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THE JOURNEY MAN 1977
THE JOURNEY WOMAN 1977
WISE WISDOM LOST AT SEA DROWNED IN A SEE OF KNOWLEDGE
...
I SAY HAVE I MENTIONED GODS DIVINE CREATORS GODS DIVINE THOUGHT GODS DIVINE LOVE HAVE I MENTIONED INSTINCT, CONSCIENCE, DEITY HAVE I MENTIONED QUO-VADIS HAVE I MENTIONED THAT
THOSE PATENT PATENTED PATIENT PATTERN MAKERS
Ian Stewart 1995 Numerology is the easiest-and consequently the most dangerous-method for finding patterns. It is easy because anybody can do it and dangerous for the same reason. The difficulty lies in distinguishing significant numerical patterns from accidental ones. Here's a case in point. Kepler was fascinated with patterns in nature, and he devoted much of his life to looking for them in the behaviour of the planets. He devised a simple and tidy theory for the existence of precisely six planets (in his time only Mercury, Venus, Earth, Mars, Jupiter, and Saturn were known). He also discovered a very strange pattern relating the orbital period of a / planet- the time it takes to go once around the Sun-to its distance from the Sun. Recall that the square of a number is what you get when you multiply it by itself: for example, the square of 4 is 4 x 4 = 16. Similarly, the cube is what you get when you multiply it by itself twice: for example, the cube of 4 is 4 x 4 x 4 = 64. Kepler found that if you take the cube of the distance of any planet from the Sun and divide it by the square of its orbital period, you always get the same number. It was not an especially elegant number, but it was the same for all six planets. Which of these numerological observations is the more significant? The verdict of posterity is that it is the second one, the complicated and rather arbitrary calculation with squares and cubes. This numerical pattern was one of the key steps towards Isaac Newton's theory of gravity, which has explained all sorts of puzzles about the motion of stars and planets. In contrast, Kepler's neat, tidy theory for the number of planets has been buried without trace. For a start it must have been wrong, because we now know of nine planets, not six. There could be even more, farther out from the Sun, and small enough to be undetectable But more important, we no longer expect to find a neat, tidy theory for the number of planets. We think that the Solar System condensed from a cloud of gas surrounding the Sun, and the number of planets presumably depended on the amount of matter in the gas cloud, how it was distributed, and how fast and in what directions it was moving. An equally plausible gas cloud could have given us eight planets, or eleven; the number is accidental, depending on the initial conditions of the gas cloud, rather than universal, reflecting a general law of nature" Page 6 " The big problem with numerological pattern-seeking is that it generates millions of accidentals for each universal. Nor is it always obvious which is which. For example, there are three stars, roughly equally spaced and in a straight line, in the belt of the constellation Orion. Is that a clue to a significant law of nature? Chapter 6 Page 81 "Nature's symmetries can be found on every scale, from the structure of subatomic particles to that of the entire universe. Many chemical molecules are symmetric. The methane molecule is a tetrahedron - a triangular-sided pyramid - with one carbon atom at its center and four hydrogen atoms at its corners Benzene has the sixfold symmetry of a regular hexagon. The fashionable molecule buckminsterfullerene is a truncated icosahedral cage of sixty carbon atoms. (An icosahedron is a regular solid with twenty triangular faces;
CELL = 3533 = CELL 3533 = CELL = 3533 CELL = 3533 = CELL CELL = 5 = CELL SEE EL EL SEE C ELL ELL C CIRCLE = 5 5 = CIRCLE
THE GALACTIC CLUB Intelligent life in outer space? Ronald N. Bracewell 1974 Page 1 Chapter 1 ARE WE ALONE?
Richard P. Feynman
ADVENT 733 ADVENT
THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
MATHEMATICS AND THE IMAGINATION Edward Kasner and James Newman 1940 Assorted Geometries-Plane and Fancy Page 124 "Analytical four-dimensional Eu-clidean geometry is the system formed by theorems derived from these definitions. Page 130 Modern science has as yet devised no relief for the man who finds himself with two right gloves instead of a right and a left. In Flatland, the same problem would exist. But there, Gulliver, looking down at its inhabitants from the eminence of a third dimensionl would see at once that, just as in the case of the two triangles on page 127, all that is necessary to turn a right glove into a left Page 127 ( Fig 34.- This is no blueprint but an actual house in Flatland.diagram omitted) Notes page 126 *See the chapter on paradoxes for an exact definition.
