It is commonly assumed that low-mass primordial black holes cannot constitute a significant fraction of the dark matter in our universe due to their predicted short lifetimes from the conventional Hawking radiation and evaporation process. Assuming physical black holes are nonsingular--likely due to quantum gravity or other high-energy physics--we demonstrate that a large class of nonsingular black holes have finite evaporation temperatures. This can lead to slowly evaporating low-mass black holes or to remnant mass (...) states that circumvent traditional evaporation constraints. As a proof of concept, we explore the limiting curvature hypothesis and the evaporation process of a nonsingular black hole solution in two-dimensional dilaton gravity. We identify generic features of the radiation profile and compare them with known regular black holes, such as the Bardeen solution in four dimensions. Remnant masses are proportional to the fundamental length scale, and we argue that slowly evaporating low-mass nonsingular black holes, or remnants, are viable dark matter candidates. (shrink)

Almost all of the entropy in the universe is in the form of Bekenstein–Hawking (BH) entropy of super-massive black holes. This entropy, if it satisfies Boltzmann’s equation S=logN\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$S=\log \mathcal{N}$$\end{document}, hence represents almost all the accessible phase space of the Universe, somehow associated to objects which themselves fill out a very small fraction of ordinary three-dimensional space. Although time scales are very long, it is believed that black holes will eventually (...) evaporate by emitting Hawking radiation, which is thermal when counted mode by mode. A pure quantum state collapsing to a black hole will hence eventually re-emerge as a state with strictly positive entropy, which constitutes the famous black hole information paradox. Expanding on a remark by Hawking we posit that BH entropy is a thermodynamic entropy, which must be distinguished from information-theoretic entropy. The paradox can then be explained by information return in Hawking radiation. The novel perspective advanced here is that if BH entropy counts the number of accessible physical states in a quantum black hole, then the paradox can be seen as an instance of the fundamental problem of statistical mechanics. We suggest a specific analogy to the increase of the entropy in a solvation process. We further show that the huge phase volume (N\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\mathcal{N}$$\end{document}), which must be made available to the universe in a gravitational collapse, cannot originate from the entanglement between ordinary matter and/or radiation inside and outside the black hole. We argue that, instead, the quantum degrees of freedom of the gravitational field must get activated near the singularity, resulting in a final state of the ‘entangled entanglement’ form involving both matter and gravity. (shrink)

We analyze the rather unusual properties of some exact solutions in 2D dilaton gravity for which infinite quantum stresses on the Killing horizon can be compatible with regularity of the geometry. In particular, the Boulware state can support a regular horizon. We show that such solutions are contained in some well-known exactly solvable models (for example, RST). Formally, they appear to account for an additional coefficient B in the solutions (for the same Lagrangian which contains also “traditional” solutions) (...) that gives rise to the deviation of temperature T from its Hawking value T H . The Lorentzian geometry, which is a self-consistent solution of the semiclassical field equations, in such models, is smooth even at B≠0 and there is no need to put B=0 (T=T H ) to smooth it out. We show how the presence of B≠0 affects the structure of spacetime. In contrast to “usual” black holes, full fledged thermodynamic interpretation, including definite value of entropy, can be ascribed (for a rather wide class of models) to extremal horizons, not to nonextreme ones. We find also new exact solutions for “usual” black holes (with T=T H ). The properties under discussion arise in the weak-coupling regime of the effective constant of dilaton-gravity interaction. Extension of features, traced in 2D models, to 4D dilaton gravity leads, for some special models, to exceptional nonextreme black holes having no own thermal properties. (shrink)

The Art Meme The supernova that was art, must have imploded sometime back in the late twentieth century; its memes sent hurtling out into the furthest reaches of the universe. Everything appears as art now, although art itself has become a dark matter, a black hole, surrounded by pulsars. The mission of this project has been to track arts trace elements and evaluate its dynamic structure. To this end we have charted the further reaches of the stellar system (...) and probed the dark matter itself, in a bid to quantify its magnetic field. What comes to light is a dynamic quantum, one capable of switching itself on despite adverse conditions. Art it seems is a charmed philosophical particle, which reinvents itself to re-polarise exhausted energy fields. The art meme activates a poiesis/mimesis pivot and, in an insubordinate act of language, serves to table the unsayable. In a duplicious act of double-conceit, art reflects and refracts all predictabilities to affect an existential shift in our electrical fields. Its objective to institute a change into the global matrix, but this can only be affected in a form of language. Art is an epistemology alright - but a weird one.". (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Observational indications combined with analyses of analogue and emergent gravity in condensed matter systems support the possibility that there might be two distinct energy scales related to quantum gravity: the scale that sets the onset of quantum gravitational effects $E_{\rm B}$ (related to the Planck scale) and the much higher scale $E_{\rm L}$ signalling the breaking of Lorentz symmetry. We suggest a natural interpretation for these two scales: $E_{\rm L}$ is the energy scale below which a special relativistic (...) spacetime emerges, $E_{\rm B}$ is the scale below which this spacetime geometry becomes curved. This implies that the first ‘quantum’ gravitational effect around $E_{\rm B}$ could simply be that gravity is progressively switched off, leaving an effective Minkowski quantum field theory up to much higher energies of the order of $E_{\rm L}$ . This scenario may have important consequences for gravitational collapse, inasmuch as it opens up new possibilities for the final state of stellar collapse other than an evaporating black hole. (shrink)

The ontology behind quantum mechanics has been the subject of endless debate since the theory was formulated some 100 years ago. It has been suggested, at one time or another, that the objects described by the theory may be individual particles, waves, fields, ensembles of particles, observers, and minds, among many other possibilities. I maintain that these disagreements are due in part to a lack of precision in the use of the theory’s various semantic designators. In particular, there is (...) some confusion about the role of representation, reference, and denotation in the theory. In this article, I first analyze the role of the semantic apparatus in physical theories in general and then discuss the corresponding ontological implications for quantum mechanics. Subsequently, I consider the extension of the theory to quantum fields and then analyze the semantic changes of the designators with their ontological consequences. In addition to the classical arguments to rule out a particle ontology in the case of non-relativistic quantum field theory, I show how the existence of black holes makes the proposal of a particle ontology in general spacetimes unfeasible. I conclude by proposing a provisional pluralistic ontology of fields and spacetime and discussing some prospects for possible future ontological economies. (shrink)

