The idea that the mass m of an elementary particle is explained in the semi-classical approximation by quantum-mechanical zero-point vacuum fluctuations has been applied previously to spin-1/2 fermions to yield a real and positive constant value for m, expressed through the spinorial connection Γ i in the curved-space Dirac equation for the wave function ψ due to Fock. This conjecture is extended here to bosonic particles of spin 0 and spin 1, starting from the basic assumption that all (...) fundamental fields must be conformally invariant. As a result, in curved space-time there is an effective scalar mass-squared term $m_{0}^{2}=-R/6=2\varLambda_{\mathrm{b}}/3$ , where R is the Ricci scalar and Λ b is the cosmological constant, corresponding to the bosonic zero-point energy-density, which is positive, implying a real and positive constant value for m 0, through the positive-energy theorem. The Maxwell Lagrangian density $\mathcal{L} =- \sqrt{-g}F_{ij}F^{ij}/4$ for the Abelian vector field F ij ≡A j,i −A i,j is conformally invariant without modification, however, and the equation of motion for the four-vector potential A i contains no mass-like term in curved space. Therefore, according to our hypothesis, the free photon field A i must be massless, in agreement with both terrestrial experiment and the notion of gauge invariance. (shrink)

The traditional formalism of quantum mechanics is mainly used to describe ensembles of identical systems (with a density-operator formalism) or single isolated systems, but is not capable of describing single open quantum objects with many degrees of freedom showing pure-state stochastic dynamical behaviour. In particular, stochastic 'line-migration' as in single-molecule spectroscopy of defect molecules in a molecular matrix is not adequately described. Starting with the Bohr scenario of stochastic quantum jumps (between strict energy eigenstates), we try to incorporate more general (...) pure-state stochastic dynamical behaviour into the quantum mechanical formalism.Probability distributions of (approximately) pure states, arising through the stochastic pure-state dynamics for long times, give rise to appropriate decompositions of thermal density operators. These decompositions of density operators into pure states mediate between quantum mechanics for ensembles of molecules and quantum theory for single molecules (or single dressed quantum objects). We suggest that such decompositions should be consistent with infinite limits (e.g. the Born-Oppenheimer limit for infinite nuclear masses) in the sense that quantum fluctuations (around classical behaviour in the infinite limit) die out asymptotically. (shrink)

Louis Althusser, May 1968 and the Fluctuations of Ideology By examining the various statements made by Louis Althusser of his position on the student movement of May 69, the article seeks to reveal the remarkably complex and theoretically apposite character of his assessment. e article thus goes against usual interpretations of this issue. In particular, it points to the interest of the concepts of revolt and of mass ideological revolution, which were introduced in his writing of the period. (...) By demonstrating that Althusser’s analysis of the function and status of ideology in the revolts of May validates the theses which he advanced in For Marx about the notion of overdetermination, the author’s intention is to assess the role played by this paradigmatic spectrum in the overall reconstruction of the problematic of ideology which Althusser was to formulate in the famous manuscript entitled On Reproduction. e principal interest of this manuscript is that, for the first time, it establishes a rigorously materialist conception of ideology and of the concrete mode of existence of ideas. (shrink)

The explanation of inertia based on “Mach's principle” is briefly revisited and an experiment whereby the gravitational origin of inertia can be tested is described. The test consists of detecting a small stationary force with a sensitive force sensor. The force is presumably induced when a periodic transient Mach effect mass fluctuation is driven in high voltage, high energy density capacitors that are subjected to 50 kHz, 1.3 kV amplitude voltage signal, and threaded by an alternating magnetic flux of (...) the same frequency. An effect of the sort predicted is shown to be present in the device tested. It has the expected magnitude and depends on the relative phase of the Mach effect mass fluctuation and the alternating magnetic flux as expected. The observed effect also displays scaling behaviors that are unique to Mach effects. Other tests for spurious signals suggest that the observed effect is real. (shrink)

The electronic and muonic hydrogen energy levels are calculated very accurately [1] in Quantum Electrodynamics (QED) by coupling the Dirac Equation four vector (c ,mc2) current covariantly with the external electromagnetic (EM) field four vector in QED’s Interactive Representation (IR). The c -Non Exclusion Principle(c -NEP) states that, if one accepts c as the electron/muon velocity operator because of the very accurate hydrogen energy levels calculated, the one must also accept the resulting electron/muon internal spatial and time coordinate operators (ISaTCO) (...) derived directly from c without any assumptions. This paper does not change any of the accurate QED calculations of hydrogen’s energy levels, given the simplistic model of the proton used in these calculations [1]. The Proton Radius Puzzle [2, 3] may indicate that new physics is necessary beyond the Standard Model (SM), and this paper describes the bizarre, and very different, situation when the electron and muon are located “inside” the spatially extended proton with their Centers of Charge (CoCs) orbiting the proton at the speed of light in S energy states. The electron/muon center of charge (CoC) is a structureless point that vibrates rapidly in its inseparable, non-random vacuum whose geometry and time structure are defined by the electron/muon ISaTCO discrete geometry. The electron/muon self mass becomes finite in a natural way due to the ISaTCOs cutting off high virtual photon energies in the photon propagator. The Dirac-Maxwell-Wilson (DMW) Equations are derived from the ISaTCO for the EM fields of an electron/muon, and the electron/muon “look” like point particles in far field scattering experiments in the same way the electric field from a sphere with evenly distributed charge “e” “looks” like a point with the same charge in the far field (Gauss Law). The electron’s/muon’s three fluctuating CoC internal spatial coordinate operators have eight possible eigenvalues [4, 5, 6] that fall on a spherical shell centered on the electron’s CoM with radius in the rest frame. The electron/muon internal time operator is discrete, describes the rapid virtual electron/positron pair production and annihilation. The ISaTCO together create a current that produce spin and magnetic moment operators, and the electron and muon no longer have “intrinsic” properties since the ISaTCO kinematics define spin and magnetic moment properties. (shrink)