THE MAGIC MOUNTAIN Thomas Mann 1875 1955 Page 10 "Number 34"
A RANDOM WALK IN SCIENCE An Anthology compiled by RL Weber 1973 Flatland: a romance of many dimensions "From Nature [An anonymous letter entitled 'Euclid, Newton, and Einstein,' published in Nature on February12, 1920, called attention to a little book by Edwin Abbott Abbott (1838-1926), best known for his scholarly Shakespearian Grammar, his life of Francis Bacon and a number of theological discussions.] From Edwin A Abbott Flatland A Romance of Many Dimensions (New York: Barnes and Noble) 1963
[In a vision the narrator, a native of Flatland, has been indoctrinated by Abbott, Flatland. Sphere to carry the Gospel of Three Dimensions to his blind benighted countrymen in Flatland.] I. 'Thine interior: thy stomach, thy intestines.' I. 'I know not: but doubtless my Teacher knows'.
THE FLATLANDS
THE MAGIC MOUNTAIN Thomas Mann 1875 - 1955 Page 711 "These were the moments when the "Seven-Sleeper," not knowing what had happened, was slowly stirring himself in the grass, before he sat up, rubbed his eyes - yes, let us carry the figure to the end, in order to do justice to the movement of our hero's mind: he drew up his legs, stood up, looked about him. He saw himself released, freed from enchantment-not of his own motion; he was fain to confess, but by the operation of exterior powers, of whose activities his own liberation was a minor incident Indeed! Yet though his tiny destiny fainted to nothing in the face of the general, was there not some hint of a personal mercy and grace for him, a manifestation of divine goodness and justice? Would Life receive again her erring and " delicate " child-not by a cheap and easy slipping back to her arms, but sternly, solemnly, peni-entially - perhaps not even among the living, but only with three salvoes fired over the grave of him a sinner? Thus might he return. He sank on his knees, raising face and hands to a heaven that howsoever dark and sulphurous was no longer the gloomy grotto of his state of sin."
PLATO THE REPUBLIC Translated with an introduction by Desmond Lee 1953 Page 316 PART SEVEN [BOOK SIX] . "This is a more graphic presentation of the truths presented in the analogy of the Line,' in particular, it tells us more about the two states of mind called in the Line analogy Belief and Illusion. We are shown the ascent of the mind from illusion to pure philosophy, and the difficulties which accompany its progress. And the philosopher, when he has achieved the supreme vision, is required to return to the cave and serve his fellowls, his very unwillingness to do so being his chief qualification. As Cornford pointed out, the best llIay to understand the simile is to replace' the clumsier apparatus' of the cave by the cinema, though today television is an even better comparison. It is the moral and intellectual condition of the average man from llIhich Plato starts; and though clearlY the ordinary man knollls the difference between substance and ShadO1ll in the physical llIorld, the simile suggests that his moral and intellectual opinions often bear as little relation to the tntth as the average film or television programme does to real life. 1 The words used for 'belief' and 'illusion' do not (with the possible exception of a use of pistis in Book X; see p. 430) occur elsewhere in Plato in the sense in which they are used here. Pistis, 'belief', conveys overtones of assurance and trustworthiness: 'commonsense assurance' (Cross and WoozIey,p. 226). Eikasia, 'illusion', is a rare word whose few occurrences elsewhere in Greek literature give us little guidance. It can mean 'conjecture', 'guesswork', and some prefer so to translate it here. Page 317 THE PHILOSOPHER RULER 'I want you to go on to picture the enlightenment or ignorance of our human condition somewhat as follows. Imagine an underground chamber like a cave, with a long entrance open to the daylight and as wide as the cave. In this chamber are men who have been prisoners there since they were children, their legs and necks being so fastened that they can only look straight ahead of them and cannot turn their heads. Some way off, behind and higher up, a fire is burn-ing, and between the fire and the prisoners and above them runs a road, in front of which a curtain-wall has been built, like the screen at puppet shows between the operators and their audience, above which they show their puppets.' 'Certainly not at first,' he agreed. Page325 (number omitted) 'Then will our pupils, when they hear what we say, dissent and refuse to take their share of the hard work of government, even though spending the greater part of their time together in the pure air above?' I. Lit: 'like us'. How 'like' has been a matter of controversy. Plato can hardly have meant that the ordinary man cannot distinguish between shadows and real things. But he does seem to be saying, with a touch of caricature (we must not take him too solemnly), that the ordinary man is often very uncritical in his beliefs, which are little more than a 'careless acceptance of appearances , (Crombie). Notes page 318 1. Lit: 'regard nothing else as true but the shadows'. The Greek word alethes (true) carries an implication of genuinenes, and some Note page 319 Odyssey, XI, 489. Note Page 320 1. I.e. the similes of the Sun and the Line (though pp. 267-76 must surely also be referred to). The detailed relations between the three similes have been much disputed, as has the meaning of the word here translated 'connected'. Some interpret it to mean a detailed corre-spondence ('every feature. . . is meant to fit' - Cornford), others to mean, more loosely, 'attached' or 'linked to'. That Plato intended some degree of 'connection' between the three similes cannot be in doubt in view of the sentences which follow. But we should remember that they are similes, not scientific descriptions, and it would be a mistake to try to find too much detailed precision. Plato has just spoken of the prisoners 'getting their hands' on their returned fellow and killing him. How could they do that if fettered as described at the opening Of the simile (p. 317)? But Socrates was executed, so of course they must. Note 1 page 321 1. a. footnote 4, p.133 Note 1 page 322 1. Techne., Arete, Note 1 page 324 1. cr. 420b and 4660 above, pp. 18fand 252.