Some terms identify enigmata of today’s cosmology: “Inflation” is expected to explain the homogeneity and isotropy of the cosmic background. The repulsive force of a “dark energy” shall prevent a re-collapse of the cosmos. The additional gravitational effect of a “dark matter” was originally supposed to explain the deviations of the rotation curves of the galaxies from Kepler’s laws. Adopting a theory founded on the core notion of absolute quantum information–Protyposis–being a cosmological concept from the outset, the (...) observed phenomena can be explained without postulating further unknown specific “particles” or “fields”. Moreover, this theory allows for a rationalization of the fact that huge black holes with their enormous jet structures, acting as “seeds” of the galaxies, are detected ever closer to the big bang. The problem of the rotation curves in the galaxies can be addressed outside of General Relativity within a Newtonian approximation: by an attenuation of the gravitational acceleration as in the modified Newtonian dynamics, or by the effect of additional invisible “particles of dark matter”, yet unknown and not yet established in natural sciences. Within the Protyposis theory, these problems are solved without having to invent a lot of parameters. The cosmology of the Protyposis causes the change of the gravitational acceleration in the vicinity of large masses and, at the same time, avoids a recollapse of the cosmos for which a cosmological constant or “dark energy” was invented. (shrink)

The existence of White Hole (WH) has been suggested by Schwarzschild solution to the Einstein field equation as a time-reversed Black Hole (BH), besides there has not been observational evidence for their existence yet. Our idea of the “inverse universe”, in which we introduce the time-reversed kinematics as another geometric state, can explain that WH should appear in such a geometry after a matter falls into a BH. In this work, we present a new operation for WH conversion (...) from BH, and by using it the nearly infinity point on the universe, for instance the inside of BH, is geometrically connected to the inside of WH on the inverse universe. Such a conversion is useful to provide the simple solution to the problem of “information loss” in BH. Furthermore, we find another conversion point as the prior geometric state to the Big Bang, and we propose a new cosmology of cyclic universe. (shrink)

According to the BSM- Supergravitation Unified Theory (BSM-SG), the energy is indispensable feature of matter, while the matter possesses hierarchical levels of organization from a simple to complex forms, with appearance of fields at some levels. Therefore, the energy also follows these levels. At the fundamental level, where the primary energy source exists, the matter is in its primordial form, where two super-dense fundamental particles (FP) exist in a classical pure empty space (not a physical vacuum). They are associated with (...) the Planck scale parameters of frequency and distance and interact by Supergravitational forces. These forces are inverse proportional to the cube of distance at pure empty space and they are based on frequency interactions. Since the two FPs have different intrinsic frequencies, the SG forces appear different for interactions between the like and unlike FPs and may change the sign. This primordial form of matter exists in the super-heavy black holes located in the center of each well formed galaxy. The next upper level of matter organization includes the underlying structure of the physical vacuum, called a Cosmic Lattice, and the structure of elementary particles. They have common substructure elements obtained by specific crystallization process preceding the formation of the observable galaxies. The Cosmic Lattice, forming a space known as a physical vacuum, is responsible for the existence and propagation of the physical fields: electrical, magnetic, Newtonian gravity and inertia. The energy of physical vacuum is in two forms: Static (enormous) and Dynamic (weak). The Static energy is directly related to the Newtonian mass by the Einstein equation E = mc^2 and it is a primary source of the nuclear energy. The Dynamic energy is responsible for the existence of the electric and magnetic fields, the constant speed of light and the quantum mechanical properties of the physical vacuum. The next upper energy level is the dynamical energy of excited atoms and molecules. At this level a hidden energy wells exit, such as the internal energy of the electron and the internal energy of atoms with more than one electron. The next upper energy level is at some organic molecules and particularly in the biomolecules that contain ring atomic structures. In such a structure, some quantum states are not emitted immediately, but rotating in the ring. While in organic molecules the energy stored in such a ring is released by a chemical process, in the long chain molecule of proteins in the living organism the stored energy can be released simultaneously by triggering. A huge number of atomic rings are contained in the DNA strands. The release of the energy stored in DNA, for example, is an avalanche process that causes an emission of entangled photons possessing a strong penetrating capability. A sequence of entangled photons emitted by DNA should carry the genetic information encoded by the cordons. This mechanism, predicted in BSM-SG theory, is very important for intercommunication between the cells of the living organism. The next upper level of energy organization may exist in the brain. The brain is an organ of a most abundant number of atomic rings, while its tissue environment might permit complex energy interactions. The human brain contains billions of atomic rings. The next hypothetical upper level of energy organization is an information field, physically existed outside, but connected with the living brain. It corresponds to a specific field known as aura, while the possibility of its existence is still not accepted by the main stream science. The problem is that this field could not be detected by the currently existing technical means used for EM communications. The BSM-SG predicts that this field might differ from the EM field we use for communication, but it is a subject of a further theoretical development that must be supported by experiments using specifically designed technical means. According to the BSM-SG theory, the energy conversion from the primary energy source to the complex levels of matter and field organization is a permanent syntropic process based on complex resonance interactions. (shrink)

The central idea of this paper is that forming the black hole horizon is attended with the transition from the classical regime of evolution to the quantum one. We offer and justify the following criterion for discriminating between the classical and the quantum: creations and annihilations of particle-antiparticle pairs are impossible in the classical reality but possible in the quantum reality. In flat spacetime, we can switch from the classical picture of field propagation to the (...) quantum picture by changing the overall sign of the spacetime signature. To describe a self-gravitating object at the final stage of its classical evolution, we propose to use the Foldy–Wouthuysen representation of the Dirac equation in curved spacetimes, and the Gozzi classical path integral. In both approaches, maintaining the dynamics in the classical regime is controlled by supersymmetry. (shrink)

Prime matter plays an indispensable role in Aristotle’s philosophy, enabling him to avoid the pitfalls of both naïve Platonism and nominalism. Prime matter is best thought of as a kind of infinitely divisible and atomless bare particularity, grounding the distinctness of distinct members of the same species. Such bare particularity is needed in symmetrical situations, like a world consisting of indistinguishable Max Black spheres. Bare particularity is especially important in modern physics, given the homogeneity and isotropy of space. With (...) the importance of fields in classical, relativistic, and quantum physics, we have good reason to prefer something like Aristotle’s continuous, infinitely divisible matter over indivisible particles. Mass and energy in relativistic physics also points in the direction of prime matter as the enduring substrate of these quantities. Recent work on Aristotelian interpretations of quantum mechanics, further underscores the contemporary relevance of prime matter. (shrink)