Multiple sensory signals from visual, somatosensory and vestibular systems are used for human postural control. To maintain postural stability, the central nervous system keeps the center of mass (CoM) within the base of support. The influence of the stomatognathic motor system on postural control has been established under static conditions, but it has not yet been investigated during dynamic steady-state balance. The purpose of the study was to investigate the effects of controlled stomatognathic motor activity on the control and (...) stability of the CoM during dynamic steady-state balance. A total of 48 physically active and healthy adults were assigned to three groups with different stomatognathic motor conditions: jaw clenching, tongue pressing and habitual stomatognathic behavior. Dynamic steady-state balance was assessed using an oscillating platform and the kinematic data were collected with a 3D motion capturing system. The path length (PL) of the 3D CoM trajectory was used for quantifying CoM sway. Temporal dynamics of the CoM movement was assessed with a detrended fluctuation analysis (DFA). An uncontrolled manifold (UCM) analysis was applied to assess the stability and control of the CoM with a subject-specific anthropometric 3D model. The statistical analysis revealed that the groups did not differ significantly in PL, DFA scaling exponents or UCM parameters. The results indicated that deliberate jaw clenching or tongue pressing did not seem to affect the sway, control or stability of the CoM on an oscillating platform significantly. Because of the task-specificity of balance, further research investigating the effects of stomatognathic motor activities on dynamic steady-state balance with different movement tasks are needed. Additionally, further analysis by use of muscle synergies or co-contractions may reveal effects on the level of muscles, which were not visible on the level of kinematics. This study can contribute to the understanding of postural control mechanisms, particularly in relation to stomatognathic motor activities and under dynamic conditions. (shrink)

We investigate the evolution of linear density contrasts obtained with respect to a homogeneous spatially flat Friedman-Lemaître–Robertson–Walker background by solving the density contrast equations governed by Newtonian and MONDian force laws using symmetry-based approach. We find eight-parameter Lie group symmetries for the linear order density perturbation equation for the Newtonian case whereas the density contrast equation follows only one parameter Lie group symmetry in MONDian case. We use Lie symmetries to find the group invariant solutions from invariant curve condition. The (...) physical features of the evolution for various mode of density contrast with respect to the global cosmic background density in homogeneous isotropic cosmological models have been investigated using analytical group invariant solutions along with their numerical solutions. An account for cosmological density contrast and mass fluctuation also have been provided. We also have shown that the MONDian force law generates higher amplitudes in the density fluctuation, results in a more rapid structure formation that cannot be possible under the Newtonian force law. (shrink)

The Qur'an depicts fluctuating relations between Muslims and non-Muslims. While at times such relations can be conciliatory and harmonious, at others they are inimical, uneasy, or distant. Still, the Qur'an acknowledges the necessary ontological reality of the human difference. This is evidenced in many verses. Thus, I will argue that an “attentive” and “worldly” reading of the Qur'an is crucial to curb misunderstanding of the way ‘difference’ is perceived in Islam by Muslims and non-Muslims alike. A close reading is primarily (...) a multiple form of communication. It is needed to resist the networked systems of power and control dominated by images and mass media in the Arab world and Western. It is exceptionally important to free the interpretation of Qur'an from the grip of Muslim and non-Muslim extremists and Islamophobes who read some of its verses as evidence of essentialized enmity harbored by Muslims towards all non-Muslims. (shrink)

Vivemos, hoje, sob a hegemonia do paradigma tecnocêntrico, mercadológico e midiático. A Tecnociência, o Mercado e a Mídia se constituem em autênticos horizontes no interior dos quais se desvelam todos os âmbitos da experiência humana. Isso posto, o que o ser humano e a religião se tornam nessa nova situação epocal? A Tecnociência tornou-se horizonte de compreensão do ser humano em relação ao mundo e si próprio. Não apenas nossos estilos de vida, nosso modo de trabalhar e viver, são condicionados (...) pela técnica, mas também nossa identidade mais profunda é dada pela diferença técnica. Somos ainda vítimas da “absolutização do Mercado”: uma autêntica mercantilização da vida e, portanto, também da cultura e da religião. O mercado vai se impondo como único cenário de nossa trama civilizacional atual. Nossos fluxos vitais e também os valores e símbolos culturais e religiosos se tornam mercadoria de consumo e de descarte. Em tal contexto, a religião corre o risco de ser acometida por um duplo reducionismo. Esse tem sido o preço que a religião decidiu pagar em troca do direito de cidadania em um mundo dominado pela Tecnociência, pelo Mercado e pela Mídia. Palavras-Chave : Tecnociência. Mercado. Mídia. Religião. Mercantilização da vida. Absolutização do Mercado.We live, today, under the hegemony of a techno-centric, market-based and mediatic paradigm. Techno-science, the Market and the Mass Media are authentic horizons, in the interior of which are uncovered all of the scopes of the human experience. Having said that, what does human kind and religion become in this new era? Techno-science has become a horizon of comprehension of man regarding the world and of himself. Not only our lifestyles and our way of life and work are conditioned by technology, but also our deeper identity is lost by the technical difference. We are still victims of the “absolutization of the market”: an authentic mercantilization of life and, therefore, culture and religion. The market presents itself as the only setting of our present civilization’s story line. Our vital fluctuations, as well as the values and religious and cultural symbols become merchandise to consume and discard. In such a context, religion runs the risk of being attacked by a double reductionism. This has been the price that religion decided to pay in exchange for the right of citizenship in a world dominated by techno-science, by the market and by the Mass Media. Keywords : Techno-science. Market. Mass Media. Religion. Mercantilization of life. Absolutization of the market. (shrink)

