lorentz symmetry of the large dimension is broken by the compactification and all that remains is 2-D space plus the U(1) symmetry represented by the arrow. (c) On large scales we see only a 2-D universe (one space plus one time dimension) with the "internal" U(1) symmetry of electromagnetism.

Remember Brian Greene's is from 2001. What might have change since then with Brian Greene and his views about about that distant bounding surface. Of course to many of us it is a brane world recognition.



If we did not recognize what advancements might have been accomlished with mathematics and the fifth dimensional views on our computer screens? Could we ever really talk about such idealizations, without understanding that there are ways to look at this, and reductional valuations taken from fifth dimensional views down to 2? Our computer screen. Of course Brian Greene has included the thickness of the bounded surface, so, time had to be inclusive here would it not?:)

The Edge

Physics and everything we know in the world around us may really be tied to processes whose fundamental existence is not here around us, but rather exists in some distant bounding surface like some thin hologram, which by virtue of illuminating it in the right way can reproduce what looks like a 3-dimensional world. Perhaps our three dimensional world is really just a holographic illumination of laws that exist on some thin bounding slice, like that thin little piece of plastic, that thin hologram. It's an amazing idea, and I think is likely to be where physics goes in the next few years or in the next decade, at least when one's talking about quantum gravity or quantum string theory.

So how can such a thing as Brian calls a Bounded surface and relate it's thinness to a vast capability? Also in the cosmic perspective, to have brane collisions illustrated by Steinhardt, become much more then our views held to the surface mathematically inclined. To be revealled, in stringy dynamics, at the basis of our viewing?

Such creation slotted into the time frames of this beginning, is stil questioning the valuation of what existed before stringy ideas manifest, so what pray tell, could have ever been "the sun" in behind, that illuminates "shadows" on the wall?

The Randall-Sundrum braneworld model is characterized by ordinary matter being confined to a hypersurface embedded in a higher-dimensional manifold through which gravitational signals may propagate

Physics strings us along by Margaret Wertheim of LAtimes.com

In the latest, hottest Big Science tome — the delightfully titled "Warped Passages" — Harvard physicist Lisa Randall describes the idea that the universe we see around us is but one tiny part of a vast reality that may include an infinite number of other universes. Randall is an expert on both cosmology and that arcane branch of particle physics known as string theory. By marrying the two fields, she and her colleagues have formulated a picture in which our universe may be seen as a soap-film-like membrane (a "braneworld") sitting inside a much larger space: the bulk. According to general relativity, the universe we live in has four dimensions: three of space and one of time. Randall's work extends this framework and posits the existence of a fifth dimension. The fifth dimension is the bulk, and within its immeasurably expanded space, there is no reason to assume that ours is the only cosmos.

So there are amazing leaps here then to new world recognitions of ideologies that formed from where?

John Ma Pierre:

What is remarkable is that much of the recent progress in understanding non-perturbative aspects of string theory and supersymmetric gauge theories has been made in parallel, using each to gain knowledge and insights about the other. There are various reasons for this intimate connection between supersymmetric gauge theories and string theory. One is that supersymmetric gauge theories arise as low energy effective descriptions of compactified string theories in limits where gravity decouples. Another reason is that superstring theories can be formulated in backgrounds that contain D-branes, and supersymmetric gauge theories serve as effective world volume theories for these D-branes. In addition to these direct examples, it is sometimes the case that intuition about non-perturbative physics that is gained in one area can be directly applied to the other. An example of this is the guiding principle that singularities in the quantum moduli space of a low energy effective theory signal the appearance of new massless states. This was seen to be a generic phenomena in supersymmetric gauge theories and was subsequently applied to the resolution of conifold singularities by massless black holes in string theory.

Wow! More then five!:) Okay reference was made by Sean on a one liner about magic and his meeting in a bar. Where a sister as the science teacher explains this statement. Well it has been gathered up for consumption in other areas, so of course we have to explain this as now this conversation is leading other talks to consider more issues about what began as a mystery has no place in the developement of science.

I am a little dismayed by this, because anomlistic features without explanation would seem as such, while it is true, that it can be expalined afterwards, once we understood how something from the 21st century dropped into our laps for consideration:) We know what this means right? It had to be coisstent and logicall so repeatability can hav eother hands , for verification. How did you expalin it and lead them hwere one had not gone before?

That sounded like Startrek for a minute there:)

A Supersymmetrical Valuation of Where things Began

Of course "phase transitions" and "asymmetrical realizations" had to arise from developmental processes in the universe? One had to know, in what sphere such developemental would take place, and if we circumvented all these chinese boxes or Russina dolls to exemplifed allegorical comments about consciousness. It had to follow a Gr perspective, and, a quantum mechanical one? "Topo-sense" as to developing topolgical models within consciousness, as a well as, models in the developing universe as a GR sense? IMagine to then such toposense further develped from theidealizatin of quantum views such physicla actions taken from cosmological proportions and reduced to probability functions entailed in our mental structure, then indeed we had transgressed our limitation to a feeling?:)

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.

Imagine for a moment about that such a "momentus occasion", as well we learn to see the developmental process of circles(orbits) and Mercuries orbital patterns (a daisey) and got this general sense of reduced orbital pattern decay of rotatng binary pulsar systems as revealled by Taylor and Hulse.

We got to know "information release" from the distances involved, and could calculated when they would combined? This is a "prediction then" based on, a viable measure, not only in terms of that distance valuation, but of how we might arrive at it other then in astronmical viewing. What would be revealled in LIGO application?

Atiyah's comments are important here I think.

If theory is the role of the architect, then such beautiful proofs are the role of the craftsman. Of course, as with the great renaissance artists, such roles are not mutually exclusive. A great cathedral has both structural impressiveness and delicate detail. A great mathematical theory should similarly be beautiful on both large and small scales.

Assymetrical views would have revealled mandalic interpretations very distinctive of conscious awareness, and unfoldment in design. This had to have a geometric and foundational perspective that arose from the expansitory valution of brane world idealizations? As well as, the deeper recesses of our own minds?

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.

One had to be able to recognize this "model apprehension" and speak to it directly in experience. I could do that because of my explorations. Am I adapting to new methods of model developements? For sure. :)



"Luminousity" as enlightenment could possibly help push back the veil, if we could probably do this?