Gravity Experiments

No matter how absurd? :)

From a early age, young Albert showed great interest in the world around him. When he was five years old, his father gave him a compass, and the child was enchanted by the device and intrigued by the fact the needle followed a invisible field to point always in the direction of the north pole.Reminiscing in old age, Einstein mentioned this incident as one of the factors that perhaps motivated him years later to study the gravitational field. God's Equation, by Amir D. Aczel, Pg 14

So you fast forward a few years and what have you got with regards to nature accompany the man who fell off his roof?


Albert Einstein (1879–1955)

One part of the theory of Relativity was inspired when a painter fell off a roof. Einstein found out that while the painter was falling freely, he felt weightless. This led Einstein to realize that gravity was a form of inertia, a result of the way things moved through space - and General Relativity was born.

So it is "by accident" General Relativity was born? Having things happen within context of natures own timing leaves one with some impressions it seems? How often have you noticed the outside world while you are doing your abstract thinking? What is so conducive that the open doorway allowed this other information to flow quite freely into the mind's cavity? You happebn to be working woth natures and it's puzzles yet what use any of these geometrical forms?

Plato:

It is of course with some concern that any scientific mind, held to the established rules of his organizational, "motto of acceptance of the stringent rules of science" would allow such room, as to imbue the human being with qualities greater then, the value assigned to subjective valuations.

So having faced the idea of the "gravitonic condensation" what use this idea(a painting) in terms of what we see as we spell out the differences between micro lensing and "gravitational lensing" how light travels from those distant points in the universe?

This miniature drop tower is used by Microgravity man and others to demonstrate the effects of reduced gravity on physical and chemical phenomena that are normally masked by Earth's gravity.

I know about people distancing themselves from what may indeed trouble them, as if, one presented some "anomaly in nature" that I/you may have never seen before. Do I take them on face value for what we had know of them? While reading their blog over the years, months, days, what conclusion had you reached?? Superman, Spiderman, and Captain Marvel comics which glorify the hero? Spheres, as bubbles in gravity free environment are always a nice thing to consider.

A bubble is a minimal-energy surface of the type that is formed by soap film.

I selected Kuhn because I was speaking directly to what was evident in my own life. What was presented to me "as the experience" may have likewise captivated a young child of 5, while another is trouble by symmetry in a "qualitative style."

I began my own investigations, and this set the course for my life to understand what had happened. How ever absurd one may find my statement in the previous post, it is a fact that I do not know how it was accomplished, but I did indeed see the effect of the person free of what we know as gravity holding the individual to her bosom.

So you have this statement. Q9 said,"the outer gravity which keeps our feet firmly on the ground."



So how was I suppose to react given the circumstances I had mentioned? If I said the mind was involved in the process "what proof do I have" that the person could indeed do the things that defy, what a frog may do for one who likes to wear shoes that make them light on their feet?

So any concept which had spoken about gravity, to one extent or another, has entered my research, for me to find some way that would allow such a thing to entertain the sceptic, as well as take the form of flowery pot comments. "Concepts" as foolish as the bulk?

Of course I want to know what happen in the way that young Einstein wondered about the mystery of nature assigned to that needle. We know now don't we? Oh, gravity is weak here on earth? Weaker then the magnet that is attached itself to the fridge.

So when gravity had ever been strong? How strong, that it could reach only so far?

The Physics of Mind

It might be that the laws change absolutely with time; that gravity for instance varies with time and that this inverse square law has a strength which depends on how long it is since the beginning of time. In other words, it's possible that in the future we'll have more understanding of everything and physics may be completed by some kind of statement of how things started which are external to the laws of physics. Richard Feynman

While by myself and my explanations, it may seem mystical indeed. In my years of research previous, it was much so. But the research is no less important then the realization that the world in which we live is governed by the list of ways that we measure. A selection from the "sensorium" to have it gain in "probable pictorial outcomes, by recognizing "the crossed wired" in our views, as one more variable?


You may use the scientific measure to take "three pictures" of the same thing, and of this, what physics is attached to what we observe out there in space? What computer processes had we detailed in the "depth of seeing" as we explore the "physics of approach," and see what beautiful pictures of Hubble, or other satellites that we gain much from the beauty of pictures received.

So a picture of the sun taken "over time" in gamma ray detection. What view is that in our depths of reason to understand the sun has certain processes to it? That what we seen in the relation to mind as a physics approach is no less important to what we observe, and are a part of.



The Mind on Physics

Is it possible to predict what a person is thinking of - or even what they are planning to do - based alone on their current brain activity? This project investigates ways to decode and predict a person’s thoughts from functional magnetic resonance imaging (fMRI) data. The key is that each thought is associated with a unique brain activation pattern that can be used as a signature or for that specific thought. If we train a classifier to recognize these characteristic signatures we can read out a person’s thoughts from their brain activity alone. Such “thought reading” can reveal how information is neurally encoded in the brain. The idea is that it is only possible to decode a thought if one knows the correct code. This research has many potential application, as for example in detection of deception, in the control of computers and artificial prostheses by brain activity, or even (more controversial) in market research.