The introduction of computer simulation to paleobiology ushered in a new, experimental style of reasoning. Rather than starting with observed fossil patterns and hypothesizing causal processes that may have produced them, it became possible to start with a process model, and from it to simulate a range of possible patterns. ;The MBL Model is a stochastic model of phylogenetic evolution . Computer simulations conducted with the MBL Model served as thought experiments in stochastic evolution. In the MBL work, similarities between (...) empirical and stochastically simulated clades mounted a visual argument that stochastic processes potentially explained large fluctuations in diversity. Stanley and others countered that the similarities were an artifact of scaling. The scaling problem may have been obscured by visual bias: measures of clade shape are scale-invariant, but diversification itself is highly scale-dependent. ;Null and neutral models are frequently conflated. Null models generate hypothetical data distributions under conditions that exclude some process of interest to test whether patterns in an actual data distribution provide statistical evidence for that process. A neutral model assumes selective equivalence among all units at a specified hierarchical level in the evolving system. Neutral models are often inappropriate as null models. Pattern recognition presupposes a null model, but tacit null models are subject to persistent cognitive biases, necessitating explicit formulation of null models. Nonetheless, failure to reject the null model should not preclude further investigation of a pattern. ;Often, models are not candidates for falsification, but serve to simulate data for testing concepts or methods. Sepkoski and Kendrick , and Robeck, Maley, and Donoghue used the MBL Model to test whether mass extinction periodicity is an artifact of paraphyly in taxonomic data. Such numerical experiments, which make all assumptions explicit, can serve as templates for localizing points of disagreement. Models may fall into lineages, each generation providing lessons for the next, but often sharing operational assumptions. Artifacts of shared operational assumptions are often a threat to the validity of inferences. Results holding across models should not be accepted unless they withstand rigorous robustness analysis. (shrink)

We present a formal derivation of the Mino–Sasaki–Tanaka–Quinn–Wald (MSTQW) equation describing the self-force on a (semi-) classical relativistic point mass moving under the influence of quantized linear metric perturbations on a curved background space–time. The curvature of the space–time implies that the dynamics of the particle and the field is history-dependent and as such requires a non-equilibrium formalism to ensure the consistent evolution of both particle and field, viz., the worldline influence functional and the closed- time-path (CTP) coarse-grained effective (...) action. In the spirit of effective field theory, we regularize the formally divergent self-force by smearing the local part of the retarded Green’s function and employing a quasi-local expansion. We derive the MSTQW–Langevin equations describing the perturbations of the particle’s worldline about its semi-classical trajectory resulting from interactions with the quantum fluctuations of the linear metric perturbations. Finally, we demonstrate that the quantum fluctuations of the field could, in principle, leave imprints on gravitational waveforms expected to be observed by gravitational interferometers, thereby encoding information about tree-level perturbative quantum gravity. (shrink)

The definition of mass as a random variable is applied to the study of the decay rates. A decay is assumed possible when the fluctuation of the Gaussian variables involved makes a definite relation satisfied. Computing the probability of this process leads to the determination of the decay amplitude. This calculation, unified for baryons and mesons, is worked out in the lower and medium spectrum (up to2000 MeV for baryons and mesons), and fits to≈20 MeV the accurate measurements of (...) width and branching ratios. (shrink)

Matter is pictured as a primitive fluid substratum having the fundamental property of fluctuating at a constant frequency. From this are derived the discrete properties of space and time, and it follows that, at the microlevel, talk of pure space and pure time involves us in ambiguities. A new interpretation of Planck's constant emerges according to which it is a quantum of matter-time combination. Thus, a quantum of matter-space combination should exist. On pursuing further the hydrodynamic model, such a constant (...) is in fact discovered as the drag-quantum of the quantum fluid. A fourth-degree differential equation is considered which, with the help of this new constant, generates spectra of frequency, mass, and fine structure constants. The theory seems to answer some important fundamental questions. (shrink)