This is an open access book. This book, the first edited collection of its kind, explores the recent emergence of philosophical research in astrophysics. It assembles a variety of original essays from scholars who are currently shaping this field, and it combines insightful overviews of the current state of play with novel, significant contributions. It therefore provides an ideal source for understanding the current debates in philosophy of astrophysics, and it offers new ideas for future cutting-edge research. The selection (...) of essays offered in this book addresses methodological and metaphysical questions that target a wide range of topics, including dark matter, black holes, astrophysical observations and modelling. The book serves as the first standard resource in philosophy of astrophysics for all scholars who work in the field and want to expand or deepen their knowledge, but it also provides an accessible guide for all those philosophers and scientists who are interested in getting a first, basic understanding of the main issues in philosophy of astrophysics. (shrink)

Belot, Earman, and Ruetsche (1999) dismiss the black hole remnant proposal as an inadequate response to the Hawking information loss paradox. I argue that their criticisms are misplaced and that, properly understood, remnants do offer a substantial reply to the argument against the possibility of unitary evolution in spacetimes that contain evaporating black holes. The key to understanding these proposals lies in recognizing that the question of where and how our current theories break down is at the heart (...) of these debates in quantum gravity. I also argue that the controversial nature of assessing the limits of general relativity and quantum field theory illustrates the significance of attempts to establish the proper borders of our effective theories. (shrink)

In this paper a simple (i.e. free of fine-tuning, etc.) new mechanism for primordial black hole formation based on the collapse of large antimatter systems in the early Universe is introduced. A peculiarity of this process is that, compared to their material counterparts, the collapse of large antimatter systems takes much less time due to the reversed thermodynamics of antimatter, an idea which has been proposed in our earlier paper Etesi (2021). This model has several testable predictions. The first (...) is that the photon-baryon ratio is roughly computable and is equal to \(3.03\times 10^9\) which is quite close to its experimentally confirmed value. The second is that the mass of black holes arising from this mechanism is at least \(10^5\) - \(10^6M_\odot\) hence they contribute to the super- or hypermassive end of the primordial black hole mass spectrum. The third prediction is that these sort of primordial black holes constitute at least \(20\%\) of dark matter. Last but not least the observed current asymmetry of matter and antimatter, even if their presence in the Universe was symmetric in the beginning, acquires a natural explanation, too. (shrink)

Black hole thermodynamics is regarded as one of the deepest clues we have to a quantum theory of gravity. It motivates scores of proposals in the field, from the thought that the world is a hologram to calculations in string theory. The rationale for BHT playing this important role, and for much of BHT itself, originates in the analogy between black hole behavior and ordinary thermodynamic systems. Claiming the relationship is “more than a formal analogy,” (...) class='Hi'>black holes are said to be governed by deep thermodynamic principles: what causes your tea to come to room temperature is said additionally to cause the area of black holes to increase. Playing the role of philosophical gadfly, we pour a little cold water on the claim that BHT is more than a formal analogy. First, we show that BHT is often based on a kind of caricature of thermodynamics. Second, we point out an important ambiguity in what systems the analogy is supposed to govern, local or global ones. Finally, and perhaps worst, we point out that one of the primary motivations for the theory arises from a terribly controversial understanding of entropy. BHT may be a useful guide to future physics. Only time will tell. But the analogy is not nearly as good as is commonly supposed. (shrink)

Hawking particles emitted by a black hole are usually found to have thermal spectra, if not exactly, then by a very good approximation. Here, we argue differently. It was discovered that spherical partial waves of in-going and out-going matter can be described by unitary evolution operators independently, which allows for studies of space-time properties that were not possible before. Unitarity dictates space-time, as seen by a distant observer, to be topologically non-trivial. Consequently, Hawking particles are only locally thermal, but (...) globally not: we explain why Hawking particles emerging from one hemisphere of a black hole must be 100 % entangled with the Hawking particles emerging from the other hemisphere. This produces exclusively pure quantum states evolving in a unitary manner, and removes the interior region for the outside observer, while it still completely agrees locally with the laws of general relativity. Unitarity is a starting point; no other assumptions are made. Region I and the diametrically opposite region II of the Penrose diagram represent antipodal points in a PT or CPT relation, as was suggested before. On the horizon itself, antipodal points are identified. A candidate instanton is proposed to describe the formation and evaporation of virtual black holes of the type described here. (shrink)

This article addresses the challenge philosophical realism poses to the field of rhetoric by exploring the possibility of symbolic communion with nonhuman entities. As a matter of framing, I invoke Timothy Morton’s concept of the hyperobject to better understand the complexities of communicating with and about sublime nonhuman objects such as black holes. I then delineate how the stylistic modality of the weird best exploits the chasm between autonomous thingness and human presentation that is a primary source of (...) consternation for rhetorical realism. Finally, I draw from Kathe Koja’s novel The Cipher to reconsider a bizarre rhetoric of black holes which displays the omnipresent tension of accessible-alterity characteristic of the struggle to rhetorically breach the nonhuman world. (shrink)

According to prevailing theory, relativistic degenerate stars with masses beyond the Chandrasekhar and Oppenheimer–Volkoff (OV) limits cannot achieve hydrostatic equilibrium through either electron or neutron degeneracy pressure and must collapse to form stellar black holes. In such end states, all matter and energy within the Schwarzschild horizon descend into a central singularity. Avoidance of this fate is a hoped-for outcome of the quantization of gravity, an as-yet incomplete undertaking. Recent studies, however, suggest the possibility that known quantum processes (...) may intervene to arrest complete collapse, thereby leading to equilibrium states of macroscopic size and finite density. I describe here one such process which entails pairing (or other even-numbered association) of neutrons (or constituent quarks in the event of nucleon disruption) to form a condensate of composite bosons in equilibrium with a core of degenerate fermions. This process is analogous to, but not identical with, the formation of hadron Cooper pairs that give rise to neutron superfluidity and proton superconductivity in neutron stars. Fermion condensation to composite bosons in a star otherwise destined to collapse to a black hole facilitates hydrostatic equilibrium in at least two ways: (1) removal of fermions results in a decrease in the Fermi level which stiffens the dependence of degeneracy pressure on fermion density, and (2) phase separation into a fermionic core surrounded by a self-gravitating condensate diminishes the weight which must be balanced by fermion degeneracy pressure. The outcome is neither a black hole nor a neutron star, but a novel end state, a “fermicon star,” with unusual physical properties. (shrink)