So the onus is on the researcher to gain much more with the depth of reason. So in having sought science to help, one might deal with how we are relating to our world. Is it the beauty that detracts from what lies underneath, or that we understand with a greater measure the valuation we have had with that exchange with reality?

Bernstein Center for Computational Neuroscience Berlin-

Brain regions from which it was possible to "read out" peoples' intentions. In specific regions fine-grained patterns of brain activity showed slight differences depending on whether a person was preparing to perform an addition or a subtraction. From activity patterns in the green regions it was possible to read out covert intentions before subjects began to perform the calculation. From the regions marked in red it was possible to read out intentions that were already being acted upon.

A Scientists Multiversial Bubble



I get excited sometimes when I write, and this is one of those times.

I have see how the scientists engaged. I had lacked a "complete view" of their reality. I saw records of what the "bubble of experience allows them too" in their writings. That they could be, separate from all that exists around them, yet, they are apart of the greater aspect of reality. How dangerous are their voices in lacking, what those of the layman are lacking, when a layman speaks with authority?

This is not to lash out at the scientist, but make him/her aware of the greater potential of information that exists. That speaking "from a solid foundation" just as important as what we read and take part in, as we read the journalism of science.

Who is the Teacher

For me it has been the many who now actively engage by participating in the world of blogging, that I can now say I been so lucky. That what was so distant from, can now become a part of my life. Before this it was books, and I had to piece meal, but now I see the result of many scientists who have helped, greatly developed by giving and that example.

I lacked experience, and thus too, am trying to find my way. Live by example. So too, the teacher assumes that what he teaches, is lived by in his own history, and so of his forbears. So should we become humble in our approaches? That we have so much to learn, and that as human beings, we are not so far apart in our adventures into describing what reality is to us.

There is this demand then of the qualitative measure of that reality that it could be infinite, holds uncertainty, yet we would only see part of it? We are a part of it.

That the mind and it's subjective thoughts could now become part of science is the route "that many a scientists lacked" while holding all the technological values to what is seen in front of them. It to arose out into "validations of measure" as to how mind can be seen.

So quickly I could be dispelled that I thought indeed am I a teacher? What credentials do I have? What gave me authority? While I most certainly say you would be right, and thus, I have been living my fate in amongst the world I develop by my opinion. By "how flowery" I had become.

But without the "physical teacher" what said that we could not develop into "a teacher" and that all of us could not have this teacher within them? I would not dismiss the "rules of law" or be "sanctioned a journalist" when I too blog. But imagine the access to the "greater ability of information" has changed the way you and I can see. What is your history?

WE give this empowerment to people by giving access of information to them. I would say that by seeing this empowerment "outside of themself," I would not want them to know that they could not live to the higher validation of what a good teacher may mean. I would have to say thus, that it is "by the parent in us," that we see what has been transmitted, and that what can be transmitted, will be sent on to further generations.

That even those without being the parent, as a physical result in children raised, has this parent in them. Would a teacher as a parent know of this feeling as I would? I do not dismiss this in them because of what is real in them. Every measure of the parent in them is the advice they have unconsciously now used as this rule of measure. As they form their opinion of what is a good government had been the realizatin that as a adult now they can selectively say this is now my moral standard of law. I defne this government by what I value, and we had quickly lost the parent in all this? No that parent became a part of you. But you learnt to discern these difference between you as a adult and your parent as a adult. You realized your differences. You realized who you are as a adult.

Now about Gravity

What could I loose if such thoughts are introduced to "what may be possible" and you will have to line up all your sceptics, and it would still not dispel what I already know and have observed against all the gravitational laws as we know them.

I do not ever say stop what you are doing as a scientist. Do not loose these values, but unfortunately, I had seen something that is much like the course of events that will change any person. A "license plate" that holds symmetry? Einstein who was given "the gift of the compass," and I in no way align myself with the brilliance of their moments. But point out that each of us may have been given our own anomalies in life which will propel our searches.

I have mine.


The medium DDHome levitating in front of witnesses during an 1868 séance. It was said on this occasion that Home became curiously “elongated” as he rose into the air. Shortly afterwards, he appeared to float upright outside a third floor window. Home had his detractors, but was never discredited.
Image: Fortean Picture Library

Heliocentrism

Andreas Cellarius, Harmonia Macrocosmica, 1708,

In astronomy, heliocentrism is the belief that the Sun is at the center of the Universe and/or the Solar System. The word is derived from the Greek (Helios = "Sun" and kentron = "Centre"). Historically, heliocentrism is opposed to geocentrism and currently to modern geocentrism, which places the earth at the center. (The distinction between the Solar System and the Universe was not clear until modern times, but extremely important relative to the controversy over cosmology and religion.) In the 16th and 17th centuries, when the theory was revived and defended by Copernicus, Galileo, and Kepler, it became the center of a major dispute.

