Q U A N T U M P I G M E N T
"When objects shattered into fragments appeared in my painting about 1909; this for me was a way of getting closest to the object… …Fragmentation helped me to establish space and movement in space."
GEORGES BRAQUE
GEORGES BRAQUE
There would seem to be very little in common between the exuberent avant guarde bohemian lifestyles of the artist exploring the unbounded nature of pure imagination and the dry life accademic existance of the research scientist attempting to understand physical realisty. And I'm here to tell you that you couldn't bee more wrong.
The 20th century saw the final nail driven into the coffin of the stultifying Newtonian (poor Newton) World View and not by an artist or mystic but by an Austrian scientist. thus restoring imagination and human consciousness to its central position in the creative process. The 20th century has seen the arts blosom as never before. My first thoughts were that there was a causal link. Art mimmicing science. On closer examination I feel that there is something else afoot.
The developments in science and art were virtually symaltanious. The world of art and science were recgarded as even more imiscable than now. There would have been no contact between physisists operating at the at the absolute extremes of human understanding and the cafes of momatre. I believe that human collective consciousness passed a nodal point (like a locomotive triggering a signal) and those with enough sensitivity noticed. It was time for man to discover that the world didn't com in contiguous curves but in (albeit minute) chunks.
At the same time that unknown scientists were tussling with quantum theory unknown artists were tussling with cubism. Both were busy restructured the world into quanta. In both cases there were partnerships of heros. Art had Pablo Picasso and George Braque; Science had Max Planck and Neils Bhor. Both were at the very leading edge of their disciplines. You can tell from the following written bt George Braque that there was a true sence of exploring the unknown...
"At that time (around 1907/08) I was very friendly with Picasso. Our temperaments were very different, but we had the same idea. Later on it became clear, Picasso is Spanish and I am French; as everyone knows that mean a lot of differences, but during those days the differences did not count… …We were living in Montmarte, we used to meet every day, we used to talk… …In those years Picasso and I said things to each other that nobody will ever say again, that nobody could say any more… …It was rather like a pair of climbers roped together."
Here's what the textbooks say...
The invention of Cubism was a joint effort between Pablo Picasso and Braque, then residents of Montmartre, Paris. These artists were the movement's main innovators. A later active participant was Juan Gris. After meeting in 1907 Braque and Picasso in particular began working on the development of Cubism. Picasso was initially the force and influence that persuaded Braque by 1908 to move away from Fauvism. The two artists began working closely together in late 1908–early 1909 until the outbreak of World War I in 1914. The movement spread quickly throughout Paris and Europe.
French art critic Louis Vauxcelles first used the term "cubism", or "bizarre cubiques", in 1908 after seeing a picture by Braque. He described it as "full of little cubes", after which the term quickly gained wide use although the two creators did not initially adopt it. Art historian Ernst Gombrich described cubism as "the most radical attempt to stamp out ambiguity and to enforce one reading of the picture—that of a man-made construction, a coloured canvas."[4]
The 20th century saw the final nail driven into the coffin of the stultifying Newtonian (poor Newton) World View and not by an artist or mystic but by an Austrian scientist. thus restoring imagination and human consciousness to its central position in the creative process. The 20th century has seen the arts blosom as never before. My first thoughts were that there was a causal link. Art mimmicing science. On closer examination I feel that there is something else afoot.
The developments in science and art were virtually symaltanious. The world of art and science were recgarded as even more imiscable than now. There would have been no contact between physisists operating at the at the absolute extremes of human understanding and the cafes of momatre. I believe that human collective consciousness passed a nodal point (like a locomotive triggering a signal) and those with enough sensitivity noticed. It was time for man to discover that the world didn't com in contiguous curves but in (albeit minute) chunks.
At the same time that unknown scientists were tussling with quantum theory unknown artists were tussling with cubism. Both were busy restructured the world into quanta. In both cases there were partnerships of heros. Art had Pablo Picasso and George Braque; Science had Max Planck and Neils Bhor. Both were at the very leading edge of their disciplines. You can tell from the following written bt George Braque that there was a true sence of exploring the unknown...
"At that time (around 1907/08) I was very friendly with Picasso. Our temperaments were very different, but we had the same idea. Later on it became clear, Picasso is Spanish and I am French; as everyone knows that mean a lot of differences, but during those days the differences did not count… …We were living in Montmarte, we used to meet every day, we used to talk… …In those years Picasso and I said things to each other that nobody will ever say again, that nobody could say any more… …It was rather like a pair of climbers roped together."
Here's what the textbooks say...
The invention of Cubism was a joint effort between Pablo Picasso and Braque, then residents of Montmartre, Paris. These artists were the movement's main innovators. A later active participant was Juan Gris. After meeting in 1907 Braque and Picasso in particular began working on the development of Cubism. Picasso was initially the force and influence that persuaded Braque by 1908 to move away from Fauvism. The two artists began working closely together in late 1908–early 1909 until the outbreak of World War I in 1914. The movement spread quickly throughout Paris and Europe.