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
NUMBERS RE-ARRANGED IN NUMERICAL ORDER
NET ENTERS NETERS TEN
THE R IN EVOLUTION REVOLUTION
THE LAST SUPPER 1977
The term pareidolia (pronounced /pæraɪˈdoʊliə/), referenced in 1994 by Steven Goldstein, [1] describes a psychological phenomenon involving a vague and ... en.wikipedia.org/wiki/Pareidolia The term pareidolia (pronounced /pæraɪˈdoʊliə/), referenced in 1994 by Steven Goldstein,[1] describes a psychological phenomenon involving a vague and random stimulus (often an image or sound) being perceived as significant. Common examples include images of animals or faces in clouds, the man in the moon, and hidden messages on records played in reverse. The word comes from the Greek para- — beside, with or alongside — and eidolon — image (the diminutive of eidos — image, form, shape). Pareidolia is a type of apophenia. EXAMPLES Religious Further information: Perceptions of religious imagery in natural phenomena There have been many instances of perceptions of religious imagery and themes, especially the faces of religious figures, in ordinary phenomena. Many involve images of Jesus, the Virgin Mary, or the word Allah. In 1978, a New Mexican woman found that the burn marks on a tortilla she had made appeared similar to Jesus Christ's face. Thousands of people came to see the framed tortilla.[2] The recent publicity surrounding sightings of religious figures and other surprising images in ordinary objects, combined with the growing popularity of online auctions, has spawned a market for such items on eBay. One famous instance was a grilled-cheese sandwich with the Virgin Mary's face.[3] In September, 2007, the so-called "monkey tree phenomenon" caused a minor social mania in Singapore. A callus on a tree there resembles a monkey, and believers have flocked to the tree to pay homage to the Monkey God.[4] [edit] Rorschach test Main article: Rorschach inkblot test The Rorschach inkblot test uses pareidolia to attempt to gain insight into a person's mental state.[2] [edit] Audio In 1971, Konstantin Raudive wrote Breakthrough, detailing what he believed was the discovery of electronic voice phenomenon (EVP). EVP has been described as auditory pareidolia.[2] The allegations of backmasking in popular music have also been described as pareidolia.[2] [edit] Explanations [edit] Carl Sagan Carl Sagan hypothesized that as a survival technique, human beings are "hard-wired" from birth to identify the human face. This allows people to use only minimal details to recognize faces from a distance and in poor visibility, but can also lead them to interpret random images or patterns of light and shade as being faces.[5] [edit] Clarence Irving Lewis In his 1929 book Mind and the World Order, epistemologist and logician Clarence Irving Lewis, a founder of the philosophical school of conceptual pragmatism, used the question of how to determine whether a perception is a mirage as a touchstone for his philosophical approach to knowledge. Lewis argued that one has no way of knowing whether or not perceptions are "true" in any absolute sense; all one can do is determine whether one's purpose is thwarted by regarding it as true and acting on that basis. According to this approach, two people with two different purposes will often have different views on whether or not to regard a perception as true. [6] Gallery (Images omitted)
DAILY MAIL Thursday, January 24 WATCH THIS SPACE Michael Hanlon Science Editor THE proper word for it is pareidolia: the phenomenon where people tend to see human faces and other familiar forms in otherwise unfamiliar objects. We have all seen faces and creatures in the sky. When Hamlet saw a strange cloud, he explained to Polonius, 'Methinks it is like a weasel' (Polonius, for his part thought it more like a camel). People are forever seeing Jesus or the Virgin Mary in tortillas, buns, the swirls in their coffee and reflections in windows. But, for some reason, one of the most popular places to see these unlikely visions is in space. This week, the Mail showed an extraordinary photograph taken by the Nasa Mars Rover, Spirit, which has been trundling across the surface of the Red Planet for four years. In the picture, which I have no reason to suspect was doctored or altered, there appears to be a greenish-brown human figure, a woman perhaps, perched on a rock, staring rather wistfully at the crater floor below her. The longer you stare at this picture, the more convincing the 'human becomes. But it is an illusion; there is no woman, green or otherwise, on the surface of Mars. If there were, she would suffocate and freeze in short order. This is simply a trick of the light, shadow and perspective, the brain seeing something familiar in an alien jumble of volcanic rocks under a strange orange-pink sky. Yet this will not be the first or the last - time we have seen strange apparitions on Mars, on Earth and on other planets. The first and best - known example of pareidolia in space was of course the Man in the Moon. I have never found its surface to look particularly human, but many people insist the pattern of dark lava plains and brighter highland areas look for all the world like a human nose, mouth and two eyes. If I squint, I suppose I can just about see it. Mars, for some unknown reason, is home to many strange apparitions. People have been 'seeing' things on the Red Planet that aren't there for more than a century.