I am of course adding this so people understand that even though I espouse an underlying pattern to the nature of reality, it is not held to an ole dispute, but had taken on "new dimensions," if one would like to call it that? :)

Bee:

One other thing that is kind of weird if one faces mathematics with 'reality' is that we can't actually determine any constant 'exactly'. I mean, you'll always have some kind of errorbar. E.g. take your example with Pi. You can define it mathematically, fine. Now you can go and measure it. Draw a circle, measure diameter and circumference etc. To get exactly Pi you'd have to measure infinitely precise.

Even more interesting: consider you could indeed measure arbitrarily precise. You'd find that the ratio is not Pi. Because our spacetime is actually curved and not flat. What would you make out of that? It makes me wonder whether any measurement that we could possibly make - if it were only done precise enough - already contains information about the laws of nature in our universe.

(Just made some spelling corrections, other wise verbatim.)

Not to think it has some "intelligent design" to it either, that you might quickly assume the map of the Hoyle's paragraph above, to have some "alternate plan," to who we are in terms of some conspiracy theory.


School of Athens, by Raphael

So historically it was important that people see this from "that standpoint" and then I will move back to the position I am currently holding. Do people understand the relation I am speaking about in terms of "Raphael's painting," as a model of introspective value? Although old for it's time, it holds an important message about our dealings with the world.

That I place Aristotle and Plato at it's centre is a "key point" to contend with from a "philosophical standpoint" as as well from one we recognize today in the patterns underlying our dealings.

The relation of the two pictures [geocentricity and heliocentricity] is reduced to a mere coordinate transformation and it is the main tenet of the Einstein's theory that any two ways of looking at the world which are related to each other by a coordinate transformation are entirely equivalent from a physical point of view. (Hoyle, 1973, p. 78)¹

¹ Hoyle, Sir Fred (1973). Nicolaus Copernicus. Heinemann Educational Books Ltd., London. ISBN 0-435-54425-X

Thomas Young: Deep PLay

A final aspect of beauty that was often cited by readers might be called "deep play". This is the sense that we are actively engaged with something outside ourselves that is responding to us - rather than watching a game of our own construction or watching nature from a detached distance.

I wanted to continue with the article above in my opening paragraph linked. What he called "deep play." Can it be called the "sensorium of exchange with reality" as others too, can measure it's "import to reason?" It emotively had to make sense first.

"Deep play doesn't have to do with an activity, like shallow play. It has to do with attitude or an extraordinarily intense state."-Dianne Ackerman

Can not such an idea would have enlisted even the genius to have found a way to relate to society whilst he had found intuitive moments peaking from the interplay of the "teacher and student" within themself. Engaging the world at a emotive level, whilst trying to find it's meaning about arches and Raphael mandalically placing Plato and Aristotle most centre the larger circle?

Consciousness emerges when this primordial story-the story of a object causally changing the state of the body-can be told using the universal nonverbal vocabulary of body signals. The apparent self emerges as the feeling of a feeling. When the story is first told, spontaneously, without it ever being requested, and furthermore after that when the story is repeated, knowledge about hwat the organism is living through automatically emerges as the answer to a question never asked. From that moment on, we begin to know.
Pg 31, The Feeling of What Happens, by Antonio Damasio

The "toposense" between the subjective world and the objective world. As a painting, or a "schematic," to reveal this relationship which is deeply ingrained in each of us. We just lacked the explanation of it?

Thomas Young, English scientist 1773-1829
Vision and colour theory: Young has also been called the founder of physiological optics. In 1793 he explained the mode in which the eye accommodates itself to vision at different distances as depending on change of the curvature of the crystalline lens; in 1801 he was the first to describe astigmatism; and in his Lectures he presented the hypothesis, afterwards developed by Hermann von Helmholtz, that colour perception depends on the presence in the retina of three kinds of nerve fibres which respond respectively to red, green and violet light. This theory was experimentally proven in 1959.

Some how one can have these thoughts about things "being subjective" somehow misses the scientific validation process. Are you to strict? That it is somehow related to the "philosophical analysis" and somehow not worthy of the introspective history. To even include where such ideas can emerge from is preposterous? What did they build on? Resources, which can be drawn from the archived data and materials, to greatly enhance routes that have already been established.

Would you ignore one who had developed his perspective in relation to "symmetry" and not include it in one's analysis of what may be "beautiful" yet still evades our thinking about a supersymmetrical point? AS a scientist you may have quickly sideswipe any relatin to this yet I know scientists who might have said otherwise.

Only does it then make sense, when something is asymmetrically emerging from it? Discrete?

Beauty, Plato wrote, is not easy to define, but something that "slips through and evades us". For this reason, many logic-oriented philosophical approaches tend to divorce and even oppose truth and beauty. "The question of truth", wrote logician Gottlob Frege in one of his most influential works, "would cause us to abandon aesthetic delight for an attitude of scientific investigation."

See: The most beautiful experiment

Emotion and Reason Balanced: The Mind's Consequence?