The ArgumentThe question of the possible existence of black holes is closely related to the question of the action of gravitation on the propagation of light. It has been raised recurrently from the when that Newton referred to a possible bending of light in hisOpticks. And it relies on apparently simple questions: Is light subject to gravitation? What is the effect of a gravitational field on the propagation of light? Could a particle of light emitted by a star (...) be retained by its gravitational field?From the end of the 1960s, the black hole idea has had a very important place in the relativistic literature, not to speak of the popularization of the theory. It turned out to be not only an important concept but also a tool that permitted us to understand general relativity better, indeed a tool that contributed greatly to changing the interpretation of Einstein's theory of gravitation. Here too I want to use this concept of the black hole to assist our understanding of the history of general relativity: the black hole is a fundamental milestone in the evolution of general relativity. (shrink)

In the early 1970s it is was realized that there is a striking formal analogy between the Laws of black-hole mechanics and the Laws of classical thermodynamics. Before the discovery of Hawking radiation, however, it was generally thought that the analogy was only formal, and did not reflect a deep connection between gravitational and thermodynamical phenomena. It is still commonly held that the surface gravity of a stationary black hole can be construed as a true physical temperature and (...) its area as a true entropy only when quantum effects are taken into account; in the context of classical general relativity alone, one cannot cogently construe them so. Does the use of quantum field theory in curved spacetime offer the only hope for taking the analogy seriously? I think the answer is `no'. To attempt to justify that answer, I shall begin by arguing that the standard argument to the contrary is not physically well founded, and in any event begs the question. Looking at the various ways that the ideas of ``temperature'' and ``entropy'' enter classical thermodynamics then will suggest arguments that, I claim, show the analogy between classical black-hole mechanics and classical thermodynamics should be taken more seriously, without the need to rely on or invoke quantum mechanics. In particular, I construct an analogue of a Carnot cycle in which a black hole ``couples'' with an ordinary thermodynamical system in such a way that its surface gravity plays the role of temperature and its area that of entropy. Thus, the connection between classical general relativity and classical thermodynamics on their own is already deep and physically significant, independent of quantum mechanics. (shrink)

High throughput time-resolved observations of accreting collapsed objects at X-ray energies provide key information on the motions of matter orbiting a few gravitational radii away from black holes. Predictions of general relativity in the strong field regime, such as relativistic epicyclic motions, precession, light bending and the presence and radius of an innermost stable circular orbit in the close vicinity of a black hole can be verified by making use of two powerful diagnostics, namely relativistically broadened \ (...) lines and variability on dynamical timescales, quasi periodic oscillations in particular. Moreover tomography and reverberation techniques relying upon combined spectral timing and polarimetric timing provide an entirely new perspective in the field. Both the low and high spacetime curvature regimes of gravity can be probed by studying black holes of vastly different masses in X-ray binaries and Active Galactic Nuclei, opening up the possibility of testing also some alternative theories of gravity. To achieve these goals, very large area X-ray instrumentation with good spectral resolution and polarimetric capability is required. Prospects and projects in this area of research are briefly surveyed. (shrink)

We present a framework for analyzing black hole backreaction from the point of view of quantum open systems using influence functional formalism. We focus on the model of a black hole described by a radially perturbed quasi-static metric and Hawking radiation by a conformally coupled massless quantum scalar field. It is shown that the closed-time-path (CTP) effective action yields a non-local dissipation term as well as a stochastic noise term in the equation of motion, the (...) Einstein–Langevin equation. Once the thermal Green's function in a Schwarzschild background becomes available to the required accuracy, the strategy described here can be applied to obtain concrete results on backreaction. We also present an alternative derivation of the CTP effective action in terms of the Bogolyubov coefficients, thus making a connection with the interpretation of the noise term as measuring the difference in particle production in alternative histories. (shrink)

I distinguish between two versions of the black hole information-loss paradox. The first arises from apparent failure of unitarity on the spacetime of a completely evaporating black hole, which appears to be non-globally-hyperbolic; this is the most commonly discussed version of the paradox in the foundational and semipopular literature, and the case for calling it `paradoxical' is less than compelling. But the second arises from a clash between a fully-statistical-mechanical interpretation of black hole evaporation and the (...) class='Hi'>quantum-field-theoretic description used in derivations of the Hawking effect. This version of the paradox arises long before a black hole completely evaporates, seems to be the version that has played a central role in quantum gravity, and is genuinely paradoxical. After explicating the paradox, I discuss the implications of more recent work on AdS/CFT duality and on the `Firewall paradox', and conclude that the paradox is if anything now sharper. The article is written at a introductory level and does not assume advanced knowledge of quantum gravity. (shrink)