French art critic Louis Vauxcelles first used the term "cubism", or "bizarre cubiques", in 1908 after seeing a picture by Braque. He described it as "full of little cubes", after which the term quickly gained wide use although the two creators did not initially adopt it. Art historian Ernst Gombrich described cubism as "the most radical attempt to stamp out ambiguity and to enforce one reading of the picture—that of a man-made construction, a coloured canvas."[4]
"The pioneer scientist must have a vivid intuitive imagination, for new ideas are not generated by deduction, but
by artistically creative imagination."
MAX PLANCK
by artistically creative imagination."
MAX PLANCK
In 1900 Max Planck made one of the most profound discoveries in modern physics - Quantum Theory. He showed that light is emitted and absorbed in discrete amounts (quanta).
Prior to then light had been considered as a continuous electromagnetic wave, thus the discrete nature of light was completely unexpected, as Albert Einstein explains...
"About fifteen years ago [1899] nobody had yet doubted that a correct account of the electrical, optical, and thermal properties of matter was possible on the basis of Galileo-Newtonian mechanics applied to molecular motion and of Maxwell's theory of the electromagnetic field.
"Then Planck showed that in order to establish a law of heat radiation (Infra red light waves) consonant with experience, it was necessary to employ a method of calculation whose incompatibility with the principles of classical physics became clearer and clearer. For with this method of calculation, Planck introduced into physics the quantum hypothesis, which has since received brilliant confirmation.
"In the year nineteen hundred, in the course of purely theoretical (mathematical) investigation, Max Planck made a very remarkable discovery: the law of radiation of bodies as a function of temperature could not be derived solely from the Laws of Maxwellian electrodynamics. To arrive at results consistent with the relevant experiments, radiation of a given frequency f had to be treated as though it consisted of energy atoms (photons) of the individual energy hf, where h is Planck's universal constant.
"During the years following, it was shown that light was everywhere produced and absorbed in such energy quanta. In particular, Niels Bohr was able to largely understand the structure of the atom, on the assumption that the atoms can only have discrete energy values, and that the discontinuous transitions between them are connected with the emission or absorption of energy quantum. This threw some light on the fact that in their gaseous state elements and their compounds radiate and absorb only light of certain sharply defined frequencies.
"Even the Greeks had already conceived the atomistic nature of matter and the concept was raised to a high degree of probability by the scientists of the nineteenth century. But it was Planck's law of radiation that yielded the first exact determination - independent of other assumptions - of the absolute magnitudes of atoms. More than that, he showed convincingly that in addition to the atomistic structure of matter there is a kind of atomistic structure to energy, governed by the universal constant h, which was introduced by Planck.
"This discovery became the basis of all twentieth-century research in physics and has almost entirely conditioned its development ever since. Without this discovery it would not have been possible to establish a workable theory of molecules and atoms and the energy processes that govern their transformations. Moreover, it has shattered the whole framework of classical mechanics and electrodynamics and set science a fresh task: that of finding a new conceptual basis for all physics. Despite remarkable partial gains, the problem is still far from a satisfactory solution."
(Albert Einstein, on Quantum Theory, 1950)
Prior to then light had been considered as a continuous electromagnetic wave, thus the discrete nature of light was completely unexpected, as Albert Einstein explains...
"About fifteen years ago [1899] nobody had yet doubted that a correct account of the electrical, optical, and thermal properties of matter was possible on the basis of Galileo-Newtonian mechanics applied to molecular motion and of Maxwell's theory of the electromagnetic field.
"Then Planck showed that in order to establish a law of heat radiation (Infra red light waves) consonant with experience, it was necessary to employ a method of calculation whose incompatibility with the principles of classical physics became clearer and clearer. For with this method of calculation, Planck introduced into physics the quantum hypothesis, which has since received brilliant confirmation.
"In the year nineteen hundred, in the course of purely theoretical (mathematical) investigation, Max Planck made a very remarkable discovery: the law of radiation of bodies as a function of temperature could not be derived solely from the Laws of Maxwellian electrodynamics. To arrive at results consistent with the relevant experiments, radiation of a given frequency f had to be treated as though it consisted of energy atoms (photons) of the individual energy hf, where h is Planck's universal constant.
"During the years following, it was shown that light was everywhere produced and absorbed in such energy quanta. In particular, Niels Bohr was able to largely understand the structure of the atom, on the assumption that the atoms can only have discrete energy values, and that the discontinuous transitions between them are connected with the emission or absorption of energy quantum. This threw some light on the fact that in their gaseous state elements and their compounds radiate and absorb only light of certain sharply defined frequencies.