For example, in 1704 Sir Isaac Newton struggled to devise mathematical formulas to equate the vibrational frequency of sound waves with a corresponding wavelength of light. He failed to find his hoped-for translation algorithm, but the idea of correspondence took root, and the first practical application of it appears to be the clavecin oculaire, an instrument that played sound and light simultaneously. It was invented in 1725. Charles Darwin’s grandfather, Erasmus, achieved the same effect with a harpsichord and lanterns in 1790, although many others were built in the intervening years, on the same principle, where by a keyboard controlled mechanical shutters from behind which colored lights shne. By 1810 even Goethe was expounding correspondences between color and other senses in his book, Theory of Color. Pg 53, The Man Who Tasted Shapes, by Richard E. Cytowic, M.D.

It is important to realize that the way this post is to unfold has to maintain the consistency with which I was introduced, so that you understand that what I avail in the Colour of Gravity is elucidated upon.

Louis-Bertrand Castel.
L’Optique des Colours, fondée sur les simples observations, & tournée sur-tout à la practique de la peinture, de la teinture & autres arts coloristes. Paris: Braisson, 1740.

Like Goethe, Louis-Bertrand Castel (1688-1751) opposed Newtonian color theory. However, unlike Goethe, who had thought that Newton’s experiments were flawed, Castel rejected experimental science altogether. Castel supported the views of René Descartes, a French philosopher who distrusted sense perception and advocated science based on logical thought rather than on empirical observation. “Newton,” Castel complained, “reduced man to using only his eyes.”

Castel himself theorized that vibrations produced color, just as they produced sounds. He concluded, therefore, that colors and sounds were analogous, which led him to attempt to develop the “ocular harpsichord” described in this book. The harpsichord was supposed to display colors in correspondence with particular notes. He had originally meant for the harpsichord to remain theoretical, but the skepticism of his critics caused him to spend thirty years trying to construct such an instrument.

Before I made way to the views/world of scientists who had been travelling scientific routes, I was developing from a psychological standpoint, a "multiversal unconscious world" that did not make much sense? It may have seemed "not rational" to people and philosophically might be held in low stature with what we had wanted of any good scientist. And then, to have it linked with all the deficiencies of the uneducated lay person, without a proper foundation, and within context of those developing sciences. That was me.

Rimimgton's Colour Organ

Prof Rimington

HARMONIC

A Wagnerian trumpet blast, he suggested, might be accompanied by intense orange effects, "which palpitates with the harmonic colours corresponding to a subordinate passage on some of the other orchestral instruments. The blast ceases; there is a faint echo of it upon the violins, while the screen pulsates with pale lemon and saffron hardly discernable. Again comes the blast of trumpets, and once more the screen flames with orange modulations".

Professor Rimington's home demonstrations must have been unforgettable. The Colour Organ was some ten feet high, with a five octave keyboard which was similar to that of a church organ, being controlled by stops. A line of "colour keys" was situated above the conventional (sound) keyboard, and connected to a lens-and-filters system, so that "colour" was "played". Best effects were secured when the sound and colour were played from separate keyboards.

So it was hard for me to know how I was developing my "intuitive recognition of first principles" with seeing developing insights to the concepts. I moved ahead in science to "thread history" with the developed views we have of science today. I recognized the experimental association with "other things," that we might have compared to that particular experiment.

Toposense(Sklar) as some feature of the interaction of the inner and outer world constantly "exchanging information" but never really defining the line that can be called "the departure from each." This was aided in a psychological sense by understanding "liminocentric structures" that could identify consciousness within this aspect of the larger universal context. "Geometrically defined," as this point within the circle. Yet focused in "the centre" we lost track of the "wider universal."

How much do we all know already? This is a question that raises the idea of what already exists within the framework of the sensorium? As a multifaceted approach to recognition of any "condensible view" about which we see "in front of us" and not just as the objectively defined the human being reasoned. But as one whose memory had been induced at a "emotive level of recognition."

How were they to remember? All experience had to make an impression and how deep it was, to show us well, you were able to draw this to the surface as an immediate, without any time at all in recognition.

The Colour of Gravity



So as strange as it may seem, I was already looking for what Newton was trying to do even before becoming aware of what was unleashed by Richard E. Cytowic, M.D. in the paragraph above.

I was impressed by the "thought experiment" of Einstein's valuation of time in regards to the Pretty Girl and the Hot Stove. It was the the idea that duration of time could have ever been assigned to the experience of the observer, and it's effect on time. Now I have heard Sean Carroll not liking this comparison from what I understood from reading his opinion and may of thought it feeble in it's attempt? Looking at it from my perspective I couldn't help but see reality having a colourful disposition to it.

While the views above were "mechanistic attempts at joining colour and sound," the emotive views developed from experiencing were indeed "impressionable?" Now what source these physiological repositories and I would have gone one step further to marry the idea of the emotive state to "colour enhance experiencing" as a validation of the duration of time in living our realities?

So one saids that all the ideas of colour in it's sequencing would be of value and consistent if we were all the same? Then it would mean there was some consistency in how we could interpret this colour to mean....all emotive states of being will have there association? In the value of greed, hate, or love, happiness, and we would say how "pink love" is or how "blue the mood," or how black and dreary something could be?

Since the Lab model is a three dimensional model, it can only be represented properly in a three dimensional space.