The paper discusses the origin of dark matter and dark energy from the concepts of time and the totality in the final analysis. Though both seem to be rather philosophical, nonetheless they are postulated axiomatically and interpreted physically, and the corresponding philosophical transcendentalism serves heuristically. The exposition of the article means to outline the “forest for the trees”, however, in an absolutely rigorous mathematical way, which to be explicated in detail in a future paper. The “two deductions” are (...) two successive stage of a single conclusion mentioned above. The concept of “transcendental invariance” meaning ontologically and physically interpreting the mathematical equivalence of the axiom of choice and the well-ordering “theorem” is utilized again. Then, time arrow is a corollary from that transcendental invariance, and in turn, it implies quantum information conservation as the Noether correlate of the linear “increase of time” after time arrow. Quantum information conservation implies a few fundamental corollaries such as the “conservation of energy conservation” in quantum mechanics from reasons quite different from those in classical mechanics and physics as well as the “absence of hidden variables” (versus Einstein’s conjecture) in it. However, the paper is concentrated only into the inference of another corollary from quantum information conservation, namely, dark matter and dark energy being due to entanglement, and thus and in the final analysis, to the conservation of quantum information, however observed experimentally only on the “cognitive screen” of “Mach’s principle” in Einstein’s general relativity. therefore excluding any other source of gravitational field than mass and gravity. Then, if quantum information by itself would generate a certain nonzero gravitational field, it will be depicted on the same screen as certain masses and energies distributed in space-time, and most presumably, observable as those dark energy and dark matter predominating in the universe as about 96% of its energy and matter quite unexpectedly for physics and the scientific worldview nowadays. Besides on the cognitive screen of general relativity, entanglement is available necessarily on still one “cognitive screen” (namely, that of quantum mechanics), being furthermore “flat”. Most probably, that projection is confinement, a mysterious and ad hoc added interaction along with the fundamental tree ones of the Standard model being even inconsistent to them conceptually, as far as it need differ the local space from the global space being definable only as a relation between them (similar to entanglement). So, entanglement is able to link the gravity of general relativity to the confinement of the Standard model as its projections of the “cognitive screens” of those two fundamental physical theories. (shrink)

Using quantum liquids one can simulate the behavior of the quantum vacuum in the presence of the event horizon. The condensed matter analogs demonstrate that in most cases the quantum vacuum resists formation of the horizon, and even if the horizon is formed different types of the vacuum instability develop, which are faster than the process of Hawking radiation. Nevertheless, it is possible to create the horizon on the quantum-liquid analog of the brane, where the vacuum (...) life-time is long enough to consider the horizon as the quasistationary object. Using this analogy we calculate the Bekenstein entropy of the near-extremal and extremal black holes, which comes from the fermionic microstates in the region of the horizon—the fermion zero modes. We also discuss how the cancellation of the large cosmological constant follows from the thermodynamics of the vacuum. (shrink)

According to the standard interpretation of Einstein’s field equations, gravity consists of mass-energy curving spacetime, and an additional physical force or entity—denoted by Λ (the ‘cosmological constant’)—is responsible for the Universe’s metric-expansion. Although General Relativity’s direct predictions have been systematically confirmed, the dominant cosmological model thought to follow from it—the ΛCDM (Lambda cold dark matter) model of the Universe’s history and composition—faces considerable challenges, including various observational anomalies and experimental failures to detect dark matter, dark energy, (...) or inflation-field candidates. This paper shows that Einstein’s Equivalence Principle entails two possible physical interpretations of General Relativity’s field equations. Although the field equations facially appear to support the standard interpretation—that gravity consists of mass-energy curving spacetime—the field equations can be equivalently understood as holding that gravitational effects instead result from mass-energy accelerating the metric-expansion of a second-order spacetime fabric superimposed upon an absolute, first-order Euclidean space, resulting in the observational appearance of spacetime curvature. This alternative interpretation of relativity is shown to be empirically equivalent to the standard interpretation of relativity, albeit with a changing value for Λ (which is similar to how Λ is understood in the conception of Λ as ‘quintessence’, but in this case takes Λ to be gravity). The reconceptualization is then shown to potentially resolve major observational anomalies for the ΛCDM model, including recent observations conflicting with ΛCDM predictions, as well as failures to directly detect dark matter, dark energy, and inflation field/particle candidates. (shrink)

I present in detail the case for regarding black hole thermodynamics as having a statistical-mechanical explanation in exact parallel with the statistical-mechanical explanation believed to underly the thermodynamics of other systems. I focus on three lines of argument: zero-loop and one-loop calculations in quantum general relativity understood as a quantum field theory, using the path-integral formalism; calculations in string theory of the leading-order terms, higher-derivative corrections, and quantum corrections, in the black hole entropy formula (...) for extremal and near-extremal black holes; recovery of the qualitative and quantitative structure of black hole statistical mechanics via the AdS/CFT correspondence. In each case I briefly review the content of, and arguments for, the form of quantum gravity being used at a introductory level: the paper is aimed at students and non-specialists and does not presume advanced knowledge of quantum gravity.. My conclusion is that the evidence for black hole statistical mechanics is as solid as we could reasonably expect it to be in the absence of a directly-empirically-verified theory of quantum gravity. (shrink)

To a packed audience in Clark Hall, Sheila Jasanoff, a distinguished scholar and former president of the Society for Social Studies of Science, gave the plenary address for “Where has STS Traveled,” a commemorative gathering of the fortieth anniversary of the inaugural meeting of the 4S. Not only was this meeting located in the very same room as the first gathering, but also many of the original members had traveled from far and wide to Cornell University to reminisce and reflect (...) on the academic field they had established, as well as imagine the possibilities of the next forty years. In response to a question about the direction of STS, Professor Jasanoff suggested that the 4S had not turned its reflective gaze inward to examine the politics of its own society, nor had it spent much effort interrogating the society’s contribution to social policy or enduring social problems. As I heard Jasanoff speak about our collective need for reflection and reflexivity, I had to wonder whether, and to what extent, we were ready to reflect on the subject matter of race and racism in this mostly color-blind field of inquiry. (shrink)

AUTHOR: STAN GUDDER (John Evans Professor of Mathematical Physics, University of Denver, USA) -- -/- We consider a discrete scalar, quantum field theory based on a cubic 4-dimensional lattice. We mainly investigate a discrete scattering operator S(x0,r) where x0 and r are positive integers representing time and maximal total energy, respectively. The operator S(x0,r) is used to define transition amplitudes which are then employed to compute transition probabilities. These probabilities are conditioned on the time-energy (x0,r). In order to (...) maintain total unit probability, the transition probabilities need to be reconditioned at each (x0,r). This is roughly analogous to renormalization in standard quantum field theory, except no infinities or singularities are involved. We illustrate this theory with a simple scattering experiment involving a common interaction Hamiltonian. We briefly mention how discreteness of space-time might be tested astronomically. Moreover, these tests may explain the existence of dark energy and dark matter. (shrink)