"Even the Greeks had already conceived the atomistic nature of matter and the concept was raised to a high degree of probability by the scientists of the nineteenth century. But it was Planck's law of radiation that yielded the first exact determination - independent of other assumptions - of the absolute magnitudes of atoms. More than that, he showed convincingly that in addition to the atomistic structure of matter there is a kind of atomistic structure to energy, governed by the universal constant h, which was introduced by Planck.
"This discovery became the basis of all twentieth-century research in physics and has almost entirely conditioned its development ever since. Without this discovery it would not have been possible to establish a workable theory of molecules and atoms and the energy processes that govern their transformations. Moreover, it has shattered the whole framework of classical mechanics and electrodynamics and set science a fresh task: that of finding a new conceptual basis for all physics. Despite remarkable partial gains, the problem is still far from a satisfactory solution."
(Albert Einstein, on Quantum Theory, 1950)
"I can feel it coming in the air tonight, Oh Lord / I've been waiting for this moment, all my life, Oh Lord / Can you feel it coming in the air tonight, Oh Lord, Oh Lord"
PHIL COLLINS
PHIL COLLINS
Morphic Resonance
the idea that, through a telepathic effect or sympatheticvibration, an event or act can lead to similar events or acts in thefuture or an idea conceived in one mind can then arise in another
The term [morphic fields] is more general in its meaning than morphogenetic fields, and includes other kinds of organizing fields in addition to those of morphogenesis; the organizing fields of animal and human behaviour, of social and cultural systems, and of mental activity can all be regarded as morphic fields which contain an inherent memory.Rupert Sheldrake, The Presence of the Past
"Morphic field" is a term introduced by Sheldrake. He proposes that there is a field within and around a morphic unit which organizes its characteristic structure and pattern of activity.[10] According to this concept, the morphic field underlies the formation and behaviour of holons and morphic units, and can be set up by the repetition of similar acts or thoughts. The hypothesis is that a particular form belonging to a certain group, which has already established its (collective) morphic field, will tune into that morphic field. The particular form will read the collective information through the process of morphic resonance, using it to guide its own development. This development of the particular form will then provide, again through morphic resonance, a feedback to the morphic field of that group, thus strengthening it with its own experience, resulting in new information being added (i.e. stored in the database). Sheldrake regards the morphic fields as a universal database for both organic (living) and abstract (mental) forms.
That a mode of transmission of shared informational patterns and archetypes might exist did gain some tacit acceptance, when it was proposed as the theory of the collective unconscious by renowned psychiatrist Carl Jung. According to Sheldrake, the theory of morphic fields might provide an explanation for Jung's concept as well. Also, he agrees that the concept of akashic records, term from Vedas representing the "library" of all the experiences and memories of human minds (souls) through their physical lifetime, can be related to morphic fields,[11] since one's past (an akashic record) is a mental form, consisting of thoughts as simpler mental forms (all processed by the same brain), and a group of similar or related mental forms also have their associated (collective) morphic field. (Sheldrake's view on memory-traces is that they are "non-local", and not located in the brain.)[12]
Sheldrake's concept has little support in the mainstream scientific community. Members of the scientific community consider Sheldrake's concept to be currently unfalsifiable and therefore outside of the scope of scientific experiment. The morphic field concept is believed by many to fall into the realm of pseudoscience.[13][14][15]
[edit]Morphic resonanceEssential to Sheldrake's model is the hypothesis of morphic resonance.[16] This is a feedback mechanism between the field and the corresponding forms of morphic units. The greater the degree of similarity, the greater the resonance, leading to habituation or persistence of particular forms. So, the existence of a morphic field makes the existence of a new similar form easier.
Sheldrake proposes that the process of morphic resonance leads to stable morphic fields, which are significantly easier to tune into. He suggests that this is the means by which simpler organic forms synergetically self-organize into more complex ones, and that this model allows a different explanation for the process of evolution itself, as an addition to Darwin's evolutionary processes of selection and variation.
[edit]Morphogenetic fieldFor the concept in developmental biology, see Morphogenetic field.Morphogenetic fields are defined by Sheldrake as the subset of morphic fields which influence, and are influenced by living things.