Both theory and experiments indicate that the vacuum is not a state of empty space, but is populated by electromagnetic fluctuations at a lowest nonzero level, the Zero Point Energy (ZPE). This debouches into considerable changes of fundamental physics, as shown by a revised quantum electrodynamic theory (RQED) applied to elementary particles, and by a revised ZPE frequency spectrum applied to the expanding universe. The Standard Model based on a vacuum state of empty space is thus replaced by RQED, (...) thereby resulting in massive elementary particles from the beginning, independently of the theory by Higgs. Also the basic properties of the Higgs-like particle detected at CERN can be reproduced by RQED. It further leads to new fundamental results beyond the theories by Dirac and Higgs, such as to a deduced value of the elementary net charge, magnetic confinement of charged particle configurations, intrinsic local particle charges, photon spin with a very small but nonzero photon rest mass, and needle-like particle-wave properties which contribute to the understanding of the photoelectric effect and two-slit experiments. The real macroscopic pressure due to the revised ZPE frequency distribution further influences the dynamics of the expanding universe, by the ZPE photon pressure gradient acting as dark energy, and the ZPE photon energy density acting as dark matter. This results in a model being consistent with the observed scale, the rate of expansion, and the stability of a flat expanding observable universe. EWW141009DXN. (shrink)

We review some recent developments in the conformal gravity theory that has been advanced as a candidate alternative to standard Einstein gravity. As a quantum theory the conformal theory is both renormalizable and unitary, with unitarity being obtained because the theory is a PT symmetric rather than a Hermitian theory. We show that in the theory there can be no a priori classical curvature, with all curvature having to result from quantization. In the conformal theory gravity requires no independent quantization (...) of its own, with it being quantized solely by virtue of its being coupled to a quantized matter source. Moreover, because it is this very coupling that fixes the strength of the gravitational field commutators, the gravity sector zero-point energy density and pressure fluctuations are then able to identically cancel the zero-point fluctuations associated with the matter sector. In addition, we show that when the conformal symmetry is spontaneously broken, the zero-point structure automatically readjusts so as to identically cancel the cosmological constant term that dynamical mass generation induces. We show that the macroscopic classical theory that results from the quantum conformal theory incorporates global physics effects that provide for a detailed accounting of a comprehensive set of 138 galactic rotation curves with no adjustable parameters other than the galactic mass to light ratios, and with the need for no dark matter whatsoever. With these global effects eliminating the need for dark matter, we see that invoking dark matter in galaxies could potentially be nothing more than an attempt to describe global physics effects in purely local galactic terms. Finally, we review some recent work by ’t Hooft in which a connection between conformal gravity and Einstein gravity has been found. (shrink)

We interpret the probability rule of the CSL collapse theory to mean to mean that the scalar field which causes collapse is the gravitational curvature scalar with two sources, the expectation value of the mass density (smeared over the GRW scale a) and a white noise fluctuating source. We examine two models of the fluctuating source, monopole fluctuations and dipole fluctuations, and show that these correspond to two well-known CSL models. We relate the two GRW parameters of (...) CSL to fundamental constants, and we explain the energy increase of particles due to collapse as arising from the loss of vacuum gravitational energy. (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)

The continuous spontaneous localization (CSL) model modifies Schrödinger's equation so that the collapse of the state vector is described as a physical process (a special interaction of particles with a universal fluctuating field). A consequence of the model is that an electron in an atom should occasionally get “spontaneously” knocked out of the atom. The CSL ionization rate for the 1s electrons in the Ge atom is calculated and compared with an experimental upper limit for the rate of “spontaneously” generated (...) x-ray pulses in Ge. This gives, for the first time, an experimental constraint on the parameters which characterize this model (the GRW parameters and the relative collapse rate of electrons and nucleons). It is concluded that the values assigned to the GRW parameters by GRW may be maintained only if the coupling of electrons to the fluctuating field is 0.35% or less than the coupling of nucleons, suggestive of a mass-proportional (and therefore gravitational) collapse mechanism. For other allowed values of the GRW parameters, it is still argued that nucleons should collapse more rapidly than electrons. (shrink)

One finds, in Maxwell's writings on thermodynamics and statistical physics, a conception of the nature of these subjects that differs in interesting ways from the way that they are usually conceived. In particular, though—in agreement with the currently accepted view—Maxwell maintains that the second law of thermodynamics, as originally conceived, cannot be strictly true, the replacement he proposes is different from the version accepted by most physicists today. The modification of the second law accepted by most physicists is a probabilistic (...) one: although statistical fluctuations will result in occasional spontaneous differences in temperature or pressure, there is no way to predictably and reliably harness these to produce large violations of the original version of the second law. Maxwell advocates a version of the second law that is strictly weaker; the validity of even this probabilistic version is of limited scope, limited to situations in which we are dealing with large numbers of molecules en masse and have no ability to manipulate individual molecules. Connected with this is his concept of the thermodynamic concepts of heat, work, and entropy; on the Maxwellian view, these are concepts that must be relativized to the means we have available for gathering information about and manipulating physical systems. The Maxwellian view is one that deserves serious consideration in discussions of the foundation of statistical mechanics. It has relevance for the project of recovering thermodynamics from statistical mechanics because, in such a project, it matters which version of the second law we are trying to recover. (shrink)

The basic operational devices in a particle theory are detectors which show that a particle is “here, now” rather than “there, then.” Successful operation of these devices requires a limiting velocity. Given auxiliary devices which can change particle velocities in both magnitude and direction, the Lorentz-invariant mass can be defined. The wave-particle duality operationally required to explain the scattering of particles from a diffraction grating then predicts fluctuations in particle number (the Wick-Yukawa mechanism), if we postulate a smallest (...) mass. We show that this suffices to establish the conventional quantum mechanical scattering formalism without postulating either “interactions” or “analyticity.” By introducing the phase change due to external electromagnetic fields, we can describe the auxiliary devices assumed above to an accuracy ofe 2/hc, thus completing the operational definition to that accuracy. (shrink)