The Schwarzschild solution has played a fundamental conceptual role in general relativity, and beyond, for instance, regarding event horizons, spacetime singularities and aspects of quantum field theory in curved spacetimes. However, one still encounters the existence of misconceptions and a certain ambiguity inherent in the Schwarzschild solution in the literature. By taking into account the point of view of an observer in the interior of the event horizon, one verifies that new conceptual difficulties arise. In this work, besides (...) providing a very brief pedagogical review, we further analyze the interior Schwarzschild black hole solution. Firstly, by deducing the interior metric by considering time-dependent metric coefficients, the interior region is analyzed without the prejudices inherited from the exterior geometry. We also pay close attention to several respective cosmological interpretations, and briefly address some of the difficulties associated to spacetime singularities. Secondly, we deduce the conserved quantities of null and timelike geodesics, and discuss several particular cases in some detail. Thirdly, we examine the Eddington–Finkelstein and Kruskal coordinates directly from the interior solution. In concluding, it is important to emphasize that the interior structure of realistic black holes has not been satisfactorily determined, and is still open to considerable debate. (shrink)

Niels Bohr famously argued that a consistent understanding of quantum mechanics requires a new epistemic framework, which he named complementarity . This position asserts that even in the context of quantum theory, classical concepts must be used to understand and communicate measurement results. The apparent conflict between certain classical descriptions is avoided by recognizing that their application now crucially depends on the measurement context. ;Recently it has been argued that a new form of complementarity can provide a solution (...) to the so-called information loss paradox. Stephen Hawking argues that the evolution of black holes cannot be described by standard unitary quantum evolution, because such evolution always preserves information, while the evaporation of a black hole will imply that any information that fell into it is irrevocably lost---hence a "paradox." Some researchers in quantum gravity have argued that this paradox can be resolved if one interprets certain seemingly incompatible descriptions of events around black holes as instead being complementary. ;In this dissertation I assess the extent to which this black hole complementarity can be undergirded by Bohr's account of the limitations of classical concepts. I begin by offering an interpretation of Bohr's complementarity and the role that it plays in his philosophy of quantum theory. After clarifying the nature of classical concepts, I offer an account of the limitations these concepts face, and argue that Bohr's appeal to disturbance is best understood as referring to these conceptual limits. ;Following preparatory chapters on issues in quantum field theory and black hole mechanics, I offer an analysis of the information loss paradox and various responses to it. I consider the three most prominent accounts of black hole complementarity and argue that they fail to offer sufficient justification for the proposed incompatibility between descriptions. ;The lesson that emerges from this dissertation is that we have as much to learn from the limitations facing our scientific descriptions as we do from the successes they enjoy. Because all of our scientific theories offer at best limited, effective accounts of the world, an important part of our interpretive efforts will be assessing the borders of these domains of description. (shrink)

Presentations of black hole complementarity by van Dongen and de Haro, as well as by 't Hooft, suffer from a mistaken claim that interactions between matter falling into a black hole and the emitted Hawking-like radiation should lead to a failure of commutativity between space-like-related observables localized inside and outside the black hole. I show that this conclusion is not supported by our standard understanding of quantum interactions. We have no reason to believe that near-horizon interactions (...) will threaten microcausality. If these interactions reliably transfer information to the outgoing radiation, then this response to Hawking's information loss argument should amount to a version of the bleaching scenario. I argue that the challenge facing black hole complementarity is that of reconciling this commitment to bleaching with the expectation that the event horizon will be locally unremarkable. This challenge is most promisingly met by proposals that postulate a consistent account of the limitations of our local semi-classical theories, but no support is added to these postulates by appeals to verificationism or to the interactions considered by 't Hooft. (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the (...) stores seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

In the early 1970s it is was realized that there is a striking formal analogy between the Laws of black-hole mechanics and the Laws of classical thermodynamics. Before the discovery of Hawking radiation, however, it was generally thought that the analogy was only formal, and did not reflect a deep connection between gravitational and thermodynamical phenomena. It is still commonly held that the surface gravity of a stationary black hole can be construed as a true physical temperature and (...) its area as a true entropy only when quantum effects are taken into account; in the context of classical general relativity alone, one cannot cogently construe them so. Does the use of quantum field theory in curved spacetime offer the only hope for taking the analogy seriously? I think the answer is 'no'. To attempt to justify that answer, I shall begin by arguing that the standard argument to the contrary is not physically well founded, and in any event begs the question. Looking at the various ways that the ideas of "temperature" and "entropy" enter classical thermodynamics then will suggest arguments that, I claim, show the analogy between classical black-hole mechanics and classical thermodynamics should be taken more seriously, without the need to rely on or invoke quantum mechanics. In particular, I construct an analogue of a Carnot cycle in which a black hole "couples" with an ordinary thermodynamical system in such a way that its surface gravity plays the role of temperature and its area that of entropy. Thus, the connection between classical general relativity and classical thermodynamics on their own is already deep and physically significant, independent of quantum mechanics. (shrink)

The first part of this paper examines conditions in accord with Einstein's criterion of regularity on the field solutions everywhere that would correspond to the existence of a black hole star, following from solutions of his (nonvacuum) field equations. ‘Black hole’ is defined here as a star whose matter is so condensed as to correspond to a complete family of spatially closed geodesics. The condition imposed is that the angular momentum of a test body in each (...) of the closed geodesics is a constant of the motion. The second part of the paper examines the implications in the problem of the condensed star of a generalized (factorized) version of the metrical field equations, discovered earlier by the author. It is found that in general relativity stars should naturally pulsate, and in its succeeding cycles the gravitational radius of the star is attenuated by a factor exp(−0.349T), where T is the pulsation period. Conditions are discussed for the possibility that the (relatively) regular emissions of radiation from a pulsar may be dynamically rooted in a (smaller) part of the pulsation cycle when the star is out of the black hole state (less dense → open geodesics)—when radiation would be emitted to the outside world—and the (greater) part of the cycle when it is in the black hole state (more dense → closed geodesics)—when radiation would not be emitted. (shrink)

Formal models lead beyond ordinary experience to abstractions such as black holes and quantum entanglement. Applying such models to experience itself makes it seem unfamiliar and even paradoxical. We suggest, however, that doing so also leads to insights. It shows, in particular, that the “view from nowhere” employed by the theorist is both essential and deeply paradoxical, and it suggests that experience has an unrecorded, non-reportable component in addition to its remembered, reportable component.