All these emotive colours of gravity would then mean a vast difference in opinion from one person to the next, so what use? Just the fact maybe that every impressionable experience will make it's impact within the fabric of the brain? Will become your repository from which you will draw? Will become your value on life?

See:New Synesthete Character on Heroes

Science's Responsibility While Investigating Consciousness?

Our attempt to justify our beliefs logically by giving reasons results in the "regress of reasons." Since any reason can be further challenged, the regress of reasons threatens to be an infinite regress. However, since this is impossible, there must be reasons for which there do not need to be further reasons: reasons which do not need to be proven. By definition, these are "first principles." The "Problem of First Principles" arises when we ask Why such reasons would not need to be proven. Aristotle's answer was that first principles do not need to be proven because they are self-evident, i.e. they are known to be true simply by understanding them.




As a lay person myself, while being introduced to the subject of synesthesia, I found certain correlations that were uncanny to me within the way I had been displaying this site here.

We know we can adopt many things by insinuation alone and that is not what I wanted to show here, but the actual responsibility in researching consciousness as it is being held too here with the investigation by Richard E. Cytowic, M.D.

So I pull the following paragraph from his book to demonstrate, that what he holds in terms in methodology, is no less then that required in our research to all the sciences involved. As I research physics/consciousness within context of this site also. I draw the paragraph because it made a impression for responsibility, and by insinuation, I would not like to leave this area without giving it this attention as set.



There is a responsibility toward oneself as you investigate the world around you.

So by example Richard E. Cytowic, giving the circumstance of his research on the subject of synesthesia, had to incorporate the valuations assigned within that paragraph I selected. To show the information, displayed as I travelled through the book, was a historical as well as explanatory method on what would become one's consensus as of today.

There is a Physical Matter Called the Brain

It is interesting to speak about emotion and at the same time think about the physical consequences "within the body" that causes us the consternations of our moods and it's effect on our consciousness.

Because I may relate the issues of emotion in context the alchemist, it is by such developmental aspect of the psychology that I would want one to think about the thinking process as having a direct physiological consequence.

This interplay of various ways of conceiving the world could be compared to the experience of synesthesia, where stimulus of one sense causes a perception by another, seemingly unrelated sense, as in musicians who can taste the intervals between notes they hear (Beeli et. al., 2005), or artists who can smell colours. Many individuals who have one or more senses restricted or lost develop a sensorium with a ratio of sense which favours those they possess more fully. Frequently the blind or deaf speak of a compensating effect, whereby their touch or smell become more acute, changing the ways they perceive and reason about the world; especially telling examples are found in the cases of 'wild children,' whose early childhoods were spent in abusive, neglected or non-human environments, both intensifying and minimizing perceptual abilities (Classen 1991).

While I mention the woodcuts, the "labels" serve us well here to show that a picture can become a road map to the psychological, as well, demonstrating the experience itself, as well laid out "ideals" with which we could begin to approach our actions, as consequences. To what can become, and has been deeply buried to this point by the impact of that emotion/memory.

Seeing a Psychologist at Work


Richards Wagners's Ring of Nibelung Jean Shinoda Bolen, M.D. Ring of Power was interesting.

Strange that we could have seen A Jungian Understanding of the Wagner's Ring cycle, portrayed in todays world and how could have this been accomplished. But by re-introducing a fictional story and embuing it with the archetypal structures of what Jean Shinoda Bolen called, "The Abandon Child, The Authoritarian Father, and the Disempowered Feminine."

So giving some indication of the "metaphoric relation" applied to the psychology of a situation, I thought it best that while relating the road map to a "wood cut" that I show this expressionism at work as well. It is interesting to see how the psychologist speaks directly to the human condition?

Soul Food

The Man Who Tasted Shapes: A Bizarre Medical Mystery offers Revolutionary Insights into Emotions, Reasoning, and Consciousness, 2003: Revised MIT Press edition with new afterword

Not everyone will understand the title of this post? I will proceed to make this "exceptionally clear" once all of the post is completed. Some who visit will understand "something is nagging from the subconscious" to look at this even more. I do this on purpose by proposing the title and all "subsequent information a little later" as I am short on time as well.

You needed to know that any human endeavour to try and understand the self we need help sometimes, and I have no one who will do this work for me. I had to go looking for it. To realize the "synchronicity within of my own struggle" was actually recorded somewhere else. That my very site on it's own is realize within the inductive/deductive features where the need to relate too, demanded in my metaphoric relation to science as to how I was interacting with the world around me.

Now again I caution people to know that I am not saying I have this "topic related" other then to say "I see the world from the inside out." And that if you can digest this last statement then you will see what is happening a lot within this site I created, has some correlation within the study of others. I had no idea of these correlations until the words themselves help me to spot the nature of my own expressions.

I do take comfort from the fact Marcia Smilack recognized my language immediately, and that finally I was not alone in my attempts. With all my procrastination on explaining myself received, could finally have dealt with what had give me my views on science.


The fish is "soul food." The water the unconscious, all possible facets of the sensorium. The hook and worm, aspects of the "focus held" while you are fishing.