I propose an experiment that may be performed, with present low temperature and cryogenic technology, to reveal Wheeler’s quantum foam. It involves coupling an optical photon’s momentum to the center of mass motion of a macroscopic transparent block with parameters such that the latter is displaced in space by approximately a Planck length. I argue that such displacement is sensitive to quantum foam and will react back on the photon’s probability of transiting the block. This might allow determination of (...) the precise scale at which quantum fluctuations of space–time become large, and so differentiate between the brane-world and the traditional scenarios of spacetime. (shrink)

This article deals with a phenomenological standpoint on paradoxicality of image-consciousness, i.e., an analogical representation in which an image possesses material support. Contrary to tradition, E. Husserl thought of imagination as being both an intuitive and a mediate act. Husserl’s opinion results from paradoxical nature of an image itself: an image appears but it doesn’t exist, while the exhibited thing does exist but doesn’t appear in proper sense. The paradoxicality of an image results in its double conflict — with actual (...) present and with Bildsujet. Initially, Husserl considered that the more analogous features an image possesses the less conflict exists between it and Bildsujet, but then his own experience made him change his mind. Examining a wax figure example, he came to the conclusion that this perfectly human-like object is rather a fiction than an image for it is constituted in a position-taking intention, not in a neutralized one. However, despite we’ve got knowledge of illusory nature of such an object our consciousness keeps on fluctuating between an imaging intention and a perceptual one. Unlike Husserl neither J.-P. Sartre nor M. Richir draws a distinction between an image and an illusion. Sartre considers the imaginary in its radical form to be a world of schizophrenic. As for Richir, he supposes the imaginary to be a mass-consumption product being used for ideological manipulations. He follows Plato’s intellectual strategy and characterizes an image as εἴδωλον which represents the reality instead of reaching it. Being saturated by visible an image lacks any gap that would give an impulse to a work of imagination. At the same time, Richir admits that simulacre does relate to art, whereas an artefact doesn’t. An artefact is made by technical device which imitates not reality but consciousness. Thus, an artefact in its turn is not a reality illusion but an illusion of a reality illusion. Its hallucinatory effect makes us believe that we look into a mirror of reality as if a technical agent had better access to it than a human eye does. (shrink)

The answer to some of the longstanding issues in the 20th century theoretical physics, such as those of the incompatibility between general relativity and quantum mechanics, the broken symmetries of the electroweak force acting at the subatomic scale and the missing mass of Higgs particle, and also those of the cosmic singularity and the black matter and energy, appear to be closely related to the problem of the quantum texture of space-time and the fluctuations of its underlying geometry. (...) Each region of space landscape seem to be filled with spacetime weaved and knotted networks, for example, spacetime has immaterial curvature and structures, such as topological singularities, and obeys the laws of quantum physics. Thus, it is filled with potentialparticles, pairs of virtual matter and anti-matter units, and potential properties at the quantum scale. For example, quantum entities (like fields and particles) have both wave (i.e., continuous) and particle (i.e., discrete) properties and behaviors. At the quantum level (precisely, the Planck scale) of space-time such properties and behaviors could emerge from some underlying (dynamic) phase space related to some field theory. Accordingly, these properties and behaviors leave their signature on objects and phenomena in the real Universe. In this paper we consider some conceptual issues of this question. (shrink)

A critic of utilitarianism, in a paper entitled “Innocence and Consequentialism” Laing argues that Singer cannot without contradicting himself reject baby farming (a thought experiment that involves mass-producing deliberately brain damaged children for live birth for the greater good of organ harvesting) and at the same time hold on to his “personism” a term coined by Jenny Teichman to describe his fluctuating (and Laing says, discriminatory) theory of human moral value. His explanation that baby farming undermines attitudes of care (...) and concern for the very young, can be applied to babies and the unborn (non-persons on his view) and contradicts positions that he adopts elsewhere in his work. (shrink)

Scientists have recently discovered a new law of nature. Its footprints are virtually everywhere - in the spread of forest fires, mass extinctions, traffic jams, earthquakes, stock-market fluctuations, the rise and fall of nations, and even trends in fashion, music and art. Wherever we look, the world is modelled on a simple template: like a steep pile of sand, it is poised on the brink of instability, with avalanches - in events, ideas or whatever - following a universal (...) pattern of change. This remarkable discovery heralds what Mark Buchanan calls the new science of 'ubiquity', a science whose secret lies in the stuff of the everyday world. Combining literary flair with scientific rigour, this enthralling book documents the coming revolution by telling the story of the researchers' exploration of the law, their ingenious work and unexpected insights. Mark Buchanan reveals how the principle of ubiquity will help us to manage, control and predict the future. More controversially, he claims that it may well contain the beginnings of a mathematics of cultural and historical change. Every decade sees a major scientific breakthrough that has implications that go way beyond science. 'Ubiquity' is one of them. This book, the world's first on the topic, will change how we think about the world and our place in it. Chaos Disorder from order. Complexity Complexity from simplicity. UBIQUITY World has a natural 'rhythm': there is a mysterious archetypal organisation that works in the world at all levels and which gives rise to a universal pattern of change - in groups of people, things or ideas. (shrink)