The term [morphic fields] is more general in its meaning than morphogenetic fields, and includes other kinds of organizing fields in addition to those of morphogenesis; the organizing fields of animal and human behaviour, of social and cultural systems, and of mental activity can all be regarded as morphic fields which contain an inherent memory.—Rupert Sheldrake, The Presence of the Past (Chapter 6, page 112)The term morphogenetic field generally referred to a "collection of cells by whose interactions a particular organ formed" [17] in 1920s and 1930s experimental embryology. "The genetics program of biology was originally in direct opposition to the concept of morphogenetic fields... an alternative to the gene as the unit of ontogeny." [17] Due to the success of genetics, the term fell into widespread disfavor in the 1960s, although it could be still be found in developmental biology literature regarding limb and heart fields. "In such instances, no claims are usually made other than that these areas of mesoderm are destined to form these particular structures".[17] Sheldrake commented on the distinction between his usage and that of the biologist, whom he said uses the term "morphic field" as a heuristic device, which is conceptually distinct from his own use of the term. He says that most biologists regard morphogenetic fields as "a way of thinking about morphogenesis rather than something that really exists."[18]
morphic field surface tension of collective subconscious
PIXEL
the idea that, through a telepathic effect or sympatheticvibration, an event or act can lead to similar events or acts in thefuture or an idea conceived in one mind can then arise in another
The term [morphic fields] is more general in its meaning than morphogenetic fields, and includes other kinds of organizing fields in addition to those of morphogenesis; the organizing fields of animal and human behaviour, of social and cultural systems, and of mental activity can all be regarded as morphic fields which contain an inherent memory.Rupert Sheldrake, The Presence of the Past
"Morphic field" is a term introduced by Sheldrake. He proposes that there is a field within and around a morphic unit which organizes its characteristic structure and pattern of activity.[10] According to this concept, the morphic field underlies the formation and behaviour of holons and morphic units, and can be set up by the repetition of similar acts or thoughts. The hypothesis is that a particular form belonging to a certain group, which has already established its (collective) morphic field, will tune into that morphic field. The particular form will read the collective information through the process of morphic resonance, using it to guide its own development. This development of the particular form will then provide, again through morphic resonance, a feedback to the morphic field of that group, thus strengthening it with its own experience, resulting in new information being added (i.e. stored in the database). Sheldrake regards the morphic fields as a universal database for both organic (living) and abstract (mental) forms.
That a mode of transmission of shared informational patterns and archetypes might exist did gain some tacit acceptance, when it was proposed as the theory of the collective unconscious by renowned psychiatrist Carl Jung. According to Sheldrake, the theory of morphic fields might provide an explanation for Jung's concept as well. Also, he agrees that the concept of akashic records, term from Vedas representing the "library" of all the experiences and memories of human minds (souls) through their physical lifetime, can be related to morphic fields,[11] since one's past (an akashic record) is a mental form, consisting of thoughts as simpler mental forms (all processed by the same brain), and a group of similar or related mental forms also have their associated (collective) morphic field. (Sheldrake's view on memory-traces is that they are "non-local", and not located in the brain.)[12]
Sheldrake's concept has little support in the mainstream scientific community. Members of the scientific community consider Sheldrake's concept to be currently unfalsifiable and therefore outside of the scope of scientific experiment. The morphic field concept is believed by many to fall into the realm of pseudoscience.[13][14][15]
[edit]Morphic resonanceEssential to Sheldrake's model is the hypothesis of morphic resonance.[16] This is a feedback mechanism between the field and the corresponding forms of morphic units. The greater the degree of similarity, the greater the resonance, leading to habituation or persistence of particular forms. So, the existence of a morphic field makes the existence of a new similar form easier.
Sheldrake proposes that the process of morphic resonance leads to stable morphic fields, which are significantly easier to tune into. He suggests that this is the means by which simpler organic forms synergetically self-organize into more complex ones, and that this model allows a different explanation for the process of evolution itself, as an addition to Darwin's evolutionary processes of selection and variation.
[edit]Morphogenetic fieldFor the concept in developmental biology, see Morphogenetic field.Morphogenetic fields are defined by Sheldrake as the subset of morphic fields which influence, and are influenced by living things.
The term [morphic fields] is more general in its meaning than morphogenetic fields, and includes other kinds of organizing fields in addition to those of morphogenesis; the organizing fields of animal and human behaviour, of social and cultural systems, and of mental activity can all be regarded as morphic fields which contain an inherent memory.—Rupert Sheldrake, The Presence of the Past (Chapter 6, page 112)The term morphogenetic field generally referred to a "collection of cells by whose interactions a particular organ formed" [17] in 1920s and 1930s experimental embryology. "The genetics program of biology was originally in direct opposition to the concept of morphogenetic fields... an alternative to the gene as the unit of ontogeny." [17] Due to the success of genetics, the term fell into widespread disfavor in the 1960s, although it could be still be found in developmental biology literature regarding limb and heart fields. "In such instances, no claims are usually made other than that these areas of mesoderm are destined to form these particular structures".[17] Sheldrake commented on the distinction between his usage and that of the biologist, whom he said uses the term "morphic field" as a heuristic device, which is conceptually distinct from his own use of the term. He says that most biologists regard morphogenetic fields as "a way of thinking about morphogenesis rather than something that really exists."[18]
morphic field surface tension of collective subconscious
PIXEL