This paper aims to address conceptual issues concerning black holes in the context of string theory, with the aim of illuminating the ontological unification of gravity and matter, and the interpretation of cosmological models. §1 describes the central concepts of the theory: the fungibility of matter and geometry, and the reduction of gravity and supergravity. The ‘standard’ interpretation presented draws on that implicit in the thinking of many (but not all) string theorists, though made more explicit and systematic than (...) usual. §2 explains how to construct a stringy black hole, and some of its features, including evaporation. §3 critically examines the assumptions behind such modeling, and their bearing on ontological questions. (shrink)

In the last few years holography has celebrated some important anniversaries: in 2010 the 50th anniversary of the light amplification by stimulated emission of radiation (LASER) invention; in 2011 the 40th anniversary of the Nobel Prize awarded to the Hungarian scientist Dennis Gabor for inventing holography and in 2012 the 50th anniversary of the first holograms. Holography can create an accurate visual simulation, with total parallax: a replica of the real object made of light, which has the real object’s visual (...) properties but is immaterial, intangible. The holographic images are volumetric and exist in a real and measurable space, and are not based on the Renaissance perspective, which can represent the three-dimensional physical space in a bi-dimensional one. In the near future, holography-based techniques will open up new possibilities in the visualization domain, allowing new visual worlds. In the meantime, holography can be a useful technical and theoretical tool for reflecting on how our everyday mediascape works. The media can produce, reproduce and transmit bi-dimensional images on flat supports. The media system has a high degree of coherence and the images share similar morphostructural rules, and thus can be transferred from one medium to another without any fundamental information loss: bi-dimensionality and image-support coincidently appear to be the basis of this high level of translatability. Conversely, holograms cannot be displayed through the usual media without losing their peculiarity: they require new displays, new visual media and new genres of communication, even if they hybridize with the existing media. Holography stands apart from the media realm, which in part explains the difficulties of this technique in emerging and integrating into the mediascape. Holography suggests a new visual universe within a culture where visual simulation is the most effective communication system, and it lets us reflect on the need for a more comprehensive definition of ‘image’. It is easy to imagine that future images will also be holographic and that we will communicate more and more through them, in a delicate balance between presence and absence, immediacy and remoteness, materiality and immateriality, matter and energy. Holography can work as a model in science, for example in the study of brain activity in the Holonomic Brain Theory, originated by Austrian psychologist Karl Pribram and initially developed in collaboration with physicist David Bohm to explain human cognition. Holography can also be a model in physics, for example in the idea of the physicist David Bohm of an ‘implicate order’ in the universe, where global structure can be found in each small part – the universe would be a gigantic and wonderfully detailed hologram. More recently, theoretical results on black holes suggest that the idea of a holographic universe is a viable hypothesis. And in the field of quantum gravity and string theories the ‘holographic principle’ suggests that the entire universe can be considered as a two-dimensional information structure, and that the three-dimensional world we observe is but a description at a macroscopic scale and at low energies. (shrink)

It is suggested that the apparently disparate cosmological phenomena attributed to so-called ‘dark matter’ and ‘dark energy’ arise from the same fundamental physical process: the emergence, from the quantum level, of spacetime itself. This creation of spacetime results in metric expansion around mass points in addition to the usual curvature due to stress-energy sources of the gravitational field. A recent modification of Einstein’s theory of general relativity by Chadwick, Hodgkinson, and McDonald incorporating spacetime expansion around mass (...) points, which accounts well for the observed galactic rotation curves, is adduced in support of the proposal. Recent observational evidence corroborates a prediction of the model that the apparent amount of ‘dark matter’ increases with the age of the universe. In addition, the proposal leads to the same result for the small but nonvanishing cosmological constant, related to ‘dark energy,’ as that of the causet model of Sorkin et al. (shrink)

The thesis is: the “periodic table” of “dark matter” is equivalent to the standard periodic table of the visible matter being entangled. Thus, it is to consist of all possible entangled states of the atoms of chemical elements as quantum systems. In other words, an atom of any chemical element and as a quantum system, i.e. as a wave function, should be represented as a non-orthogonal in general (i.e. entangled) subspace of the separable complex Hilbert space relevant (...) to the system to which the atom at issue is related as a true part of it. The paper follows previous publications of mine stating that “dark matter” and “dark energy” are projections of arbitrarily entangled states on the cognitive “screen” of Einstein’s “Mach’s principle” in general relativity postulating that gravitational field can be generated only by mass or energy. (shrink)

A possible way out of the conundrum of quantum gravity is the proposal that general relativity (GR) emerges from an underlying microscopic description. Despite recent interest in the emergent gravity program within the physics as well as the philosophy community, an assessment of the general motivation for this idea is lacking at the moment. We intend to fill this gap in the literature by discussing the main arguments in favour of the hypothesis that the metric field and its (...) dynamics are emergent. First, we distinguish between microstructure inspired from GR, such as through quantization or discretization, and microstructure that is not directly motivated from GR, such as strings, quantum bits or condensed matter fields. The emergent gravity approach can then be defined as the view that the metric field and its dynamics are derivable from the latter type of microstructure. Subsequently, we assess in how far the following properties of (semi-classical) GR are suggestive of underlying microstructure: (1) the metric's universal coupling to matter fields, (2) perturbative non-renormalizability, (3) black hole thermodynamics, and (4) the holographic principle. In the conclusion we formalize the general structure of the plausibility arguments put forward. (shrink)

Relativizing Newton" is a first step towards a simple and beautiful theory of everything. The theory, termed "Information Relativity" (IR) takes a novel approach to physics that overlooks all post-Newtonian physics. It stands on the shoulders of Newtonian dynamics, but modifies it by accounting for the time-travel of information from one reference-frame to another, a fact which somehow was ignored by Galileo Galilee and Isaac Newton, and which remained ill-treated by the all post-Newtonian theories, including Einstein's relativity and quantum (...) theories. Except for the aforementioned correction of classical physics, IR has no axiomatic presumptions, nor arbitrary free parameters. Astonishingly, accounting for the aforementioned delays in information results in a set of simple and beautiful transformations, which explain and predict a great deal of physical phenomena. Most importantly, IR's transformations reveal the mysteries of dark matter, dark energy, and gravity. They also provide a unifying platform for the physics of the too-big (astrophysics and cosmology), and the too-small (small particles dynamics and quantum mechanics). The phenomena explained and predicted successfully by IR include The Michelson-Morley's null-result, "time-dilation" of decaying muons, the neutrino velocities measured by OPERA and other collaborations, particle diffraction in the double-slit experiment, Sagnac Effects, the quantization of orbits in Bohr's hydrogen atom, entanglement, quantum criticality, confinement, asymptotic freedom, solar light bending, gravitational redshift, the Pioneer anomaly, dark matter in galaxies, and the Schwarzschild's black hole. (shrink)