LOOKING FOR THE ALIENS A PSYCHOLOGICAL, SCIENTIFIC AND IMAGINATIVE INVESTIGATION Peter Hough & Jenny Randles 1991 9 Life on Mars Page 77 (photograph omitted) "The remarkable 'face' on the surface of Mars taken from Viking 1. Is this really an alien construction or an accident of light and shade? Compare it with the rock simulacra on the Sedona photograph on page 81. (NASA)" Page 81 (photograph omitted) "This New Age community has been set up in the red rock country around Sedona, Arizona.. Here psychics channellers and other esoteric believers live together. Note the human face on the rock to the left. This is simulacra, an accident of erosion and lighting, or as some believe - an alien artefact like the face on Mars. (Jenny Randles)
PLATO'S PROGRESS Gilbert Ryle 1966 Edition Page 23 Chapter 2 The Publication of the Dialogues "The literary simulacrum has to be posterior to the real thing and to lack the life of the real thing. It smells pro -/ Page 24 / leptically of the reader's lamp. There is no such smell in Plato's earlier dialogues. (b) Aristotle frequently contrasts 'exoteric' discourses with other discourses designed for academic recipients"
Simulacrum - Wikipedia, the free encyclopediaModern French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. ...
en.wikipedia.org/wiki/Simulacrum - Cached - Similar
Simulacrum Contents [hide] [edit] Simulacrum in literature, film, and television [edit] Simulacrum and recreation [edit] Simulacra in caricature [edit] Simulacra in iconography [edit] See also
To simulate, Baudrillard says initially, is to pretend to have what one has not. He compares previous notions of extreme simulation with a Borges' story in ... www.hku.hk/english/courses2000/7006/introbau.htm SUMMARY Jean Baudrillard. "Simulacra and Simulations", in Jean Baudrillard: Selected Writings. ed. Mark Poster, Polity Blackwell, 1988.pp.166-184 To simulate, Baudrillard says initially, is to pretend to have what one has not. He compares previous notions of extreme simulation with a Borges' story in which the conceptual (a map) exactly replicates the original (real territory). Today, however, we have simulacra - 'the generation by models of a real without origin or reality: a hyperreal.' Baudrillard posits the end of metaphysics, of questions of imitation or reduplication of the 'real', and the start of "substituting signs of the real for the real itself". To simulate, in fact, implies more than just 'pretending'. It produces the same symptoms/signs/images as the 'real' and so operates on a different level from the 'false' or the 'true'. Baudrillard makes a comparison with a religion in which there are only icons or images of a non-existent God Subsequently, Baudrillard argues that there are four phases of the image: one that reflects a basic reality; one that masks or perverts a basic reality; one that masks the absence of a basic reality; and one that bears no relation to any reality (is its own pure simulacrum). He then discusses these phases, and particularly the fourth, in relation to Disneyland and Watergate. As a development of this, one of Baudrillard's most famous and provocative claims is that "Illusion is no longer possible." He gives the example of a bank raid and argues that the apparatus at a Western bank is so geared towards reading the signs of a 'real' bank raid that it would be impossible to simulate one: the established order 'devours' attempts at simulation. This is because simulation is threatening (especially of categories like truth and falsehood, certainty and uncertainty, good and evil). "Whence the characteristic hysteria of our time: the hysteria of production and reproduction of the real." Botticelli, then at the height of his career, plays the role of an “anti-Protogenes” whose views .... to explain why Leonardo's advice to painters, even ... etext.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv1-47 CHANCE IMAGES Strictly speaking, an image made by chance is an absurdity. Explicit, fully articulated images, our experience tells us, must be the result of purposeful activity, which is the very opposite of chance in the sense of mere randomness. The dilemma can be resolved either by (1) attributing a hidden purpose to chance, which thus becomes an agency of the divine will personified under such names as Fate, Fortune, or Nature; or by (2) acknowledging that chance images are in fact rudimentary and ambiguous, and are made explicit only in the beholder's imagination. The former view, characteristic of prescientific cultures, is akin to all the beliefs based on the “ominous” meaning of flights of birds, heavenly constellations, the entrails of sacrificial animals, and countless other similar phenomena. It was prevalent until the Renaissance and has not entirely lost its appeal even today. The latter view, although I Classical antiquity seems to have confined its attention to chance images of three kinds: those in rocks, blots, and clouds. For the first two, our earliest source is Pliny's Natural History, although his references to these phenomena are clearly derived from Greek
