mills

My name is Mills Baker; I write about love, culture, art, religion, mental illness, philosophy, memory, politics and the rather random.

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Posts tagged physics.
“It would take as many human bodies to make up the sun as there are atoms in each of us. The geometric mean of the mass of a proton and the mass of the sun is 50 kilograms, within a factor of two of the mass of each person here.”

Sir Martin Rees in a TED lecture. He suggests that humans have evolved to this scale, an almost beautiful mean between stars and atomic particles, because we must be large enough to permit massive complexity in structure while small enough to experience minimal gravitational effects.

This idea reminds me of Schrödinger’s amazing explanation of why the fundamental components of human life -particularly DNA- are sized as they are.

It always makes me feel rather happy to think that everything had to be just so for our world, as we know it, to occur. Rees calls this quality of the universe its biophilia and describes it more here.

A Rye Field (1878), by Ivan Shishkin.
Looking at Distorte’s post of J.M.W. Turner’s Rain, Steam and Speed - The Great Western Railway, I was reminded of an elemental part of painting: it does not recreate reality, but reality as we see it. It is for this reason that Impressionism was both controversial and triumphant: in abandoning one form of isomorphism (the geometric and linear fidelity that characterized more realistic painting), it pursued a facet of the visual that had less to do with reality and more to do with how humans see.
We tend to think that we see reality, but as Schrödinger emphasizes in Mind and Matter, what we see has much more to do with our optical cognition than with any qualities of the physical world. To take a common example, the resolution of our vision is such that we perceive objects as solid although they are almost entirely space, empty vacuum around very tiny elementary particles.
In other words: the world is almost entirely void, but you perceive solids and their surfaces in your cogitated (in some sense imagined) sensory way. Your perception is creative; it generates a visual dimension where reality offers only waves of energy, empty lattices of atoms, and the like. Schrödinger says that your “sensation of color cannot be accounted for by the physicist’s objective picture of light-waves.”
Analogies to painting are not hard to conjure; as popular a scene as that in Ferris Bueller’s Day Off, in which the character Cameron seems lost in the composition of A Sunday Afternoon on the Island of La Grande Jatte, presents us with an example of the mysteries of scale and emergence. What is remarkable isn’t that Seurat’s pointillism achieves meaning in the aggregation of those tiny points of color, but that our entire visual world works that way.
(The scene works because such mysteries fascinate us all. How do the points of color come together to make a sky and the people beneath it? How do the moments of our days come together to make our lives? How do the cells of our bodies come together to make us? And how do the tiny and unreliable particles beneath it all combine into this, this world of wonder and meaning?).
Even such contemporary work as later Chuck Close (whom we might term “post-pointillist”) possess this fascination with creating something on our scale -human faces- from something much smaller: the almost cellular masses of color he arranges variously.
The Shishkin above seems at that scale to be a photograph, which is no truer to the fundamental (non-human, unperceived) reality than is a painting. Thus it too moves along this continuum of scales and styles, mass and motion, structure and sensation.
(See here for a larger version).

A Rye Field (1878), by Ivan Shishkin.

Looking at Distorte’s post of J.M.W. Turner’s Rain, Steam and Speed - The Great Western Railway, I was reminded of an elemental part of painting: it does not recreate reality, but reality as we see it. It is for this reason that Impressionism was both controversial and triumphant: in abandoning one form of isomorphism (the geometric and linear fidelity that characterized more realistic painting), it pursued a facet of the visual that had less to do with reality and more to do with how humans see.

We tend to think that we see reality, but as Schrödinger emphasizes in Mind and Matter, what we see has much more to do with our optical cognition than with any qualities of the physical world. To take a common example, the resolution of our vision is such that we perceive objects as solid although they are almost entirely space, empty vacuum around very tiny elementary particles.

In other words: the world is almost entirely void, but you perceive solids and their surfaces in your cogitated (in some sense imagined) sensory way. Your perception is creative; it generates a visual dimension where reality offers only waves of energy, empty lattices of atoms, and the like. Schrödinger says that your “sensation of color cannot be accounted for by the physicist’s objective picture of light-waves.”