It has been suggested in the literature that spatial coherence of the wave function can be dynamically suppressed by fluctuations in the spacetime geometry. These fluctuations represent the minimal uncertainty that is present when one probes spacetime geometry with a quantum probe. Two similar models have been proposed, one by Diósi and one by Karolyhazy and collaborators, based on apparently unrelated minimal spacetime bounds. The two models arrive at somewhat different expressions for the dependence of the localization coherence (...) length on the mass and size of the quantum object. In the present article we compare and contrast the two models from three aspects: comparison of the spacetime bounds, method of calculating decoherence time, comparison of noise correlation. We show that under certain conditions the minimal spacetime bounds in the two models can be derived one from the other. We argue that the methods of calculating the decoherence time are equivalent. We re-derive the two-point correlation for the fluctuation potential in the K-model, and confirm the earlier result of Diósi and Lukács that it is non-white noise, unlike in the D-model, where the corresponding correlation is white noise in time. This seems to be the origin of the different results in the two models. We derive the non-Markovian master equation for the K-model. We argue that the minimal spacetime bound cannot predict the noise correlation uniquely, and additional criteria are necessary to accurately determine the effects of gravitationally induced decoherence. (shrink)

The relationship between Christians and Muslims underwent drastic fluctuations in the former Ottoman Empire in the nineteenth century and the modern Republic of Turkey in the twentieth century generally. The dynamic can be described as having been one of sanctioned political communion under the Ottoman regime, outright violence and antagonism in the shadows of WWI, and today reflected in a type of social equilibrium, albeit precarious. Specifically, the paper focuses on adumbrating the modus vivendi that facilitated coexistence between Christians (...) and Muslims over the nineteenth and twentieth centuries, and how the Christian communities have subsequently remained to this day. For this purpose the three following regions of East Anatolia are examined: Hakkari, Bohtan, and Turabdin. The history of the Christians, once a legally protected and acknowledged minority under the status of dhimma, is first demonstrated in a historical outline of the confederations of Syriac-Nestorian Christians and Muslim Kurds in the Hakkari region. These socio-political compacts – in Kurdish bazikê çepê and bazikê rastê – provided the bulwark for regional stability and security in the nineteenth century. The dawn of colonialism and the coming of American and British Christian missionaries tolled the knell for this positive mechanism for practical coexistence. Second, the Bohtan region is observed. Here, the history of Anatolia’s Christians reflects a similar negative development. For example, during WWI the Aghas protected the Christians from extermination, whereafter the Christians found themselves to have become the personal property of their Muslim protectors. As chances for emigration from Anatolia to Istanbul and Europe opened up, Christians fled their servitude thereby emptying entire towns of Christians. Lastly, in the Turabdin region, parallels can be made with the Hakkari region: Christians and Muslim Kurds also coexisted through confederations. Yet, like Hakkari and throughout East Anatolia, the massacre of Christians by the Kurdish Emir of Cizre in the mid-nineteenth century and mass murders in 1914–1915 precipitated the decline in Christian population in the twentieth century. The paper concludes that the current relationship between Christians and Muslims is one of living next – yet not equal – to one another. (shrink)

Studying populations, be it a microbe colony or mankind, is important for understanding how complex systems evolve and exist. Such knowledge also often provides insights into evolution, history and different aspects of human life. By and large, populations’ prosperity and decline is about transformation of certain resources into quantity and other characteristics of populations through growth, replication, expansion and acquisition of resources. We introduce a general model of population change, applicable to different types of populations, which interconnects numerous factors influencing (...) population dynamics, such as nutrient influx and nutrient consumption, reproduction period, reproduction rate, etc. It is also possible to take into account specific growth features of individual organisms. We considered two recently discovered distinct growth scenarios: first, when organisms do not change their grown mass regardless of nutrients availability, and the second when organisms can reduce their grown mass by several times in a nutritionally poor environment. We found that nutrient supply and reproduction period are two major factors influencing the shape of population growth curves. There is also a difference in population dynamics between these two groups. Organisms belonging to the second group are significantly more adaptive to reduction of nutrients and far more resistant to extinction. Also, such organisms have substantially more frequent and lesser in amplitude fluctuations of population quantity for the same periodic nutrient supply (compared to the first group). Proposed model allows adequately describing virtually any possible growth scenario, including complex ones with periodic and irregular nutrient supply and other changing parameters, which present approaches cannot do. (shrink)

Physical vacuum is a special superfluid medium populated by enormous amount of virtual particle-antiparticle pairs. Its motion is described by the modified Navier–Stokes equation: the pressure gradient divided by the mass density is replaced by the gradient from the quantum potential; time-averaged the viscosity vanishes, but its variance is not zero. Vortex structures arising in this medium show infinitely long lifetime owing to zero average viscosity. The nonzero variance is conditioned by exchanging the vortex energy with zero-point vacuum (...) class='Hi'>fluctuations. The vortex has a non-zero core where the orbital speed vanishes. The speed reaches a maximal value on the core wall and further it decreases monotonically. The vortex trembles around some average value and possesses by infinite life time. The vortex ball resulting from topological transformation of the vortex ring is considered as a model of a particle with spin. Anomalous magnetic moment of electron is computed. (shrink)