With the purpose to understand better the role of information not only in communication systems, but actually in our environmental reality, this paper presented the model of Universal Triangle of Reality, composed by Matter, Energy and Information, as fundamental constitutive components of this reality. Arguments coming from the field of physics, both at the cosmic and microparticles scale are presented, showing undoubtable conclusions that information is a fundamental component of reality in our material world. At the cosmic level, where (...) the unusual high concentration of mass in the black holes constitutes a special state of matter, suitable for analysis of their special properties, the problem of the conservation principle of information is discussed. At the quantum level, the special unusual characteristics derived from the non-localization principle are also highlighted, together with information-involved problems and solutions. The Universal Triangle of Reality in the living systems reveals the high role of the involved information, both as the informational common organization on the entire evolution scale, and as the info-dynamics processes inside of own structure and resulted from interaction with the environment. The relevant advances in the approaching and understanding of the functionality of the living systems from informational point of view are highlighted, showing the high contribution of information concepts in understanding/solving of various older/recent problems in philosophy, neuroscience/neurology/psychiatry, neuro-physics/neuropsychology/behavior sciences, geriatrics/gerontology, biology and life sciences. Keywords: information-matter-energy, universal triangle of reality in non-living and living systems, informational system of human body and living structures, neurosciences and life sciences. (shrink)

We show that the big bang is a coordinate singularity for a large class of \ inflationary FLRW spacetimes which we have dubbed ‘Milne-like.’ By introducing a new set of coordinates, the big bang appears as a past boundary of the universe where the metric is no longer degenerate—a result which has already been investigated in the context of vacuum decay. We generalize their results and approach the problem from a more mathematical perspective. Similar to how investigating the geometrical properties (...) of the \ event horizon in Schwarzschild led to a better understanding of black holes, we believe that investigating the geometrical properties of the big bang coordinate singularity for Milne-like spacetimes could lead to a better understanding of cosmology. We show how the mathematics of these spacetimes may help illuminate certain issues associated with dark energy, dark matter, and the universe’s missing antimatter. (shrink)

We derive the first analytical formula for the density of "Dark Matter" (DM) at all length scales, thus also for the rotation curves of stars in galaxies, for the baryonic Tully–Fisher relation and for planetary systems, from Einstein's equations (EE) and classical approximations, in agreement with observations. DM is defined in Part I as the energy of the coherent gravitational field of the universe, represented by the additional equivalent ordinary matter (OM), needed at all length scales, to explain (...) classically, with inclusion of the OM, the _observed coherent_ gravitational field. Our derivation uses both EE and the Newtonian approximation of EE in Part I, to describe semi-classically in Part II the advection of DM, created at the level of the universe, into galaxies and clusters thereof. This advection happens proportional with their own classically generated gravitational field g, due to self-interaction of the gravitational field. It is based on the universal formula ρ D = λgg′ 2 for the density ρ D of DM advected into medium and lower scale structures of the observable universe, where λ is a universal constant fixed by the Tully–Fisher relations. Here g′ is the gravitational field of the universe; g′ is in main part its own source, as implied in Part I from EE. We start from a simple electromagnetic analogy that helps to make the paper generally accessible. This paper allows for the first time the exact calculation of DM in galactic halos and at all levels in the universe, based on EE and Newtonian approximations, in agreement with observations. (shrink)

We present some striking global consequences of a model quaternionic quantum field theory which is locally complex. We show how making the quaternionic structure a dynamical quantity naturally leads to the prediction of cosmic strings and nonbaryonic hot dark matter candidates.

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

In this short paper we make a proposal that the second law of thermodynamics holds true for a closed physical system consisting of pure antimatter in the thermodynamical limit, but in a reversed form. We give two plausible arguments in favour to this proposal: one refers to the CPT theorem of relativistic quantum field theories while the other one is based on general thermodynamical arguments. However in our understanding the ultimate validity or invalidity of this idea can be (...) decided only by future physical experiments. As a consequence of the proposal we argue that the dynamical evolution of pure macroscopic antimatter systems can be very different from that of ordinary matter systems in the sense that sufficiently massive antimatter systems could have stronger tendency to form black holes during time evolution than their ordinary counterparts. Taking into account the various uniqueness theorems in black hole physics as well, as a result, antimatter could tracelessly disappear behind black hole event horizons faster in time than ordinary matter. The observed asymmetry of matter and antimatter could then be explained even if their presence in the Universe was symmetric in the beginning. (shrink)

Principles of Laser Spectroscopy and Quantum Optics is an essential textbook for graduate students studying the interaction of optical fields with atoms. It also serves as an ideal reference text for researchers working in the fields of laser spectroscopy and quantum optics. The book provides a rigorous introduction to the prototypical problems of radiation fields interacting with two- and three-level atomic systems. It examines the interaction of radiation with both atomic vapors and condensed matter systems, the density matrix (...) and the Bloch vector, and applications involving linear absorption and saturation spectroscopy. Other topics include hole burning, dark states, slow light, and coherent transient spectroscopy, as well as atom optics and atom interferometry. In the second half of the text, the authors consider applications in which the radiation field is quantized. Topics include spontaneous decay, optical pumping, sub-Doppler laser cooling, the Heisenberg equations of motion for atomic and field operators, and light scattering by atoms in both weak and strong external fields. The concluding chapter offers methods for creating entangled and spin-squeezed states of matter. Instructors can create a one-semester course based on this book by combining the introductory chapters with a selection of the more advanced material. A solutions manual is available to teachers. Rigorous introduction to the interaction of optical fields with atoms Applications include linear and nonlinear spectroscopy, dark states, and slow light Extensive chapter on atom optics and atom interferometry Conclusion explores entangled and spin-squeezed states of matter Solutions manual. (shrink)