Informational Processes

"The greatest flaw of conventional physics is the acceptance of magic that has been forced upon all of us by our ignorance of the science of informational processes. This is particularly true with respect to Newtonian motion. We have no right to complain about the fact that nowhere in all of contemporary physics is there a commonsense model of motion. We haven’t had a way to know better. Newton swept this matter under the rug and Poincare and Einstein convinced us that we must believe that there is nothing under the rug. Intoxicated by all our fantastic accomplishments since Newton, it is human nature to avoid dwelling on dead-end issues. So, as smart as we all are, concepts of motion have remained in a state similar to the vitalistic theories of life that flourished in the past. 'Things move.' 'Mass has inertia.' 'Like begets like.' The idea that physics can get along without a fixed reference frame is utter nonsense from an informational viewpoint. It does not matter how brilliant and convenient the theory of relativity is or how many experiments validate its formulas. It is our collective misfortune that, until recently, no one has ever had any competent idea of what an informational point of view is."

- Edward Fredkin (1934 - )
Introduction to Digital Philosophy

Unexpected Meeting

"Mathematicians attach great importance to the elegance of their methods and their results. This is not pure dilettantism. What is it indeed that gives us the feeling of elegance in a solution, in a demonstration? It is the harmony of the diverse parts, their symmetry, their happy balance; in a word it is all that introduces order, all that gives unity, that permits us to see clearly and to comprehend at once both the ensemble and the details. But this is exactly what yields great results, in fact the more we see this aggregate clearly and at a single glance, the better we perceive its analogies with other neighboring objects, consequently the more chances we have of divining the possible generalizations. Elegance may produce the feeling of the unforeseen by the unexpected meeting of objects we are not accustomed to bring together; there again it is fruitful, since it thus unveils for us kinships before unrecognized. It is fruitful even when it results only from the contrast between the simplicity of the means and the complexity of the problem set; it makes us then think of the reason for this contrast and very often makes us see that chance is not the reason; that it is to be found in some unexpected law. In a word, the feeling of mathematical elegance is only the satisfaction due to any adaptation of the solution to the needs of our mind, and it is because of this very adaptation that this solution can be for us an instrument. Consequently this aesthetic satisfaction is bound up with the economy of thought."

- Henri Poincare (1854 - 1912)

Harmonious Order

"The scientist does not study nature because it is useful to do so. He studies it because he takes pleasure in it, and he takes pleasure in it because it is beautiful. If nature were not beautiful it would not be worth knowing, and life would not be worth living. I am not speaking, of course, of the beauty which strikes the senses, of the beauty of qualities and appearances. I am far from despising this, but it has nothing to do with science. What I mean is that more intimate beauty which comes from the harmonious order of its parts, and which a pure intelligence can grasp."

- Henri Poincare (1854 - 1912)

Unexpected Meeting of Objects

"Mathematicians attach great importance to the elegance of their methods and their results. This is not pure dilettantism. What is it indeed that gives us the feeling of elegance in a solution, in a demonstration? It is the harmony of the diverse parts, their symmetry, their happy balance; in a word it is all that introduces order, all that gives unity, that permits us to see clearly and to comprehend at once both the ensemble and the details. But this is exactly what yields great results, in fact the more we see this aggregate clearly and at a single glance, the better we perceive its analogies with other neighboring objects, consequently the more chances we have of divining the possible generalizations. Elegance may produce the feeling of the unforeseen by the unexpected meeting of objects we are not accustomed to bring together; there again it is fruitful, since it thus unveils for us kinships before unrecognized. It is fruitful even when it results only from the contrast between the simplicity of the means and the complexity of the problem set; it makes us then think of the reason for this contrast and very often makes us see that chance is not the reason; that it is to be found in some unexpected law. In a word, the feeling of mathematical elegance is only the satisfaction due to any adaptation of the solution to the needs of our mind, and it is because of this very adaptation that this solution can be for us an instrument. Consequently this esthetic satisfaction is bound up with the economy of thought."

- Henri Poincare (1854 - 1912)

Video-clip from my Photo Exhibit at the American Center for Physics

The opening reception of the Worlds Within Worlds exhibit (held at the American Center for Physics, One Physics Ellipse, College Park, MD, 20740, on Monday, November 16, 2009) was - by all accounts - a resounding success. This is due, in no small measure, to the curator Sarah Tanguy, who not only assembled an extraordinary physics-inspired collection of art, but quite an impressive spread of delicious gourmet-quality food and drink. Thanks Sarah! I was also impressed by how many people showed up. I honestly did not know what to expect coming in, but had assumed that since the exhibit is being held inside a physics building - let's be honest, not exactly the Guggenheim ;-) - attendance would either be light or nonexistent. "Perhaps a few stray physicists who have momentarily lost their way to the library?" I predicted to my wife (being myself a physicist I can truthfully assert that "absentmindedness" is almost always a genetic trait;-) Much to my surprise (though not my wife's, who is infinitely more optimistic about such things, and is - lesson here? - almost always right!) there were between 70 and 80 people at the opening, almost all of whom - as far as I could tell - appeared to have had actually planned on being there. Indeed, many wore fancy black ties and suits, so I felt a bit of place, decked out as I was in my day-job "standard" dark slacks and sweater. After schmoozing with attendees for about an hour or so (and nibbling on samosas, some fine cuts of tenderloin, and other assorted hors d'oeuvres), Cynthia Padgett - the only other artist of the three-artist exhibit present at the reception (Julian Voss-Andreae was unfortunately unable to attend) - and I were asked to say a few words in the main reception/banquet hall. Cynthia opted for a quick Q&A session with Sarah, which worked out well, as the audience - and I - learned something about her creative process. When my turn came, I pursed my lips, cleared my throat, performed a quick mental Ralph-Kramden-like hammana-hammana-hammana stammer, walked up to the lectern...and proceeded to kick off my talk with a reference to Poincare maps and multidimensional aesthetic landscapes (true... and likely the first and last time such topics will be mentioned during a talk on photography!). My wife was kind enough to videotape the entire proceedings, including my talk. I've included a ~7 min clip - that you can see by clicking on the image at the top of this blog entry - that discusses the origins of my "Micro Worlds" portfolio (three images of which are included in the Worlds Within Worlds exhibit" - however, in interests of preserving my readers' sanity, I've left out the part on Poincare sections and multidimensional aesthetic landscapes;-). At best, the clip shows that photographers can, if pressed, actually say something half-way intelligible about their photography; at worst, it demonstrates that they should stick to photography ;-) I'll let you, kind readers - and, if you are inclined to click on the link to the video - kind viewers, judge for yourself. The exhibit runs through April 10, 2010.