Have the large-scale evolutionary patterns illustrated by the fossil record been driven by fluctuations in environmental opportunity, by biotic factors, or by changes in the types of phenotypic variants available for evolutionary change? Since the Modern Synthesis most evolutionary biologists have maintained that microevolutionary processes carrying on over sufficient time will generate macroevolutionary patterns, with no need for other pattern-generating mechanisms such as punctuated equilibrium or species selection. This view was challenged by paleontologists in the 1970s with proposals that (...) the differential sorting and selection of species and clades, and the effects of biotic crises such as mass extinctions, were important extensions to traditional evolutionary theory. More recently those interested in macroevolution have debated the relative importance of abiotic and biotic factors in driving macroevolutionary patterns and have introduced comparative phylogenetic methods to analyze the rates of change in taxonomic diversity. Applying Peter Godfrey-Smith’s distinction between distributional explanations and explanations focusing on the origin of variation, most macroevolutionary studies have provided distributional explanations of macroevolutionary patterns. Comparative studies of developmental evolution, however, have implicated the origin of variants as a driving macroevolution force. In particular, the repatterning of gene regulatory networks provides new insights into the origins of developmental novelties. This raises the question of whether macroevolution has been pulled by the generation of environmental opportunity, or pushed by the introduction of new morphologies. The contrast between distributional and origination scenarios has implications for understanding evolutionary novelty and innovation and how macroevolutionary process may have evolved over time. (shrink)

The foundations of Statistical Mechanics can be recovered almost in their entirety from the principle of maximum entropy. In this work we show that its non-equilibrium generalization, the principle of maximum caliber (Jaynes, Phys Rev 106:620–630, 1957), when applied to the unknown trajectory followed by a particle, leads to Newton’s second law under two quite intuitive assumptions (both the expected square displacement in one step and the spatial probability distribution of the particle are known at all times). Our derivation explicitly (...) highlights the role of mass as an emergent measure of the fluctuations in velocity (inertia) and the origin of potential energy as a manifestation of spatial correlations. According to our findings, the application of Newton’s equations is not limited to mechanical systems, and therefore could be used in modelling ecological, financial and biological systems, among others. (shrink)

We give a partial answer to the question whether the Schrödinger equation can be derived from the Newtonian mechanics of a particle in a potential subject to a random force. We show that the fluctuations around the classical motion of a one dimensional harmonic oscillator subject to a random force can be described by the Schrödinger equation for a period of time depending on the frequency and the energy of the oscillator. We achieve this by deriving the postulates of (...) Nelson’s stochastic formulation of quantum mechanics for a random force depending on a small parameter. We show that the same result applies to small potential perturbations around the harmonic oscillator. We also show that the noise spectrum can be chosen to obtain the result for all oscillator frequencies for fixed mass. We discuss heuristics to generalize the result for a particle in one dimension in a potential where the motion can be described using action-angle variables. The main motivation of this paper is to provide a step for constructing a Newtonian theory which would approximately reproduce quantum mechanics both in unitary evolution and measurement regimes. (shrink)

The Horizon Quantum Mechanics is an approach that allows one to analyse the gravitational radius of spherically symmetric systems and compute the probability that a given quantum state is a black hole. We first review the formalism and show how it reproduces a gravitationally inspired GUP relation. This results leads to unacceptably large fluctuations in the horizon size of astrophysical black holes if one insists in describing them as central singularities. On the other hand, if they are extended systems, (...) like in the corpuscular models, no such issue arises and one can in fact extend the formalism to include asymptotic mass and angular momentum with the harmonic model of rotating corpuscular black holes. The Horizon Quantum Mechanics then shows that, in simple configurations, the appearance of the inner horizon is suppressed and extremal geometries seem disfavoured. (shrink)

A distinctive feature ofAeneid8 is the constant interplay and fluctuation of registers, with high epic and thegenus grandealternating with the lighter strains or learned allusions associated with thegenus tenue. As one commentator has remarked, ‘Man darf das Buch allein schon wegen seines Reichtums an Aitien als das ‘kallimacheischste’ derAeneisbezeichnen.’ Beyond the emphasis on aetiology—the Cacus myth in particular is presented asaitionfor the consecration of the Ara Maxima—the Callimachean complexion comes out also in several smaller not-so-serious or learned touches, typically at (...) unlikely moments to infuse an element of humour in an otherwise intensely dramatic narrative. The Hercules–Cacus episode conflates high drama and low comedy as the cattle rustler's slightly ridiculous stratagem becomes a gigantic clash resonating with the primal gigantomachy. Among the rudimentary weapons of mass destruction unleashed by Hercules upon Cacus (omniaque arma|aduocat et ramis uastisque molaribus instat, 8.249-50), the hapaxmolaris(massive boulder, lit. millstone) echoes its Homeric equivalent μύλαξ (Il. 12.161), itself a hapax, with the recherché term then reappearing (again as hapax) at Ovid,Metamorphoses3.59: missiles and diction are equally outlandish. When Hercules in a reprise of the celebrated Empedoclean leap plungesper ignemin pursuit of Cacus (8.256-8), an (incongruous) evocation of the Sicilian philosopher's fiery exit adds a touch of comedy at the heated moment. And from this inferno Virgil moves to Olympus, lowering the tone but raising the temperature as Venus in a domestic comedy seduces the uxorious Vulcan into preparing new armour for Aeneas: now she kindles flames of a different sort in the fire-god (8.388-92, 8.404-6) in a scene marked by witty double entendre that provides a playful contrast with the unfolding drama at Pallanteum. At moments like these, a lighter strain is audible through the epic thunder,Vergilius ludensis hard at work (or play). (shrink)

