- Lee Smolin (1955 - )
The Trouble with Physics
Friday, February 19, 2021
Unified Theory
Thursday, February 18, 2021
Holiness of the Mountain
Wednesday, February 17, 2021
Star-Stuff
- Carl Sagan (1934 - 1996)
Postscript. For those of you wondering what this is "actually" an image of, it is a tight crop - about 1 cm square - of a mildly edited (i.e., basic luminance adjustment, white balance, noise removal, and selective contrast and sharpening) image of an onyx marble stone drink coaster I sometimes use to rest a cup of coffee on while working. Perchance, I happened to catch a glimpse of this phantasmagoric, dreamlike vortex swirling atop a Himalayan mountaintop! I never cease to marvel at the beauty that literally surrounds us throughout our lives; nor at the timeless wisdom contained within the Emerald Tablet of Hermes Trismegistus (purportedly, since no one has actually seen the original tablet):
"As above;
so below.
As within;
so without.
As with the universe;
so with the soul."
Tuesday, February 16, 2021
Informational Processes
- Edward Fredkin (1934 - )
Introduction to Digital Philosophy
Monday, February 15, 2021
Space
We do not see it,
we do not hear it,
we do not feel it.
We are standing in
the middle of it,
we ourselves are
part of it,
but we know
nothing about it."
- M. C. Escher (1898 - 1972)
Saturday, February 13, 2021
Mythology
stored within our language."
- Ludwig Wittgenstein (1889 - 1951)
Thursday, February 11, 2021
Temporality #3
we are a wave
That flows to fit
whatever form it finds"
- Hermann Hesse (1877 - 1962)
The Glass Bead Game
Postscript. One last "improvisation" on finding ways to render the ephemeral beauty that lives and dwells in flame (as described in Temporality #1) before I move on to other images and musings. The base images in this example are selected from the same set I used for my earlier examples (i.e., roughly 100 or so macros of flame, exposed between 1/2000th and 1/5000th sec). Also, just as in the last example (Temporality #2), each panel of the triptych is effectively an average (in terms of luminance) of three separate images. But this time, I loosened the constraint that individual photographs must retain their original orientation. I've written a short Mathematica program that automates the process of assembling triptychs of luminance-averaged layers, wherein each image either remains "as is" (i.e., in its original upright position), is reflected horizontally or vertically (as in a mirror), or is reflected both horizontally and vertically. Of course, this vastly increases the set of randomly assembled images. Assuming 100 "base" images - i.e., original flame macros - a 3 panel assembly consisting of 3 layered base images, each of which can assume any of four orientations, leads to over 50 million! combinations! But, while this makes it difficult, if not impossible, to sample even a small fraction of the "abstract triptych space," it can also yield striking images that would otherwise likely remain unknown. Of course, there are myriad associated aesthetic, conceptual, and philosophical depths that can be mined here (e.g., "What does the space of all possible 'creative' excursions from a starting set of images even look like?" - echoes of Stuart Kauffman's space of the "Adjacent Possible"), but I best end the discussion here, and let the lone exemplar above speak of what lives in that unimaginably larger universe of latent realities.