So I will demonstrate and "turn around a cartoon I seen" to help one understand "how I see" and then you see this cartoon in relation to it's owner's representation for comparison. It is a difference in how "my subjective views" are held in correlation to the original viewers own anecdotal evidence.

Artifacts of the Geometrical WunderKammern

As one visits the mathematical puzzles and conjectures, what value these insights to the physics or our universe if we did not see things in this way? As artifacts of some other kind of geometrical thinking that we could then apply it to how we see the micro-perspective and macro-perspective working within the Quantum or cosmological realms?

So abstract and foreign to our eyes that we let it escape our attention while we talk about all our theoretical points of view and divergences from what is symmetrical?

In the past, new scientific discoveries, strange finds, and striking pieces of original artwork were greeted with awe and wonder. It became popular during the Renaissance to build a "cabinet of curiosities" to display a private collection of art and natural objects of which the owner was extremely proud. These groups of objects were at first housed in an actual cabinet or ornate piece of furniture, known as Wunderkammern or Wunderkabinetts. They are simultaneously pieces of furniture and the collections of items within them.

In the exhibits of these early Wunderkammern, owners might display strange, beautiful, mysterious, and precious marvels like starfish, monkey teeth, alligator skins, phosphorescent minerals, Indian canoes, Egyptian figurines, and “unicorn tails.” Rich art patrons would display their new art acquisitions in the intimate backdrop of a prized spot in an ornate carved cabinet. At Kensington castle, Sir Walter Cope is said to have displayed, “holy relics from a Spanish ship; earthen pitchers and porcelain from China; a Madonna made of feathers; a back-scratcher; a Javanese costume, Arabian coats; the horn and tail of a rhinoceros; the baubles and bells of Henry VIII's fool; and a Turkish emperor's golden seal.” The collections demonstrated manmade wonders and the diversity of God’s creations as well as a fascination with new scientific approaches to the study of natural phenomena. Each collection’s commitment to miscellany dependended on the idiosyncratic interests of the collector.

So it was again important to bring people back to the ways of geometry working in spaces, that although seemingly detached from our reality is the underlying basis of the physics involved.

Mine is a layman's perspective so I cannot say for certain that all I write here will be of value. It is up to you whether you think it important or not.

Figure 2. Clebsch's Diagonal Surface: Wonderful.

Sylvester's models lay hidden away for a long time, but recently the Mathematical Institute received a donation to rescue some of them. Four of these were carefully restored by Catherine Kimber of the Ashmolean Museum and now sit in an illuminated glass cabinet in the Institute Common Room.

The Museum when thought in context of "Platonic solids" was some what of a contention when I showed it's location in early historical context as a artifact.

Shown here are the models in the mathematical wunderkammer located in the Department of Mathematics at the University of Arizona. Like those in most modern mathematics departments, the collection is a combination of locally-made student and faculty projects together with a variety of commercially produced models. Sadly, a century since their Golden Age, many of the models are in disrepair and much of their documentation has been lost. However, some recent detective work, with the help of the Smithsonian Institution in Washington, has helped the department identify models by the American educators W. W. Ross and R. P. Baker in the collection.

Also see here for further thoughts on this

I thought it important to quickly post this so that people understand that "a glass case" can hold many things for inspection, but in this case ,I was referring to the geometrical forms. If any of these form were to show symmetry in action which of these would do so? Sylvestor surfaces?

An attempt in Latex to map these functions from a layman's perspective. What use if I cannot understand the mathematical language as it is written, yet, I can see "acrobatically" the way geometry works in space?

The Colour of Gravity

I am not sure how this post is to unfold, yet in my mind different exercises were unfolding as to how I should explain it. Can I come from an artist's perspective I wondered? Say "by chance" anything that seems relevant here in writing, and any relation to science "is" metaphorical by nature?

Yellow, Red, Blue
1925; Oil on canvas, 127x200cm; Centre Georges Pompidou, Paris

These free, wild raptures are not the only form abstraction can take, and in his later, sadder years, Kandinsky became much more severely constrained, all trace of his original inspiration lost in magnificent patternings. Accent in Pink (1926; 101 x 81 cm (39 1/2 x 31 3/4 in)) exists solely as an object in its own right: the ``pink'' and the ``accent'' are purely visual. The only meaning to be found lies in what the experience of the pictures provides, and that demands prolonged contemplation. What some find hard about abstract art is the very demanding, time-consuming labour that is implicitly required. Yet if we do not look long and with an open heart, we shall see nothing but superior wallpaper.

I underlined for emphasis.

Does one want to gleam only what is coming across in geometrical form as a painting without understanding the depth of the artist in expression? Some may say, why any association at all, and just leave science to what it knows best without implicating any theoretical positions with the thought pertaining to gravity here.

Yes that's why I selected the title of this post as thus, and why I am going to give perspective to what I may, "as artist in writing" see with these words, and then you decide whether it is useful to you.

The Field as the Plane

An ancient thought penetrated my thinking as I thought of "the field" that a society can work in agriculture, and yet, by definition it was the plane, "length and width" that was also appealing here. I did not want to loose it's "origination" while I moved any thinking to the "abstract of brane" and the like, without firmly attaching it to the ground.