Wavefunction collapse models modify Schrödinger's equation so that it describes the rapid evolution of a superposition of macroscopically distinguishable states to one of them. This provides a phenomenological basis for a physical resolution to the so-called “measurement problem.” Such models have experimentally testable differences from standard quantum theory. The most well developed such model at present is the Continuous Spontaneous Localization (CSL) model in which a universal fluctuating classical field interacts with particles to cause collapse. One “side effect” of this (...) interaction is that the field imparts energy to the particles: experimental evidence on this has led to restrictions on the parameters of the model, suggesting that the coupling of the classical field to the particles must be mass-proportional. Another “side effect” is that the field imparts momentum to particles, causing a small blob of matter to undergo random walk. Here we explore this in order to supply predictions which could be experimentally tested. We examine the translational diffusion of a sphere and a disc, and the rotational diffusion of a disc, according to CSL. For example, we find that the rms distance an isolated 10−5 cm radius sphere diffuses is ≈(its diameter, 5 cm) in (20 sec, a day), and that a disc of radius 2 ⋅ 10−5 cm and thickness 0.5 ⋅ 10−5 cm diffuses through 2πrad in about 70 sec (this assumes the “standard” CSL parameter values). The comparable rms diffusions of standard quantum theory are smaller than these by a factor 10−3±1. It is shown that the CSL diffusion in air at STP is much reduced and, indeed, is swamped by the ordinary Brownian motion. It is also shown that the sphere's diffusion in a thermal radiation bath at room temperature is comparable to the CSL diffusion, but is utterly negligible at liquid He temperature. Thus, in order to observe CSL diffusion, the pressure and temperature must be low. At the low reported pressure of 5 ⋅ 10−17 Torr, achieved at 4.2°K, the mean time between air molecule collisions with the (sphere, disc) is ≈(80, 45)min. This is ample time for observation of the putative CSL diffusion with the standard parameters and, it is pointed out, with any parameters in the range over which the theory may be considered viable. This encourages consideration of how such an experiment may actually be performed, and the paper closes with some thoughts on this subject. (shrink)

Based on Newton’s laws reformulated in the Hamiltonian dynamics combined with statistical mechanics, we formulate a statistical mechanical theory supporting the hypothesis of a closed universe oscillating in phase-space. We find that the behavior of this universe as a whole can be represented by a free entropic oscillator whose lifespan is nonhomogeneous, thus implying that time is shorter or longer according to the state of this universe given through its entropy. We conclude that time reduces to the entropy production of (...) this universe and that a nonzero entropy production means that local fluctuations could exist giving rise to the appearance of masses and to the curvature of the space. (shrink)

A covariant quantum mechanics for systems of finite-mass particles at finite energy follows from interpreting as Wick-Yukawa fluctuations in particle number the quantum fluctuations which are needed by Phipps to understand measurement theory and by Gyftopoulos to understand the second law of thermodynamics. The dynamical one-variable equations require as input the (N − 1)-particle transition matrices and an N-N vertex or coupling constants at three-particle vertices.

The text confronts the elements of which Luhmann theorizes the educative system, from a critical form to center the suitable approach to know the multiplicity of elements from the educative system. Luhmann’s foundations are criticized and other levels are proposed, from a critical vision of social..

A conception of parental experience is proposed to enhance the move of the study of parenting into the interpersonal realm by describing parental subjectivity from the parent's point of view. Explanations are based on that which the parent can be accountable for, on parental dialogues with observers/clinicians about their dialogues with their infants. This conception of parental subjectivity is compared with other conceptions which define parental subjectivity as the mental apparatus of the parent and not as representing the evolving relation (...) of the parent with the infant, and with explanations which consider parental reports in terms of the parent's psychodynamics and cognitive abilities rather than in terms of the on-going dialogues between themselves and their infants. The paper introduces a typology of parental dialogues with observers/clinicians about their dialogues with their infants, within the context of the non-verbal nature of the infant's communication. The findings from empirical examinations of this typology are presented, and their implications for the proposal that the study of parental relations with their infants should consider the parent's accountability are discussed. (shrink)

O artigo examina o paradoxo cético no chamado “Kripkenstein” à luz da psicologia ecológica, uma teoria cognitiva que tem como base tomar como unidade de análise os organismos juntamente com seus ambientes. O conceito de affordance, também basilar para a psicologia ecológica, oferece uma versatilidade importante para explicações sobre nossa percepção do mundo, e principalmente para a percepção dos aspectos menos tangíveis da realidade, as chamadas “práticas sociomateriais”. Tal abordagem da cognição se mostra valiosa na superação desse paradoxo ao permitir (...) que a mesma seja compreendida como fenômeno coletivo, a linguagem e demais práticas que “seguem regras” estando inseridas nesse contexto como práticas construídas coletivamente que moldam a realidade humana. (shrink)