Analogies to painting are not hard to conjure; as popular a scene as that in Ferris Bueller’s Day Off, in which the character Cameron seems lost in the composition of A Sunday Afternoon on the Island of La Grande Jatte, presents us with an example of the mysteries of scale and emergence. What is remarkable isn’t that Seurat’s pointillism achieves meaning in the aggregation of those tiny points of color, but that our entire visual world works that way.

(The scene works because such mysteries fascinate us all. How do the points of color come together to make a sky and the people beneath it? How do the moments of our days come together to make our lives? How do the cells of our bodies come together to make us? And how do the tiny and unreliable particles beneath it all combine into this, this world of wonder and meaning?).

Even such contemporary work as later Chuck Close (whom we might term “post-pointillist”) possess this fascination with creating something on our scale -human faces- from something much smaller: the almost cellular masses of color he arranges variously.

The Shishkin above seems at that scale to be a photograph, which is no truer to the fundamental (non-human, unperceived) reality than is a painting. Thus it too moves along this continuum of scales and styles, mass and motion, structure and sensation.

(See here for a larger version).

“Suppose that you could mark the molecules in a glass of water; then pour the contents of the glass into the ocean and stir the latter thoroughly so as to distribute the marked molecules uniformly throughout the seven seas; if then you took a glass of water anywhere out of the ocean, you would find in it about a hundred of your marked molecules.”

Erwin Schrödinger, quoting an example used by Lord Kelvin, to demonstrate how small atoms are (that is: how many of them there are in everything, like glasses of water).

As he notes, however, it’s not so much that atoms are small as it is that we are large, very large. Schrödinger begins What Is Life?, which was sent to me by my dad, by pondering the relative size of organic life to its atomic constituents. Why are cells, organisms, humans so much larger than atoms and atomic events? Why are all fundamental physical processes so far beneath our sensory perception?

The question is not facile, although the immediate instinct is to say, as we do when we don’t understand something, “Because it is!” But Schrödinger arrives at an arresting conclusion: life is vastly larger in scale because at the atomic scale, individual atomic events are not reliably predictable. Due to the bizarre and irregular nature of individual molecular and atomic events, few repeatable phenomena are available for systems to organize their processes with; that is to say, you cannot build reliable, repeatable processes from atoms or molecules because they are too random. Life must use aggregates of millions of atoms or molecules.

In aggregates, atoms behave with statistical regularity despite individual irregularity. Schrödinger illustrates this with examples like diffusion and Brownian motion; in both cases, individual atoms behave with total and unpredictable irregularity, but in massive groups they behave with complete predictability. Just as one could not build a skyscraper on unpredictably shifting earth, so organic life must rely on the aggregation of atoms and molecules for the processes it uses to function (like diffusion, for example). Hence our sense organs all being far too massive to perceive all the fundamental phenomena of the universe’s compositional elements.

Abusing this remarkable observation, I thought it a nicely poetic metaphor for an epistemological phenomenon that has long irked me: the manner in which the more closely examined something is, the more fleeting its precise details are; there is a Heisenberg-like quality to reality, and I remember when as a child I was attempting to learn about JFK’s assassination how baffled I was that so many thousands of investigators, historians, academics, and law-enforcement personnel, working for decades, could not arrive at an indisputable conclusion. As I’ve grown older, I’ve seen that this is true of virtually every event, even those recorded on video or photographic media and witnessed by millions.

While this has nothing whatever to do with Schrödinger and Heisenberg, it struck me then that reality resists knowing: the more closely you examine it, the more space in between facts you see, the more chaotic the motion you seek to arrest, the more diffuse the facts you want to connect. Crystalline structures of conclusive meaning merely mask enormous spaces in their own lattices, spaces where the random trails of the unpredictable remain visible.

(Note: I’m not even discussing the inescapable fact that at the quantum level, and thus probably beyond it, mere observation demonstrably affects reality in ways that are scarcely believable).