But who was to know that this plane could be moved to any "fifth dimensional understanding" without having studied the relationship to dimensional thinking and the like. The physics elevated.

I allow this one time escapism to "other thinking" to demonstrate what use the colour of gravity implies while at the same time "theoretical positions" talk about it's place in the universe. If one did not accept the moves in science and the way it expressed itself to allow geometrical inclination, then how the heck could non-euclidean thinking ever make it's way into how we will discuss "the fields" about us?

It meant that a perspective "on height" be adopted? As an observer I was watching from a position. While in that sleeping/dosing state, I wondered how else to express myself as these concepts were amalgamating themselves into a "conceptual frame of reference?"

The picture of the field(I am referring to the ancient interpretation) continued in my mind, and "by abstract" I thought to introduce a line extend from the centre of this field upward. So here I am looking at this field before me. Now I had wondered off previous by bring "the brane" in here, yet is not without that sight I thought how the heck could any idealization so ancient make sense to what the colour of gravity to mean.

Title page of Opticks .... by Sir Isaac Newton, 1642-1727. Fourth edition corrected by the author's own hand, and left before his death with the bookseller. Published in 1730. Library call number QC353 .N48 1730.

So "an idea" came to mind.

While correlating Newton's work here and the "extra dimensional thinking," I also wanted to include the work of the "Alchemist Newton". "To expand" the current thinking of our "emotive states" as a "vital expression of the biological being."

Draw into any further discussion of the "philosophical or other wise," these views of mine which are a necessary part of what was only held to a "religious and uneducated evolutionary aspect of the human being."

A cosmologist may still say that such thoughts of Einstein used in this vain is wrong, but I could never tear myself away from the views of "durations of time."

Colour Space and Colour Theory

The CIE 1931 colour space chromaticity diagram with wavelengths in nanometers. Note that the colors depicted depend on the color space of the device on which you are viewing the image.

So by having defined the "frame of reference," and by introducing "Colour of gravity" I thought it important and consistent with the science to reveal how dynamical any point within that reference can become expressive. The history in association also important.

In the arts and of painting, graphic design, and photography, color theory is a body of practical guidance to color mixing and the visual impact of specific color combinations. Although color theory principles first appear in the writings of Alberti (c.1435) and the notebooks of Leonardo da Vinci (c.1490), a tradition of "colory theory" begins in the 18th century, initially within a partisan controversy around Isaac Newton's theory of color (Opticks, 1704) and the nature of so-called primary colors. From there it developed as an independent artistic tradition with only sporadic or superficial reference to colorimetry and vision science.

So you tend to draw on your reserves for such comparatives while thinking about this. I knew to apply "chemical relations" to this idea, and the consequential evidenced, by the resulting shadings by adding. I wanted to show "this point" moving within this colour space and all the time it's shading was describing the "nature of the gravity."

Adding a certain mapping function between the color model and a certain reference color space results in a definite "footprint" within the reference color space

By adding that vertical line in the field, the perimeter of my field of vision had to some how be drawn to an apex, while all kinds of thoughts about symmetry and perfection arose in my pyramidal mind.

All these colours, infinite in their ability to express the human emotive state, as a consequence of philosophical and expressed as function of the emotive being?

CIE 1976 L*, a*, b* Color Space (CIELAB)

CIE L*a*b* (CIELAB) is the most complete color model used conventionally to describe all the colors visible to the human eye. It was developed for this specific purpose by the International Commission on Illumination (Commission Internationale d'Eclairage, hence its CIE initialism). The * after L, a and b are part of the full name, since they represent L*, a* and b*, derived from L, a and b. CIELAB is an Adams Chromatic Value Space.

The three parameters in the model represent the lightness of the color (L*, L*=0 yields black and L*=100 indicates white), its position between magenta and green (a*, negative values indicate green while positive values indicate magenta) and its position between yellow and blue (b*, negative values indicate blue and positive values indicate yellow).

The Lab color model has been created to serve as a device independent model to be used as a reference. Therefore it is crucial to realize that the visual representations of the full gamut of colors in this model are never accurate. They are there just to help in understanding the concept, but they are inherently inaccurate.

Since the Lab model is a three dimensional model, it can only be represented properly in a three dimensional space.

Entanglement

the quantum entanglement would become so spread out through these interactions with the environment that it would become virtually impossible to detect. For all intents and purposes, the original entanglement between photons would have been erased.

Never the less it is truly amazing that these connections do exist, and that carefully arranged laboratory conditions they can be observed over significant distances. They show us, fundamentally, that space is not what we once thought it was. What about time? Page 123, The Fabric of the Cosmo, by Brian Greene

So many factors to include here, yet it is with the "idea of science" that I am compelled to see how things can get all mixed up, while I say emotive state, or Colours of gravity?

It gets a little complicated for me here, yet the "Fuzzy logic" introduced or "John Venn's logic" is not without some association here. Or, the psychology I had adopted as I learnt to read of models and methods in psychology that could reveal the thinking we have developed, and what it included.

Least I forget the "real entanglement" issues here, I have painted one more aspect with the "Colour of Gravity" to be included in this dimensional perspective, as we look to the models in science as well?

Working from basic principles and the history of spooky has made this subject tenable in today's world. A scientist may not like all the comparisons I have made based on it, I could never see how the emotive and mental statements of the expressive human being could not have been included in the making of the reality.

That I may of thought the "perfection of the human being" as some quality of the God in us all, would have granted sanction to some developing view of "religious virtuosity," against the goals of the scientist. So as ancient the views painted, there was something that may have been missed of the "Sensorium," and goes toward the basis of the philosophy shared currently by Lee Smolin.

This entanglement to me is a vital addition to our exploration of the universe. Our place and observation within it? It did not mean to discount our inclusion within it, within a larger "oscillatory perspective."

Newton's Space was the Sensorium

Sir Isaac Newton, FRS (4 January 1643 – 31 March 1727) [OS: 25 December 1642 – 20 March 1727] was an English physicist, mathematician, astronomer, alchemist, and natural philosopher who is generally regarded as one of the greatest scientists and mathematicians in history. See here for further information.

While reading the responses to Aaron on the Cosmic Variance section, Lee Smolin made a comment there in his writing which triggered some recognition as I was doing some research on what he had proposed in previous work. So of course I am interested in how people form their ideas, so I went to have a look.

Lee Smolin:

I suspect this reflects the expectation many people have that time is not fundamental, but rather emerges only at a semiclassical approximation in quantum cosmology. If you believe this then you believe that the fundamental quantities a quantum cosmology should compute are timeless. This in turn reflects a very old and ultimately religious prejudice that deeper truths are timeless. This has been traced by scholars to the theology of Newton and contemporaries who saw space as “the sensorium” of an eternal and all seeing god. Perhaps the BB paradox is telling us it is time to give up the search for timeless probability distributions, and recognize that since Darwin the deep truths about nature cannot be divorced from time.

The alternative is to disbelieve the arguments that time is emergent-which were never very convincing- and instead formulate quantum cosmology in such a way that time is always real. I would suggest that the Boltzman Brain’s paradox is the reducto ad absurdum of the notion that time is emergent and that rather than play with little fixes to it we should try to take seriously the opposite idea: that time is real.

The key word here is "Sensorium."

The Life of the Cosmos By Lee Smolin Oxford University Press; New York, N.Y.: 1997

The critic is very harsh toward Lee Smolin, and I am very sensitive to these kinds of responses, so trust me when I tell you that these are not my views. My views are still forming.

Lee Smolin:

For Newton the universe lived in an infinite and featureless space.There was no boundary, ad no possibility of conceiving anything outside of it. This was no problem for God, as he was everywhere. For Newton, space was the "sensorium" of God-the medium of his presence in and attachment to the world. The infinity of space was then a necessary reflection of the infinite capacity of God.The Life of the Cosmos By Lee Smolin Oxford University Press; New York, N.Y.: 1997, Page 91

The term "Sensorium" is compelling for reasons that I am still not quite aware of, yet, it holds a fascination to me. It is colourful to me, yet, it had a nice ring to it as well.

Okay. :) I think it is the "relationship pointed out" and describing this relationship of Newton that is interesting. Most who have been reading my site will have some inkling of why.

It is not in what may be assumed of Newton and his religion towards the relationship to science? But some of the ways in which such "thought processes" may have been compelling. The way in which one can look at the world, gives new meaning to what was not so transparent before, now one included these aspects of the sensorium as "one."

That all of the senses had been "crossed wire to give perspective" in the way it did. How would you know this?

But lets move on with this here for a minute and I'll tell you why. But first some part of it's Definition from Wikipedia.

This interplay of various ways of conceiving the world could be compared to the experience of synesthesia, where stimulus of one sense causes a perception by another, seemingly unrelated sense, as in musicians who can taste the intervals between notes they hear (Beeli et. al., 2005), or artists who can smell colours. Many individuals who have one or more senses restricted or lost develop a sensorium with a ratio of sense which favours those they possess more fully. Frequently the blind or deaf speak of a compensating effect, whereby their touch or smell become more acute, changing the ways they perceive and reason about the world; especially telling examples are found in the cases of 'wild children,' whose early childhoods were spent in abusive, neglected or non-human environments, both intensifying and minimizing perceptual abilities (Classen 1991).

Part of the developing scientific view can come forth with new propositions if it has a foundation that is different then what was thought to be "it's basis of normalcy."

But imagine if you were a little different in your wiring that as a scientist you had difficult relating to the world, and you want to be consistent with your approach? Develope new methods, Calculus, to explain a process in nature? What may I ask will be forth coming form such a position, not to have thought, "hey this guy is nuts or just a broken flower pot?"

The track record so far seems to indicate that if such views are crossed wired in some ways, the interactive features of developing perspective will give model apprehension a new meaning that it did not have before?

Feynman in his concepts of a toy model approach? He may of seen what was of use from Dirac's geometrical thinking.