(probably Hellenistic) literature. He tells of an image of Silenus found inside a block of Parian marble that had been split open with wedges (XXXVI, v) and of “the agate of Pyrrhus on which could be seen Apollo with his lyre and the nine muses, each with her proper attribute, rendered not by art but by nature, through the pattern of the spots” (XXXVII, i). The context from Page 341, Volume 1 which Pliny lifted these passages cannot be reconstructed; the images, absurdly perfect down to the last iconographic detail, are apparently cited as evidence of the miraculous generative powers of Nature, superior to any man-made artifact. Somewht more illuminating is Pliny's story about a panting dog in a picture by the famous Hellenistic painter Protogenes (XXXV, x). The artist tried in vain to represent the foam issuing from the mouth of the animal until, in a rage, he hurled a sponge at his panel and thereby achieved the desired result. This dog, Pliny states, “was wondrously made,” since the natural effect was the work of fortuna. The same story, he informs us, is told of another famous painter, Nealces, with a horse taking the place of the dog. A variant of the latter version, substituting Apelles for Nealces, occurs in the sixty-fourth oration of Dio Chrysostom, which deals with the workings of fortuna. Here again the chance image is so perfect as to surpass any human intention. The inference to be drawn from the sponge story, it would seem, is that Fortune reserves such “strokes of luck” only for the greatest of artists, as if on occasion she took pity on their ambition to achieve the impossible.It must have been these accounts of incredibly perfect chance images that provoked the following skeptical rejoinder from Cicero: Pigments flung blindly at a panel might conceivably form themselves into the lineaments of a human face, but do you think the loveliness of the Venus of Cos could emerge from paints hurled at random?... Carneades used to tell that once, in the quarries of Chios, a stone was split open and the head of a little Pan appeared; well, the bust may not have been unlike the god, but we may be sure that it was not so perfect a reproduction as to lead one to imagine that it had been wrought by Scopas, for it goes without saying that perfection has never been achieved by accident (De divinatione I, xiii).
This early hint at the rationalist explanation of chance images corresponds to the classicistic taste that dominated Roman art of the late Republic and the Augustan era (note the references to classic Greek masters). The story of the sponge-throwing painter, in contrast, reflects an admiration for spontaneity, for inspired groping by a great individual as against an impersonal ideal of perfection. If fortuna favors only artists of the stature of Protogenes, Nealces, or Apelles, is she not just another name for genius? Such an unclassical (one is tempted to call it romantic) attitude seems to have existed in Hellenistic art, although it cannot be documented from surviving examples. An echo of it may be found in another passage of Pliny's Natural History (XXXV, cxlv) that speaks of painters whose unfinished pictures were sometimes even more admirable than their completed work, because they still showed the lines of the original sketch and thus revealed the working of the artist's mind. The agate of Pyrrhus, too, although obviously myth ical, has a bearing on artistic practice. Greeks and Romans greatly admired carved gems of varicolored semiprecious stones, as attested by the large number of preserved specimens. In many of these, the design takes advantage of, and may indeed have been suggested by, the striations of the material. Thus the value of a gem stone was probably measured by its potential in this respect even more than by its rarity, and those that lent themselves particularly well to carving would have been looked upon as miraculous “images made (or at least preshaped) by Nature.” How far human skill has been “aided by Nature” in any given case is of course difficult to assess after the carving is finished, although certain gems indicate that the artist wanted to suggest that such aid had been considerable. The ancient marble sculptor's interest in chance effects, suggested by the tales of images found in cracked blocks, is even harder to verify. One wide-spread feature of later Greek and Roman decoration, the foliage mask, may have originated in this way. Ladendorf has proposed that it developed from the acanthus ornament crowning Attic grave steles, which sometimes tends to assume the appearance of a human face. This physiognomic effect is so unobtrusive that, in the beginning at least, it could hardly have been intentional. A stele (an up right stone slab or pillar) evokes the image of a standing figure, and its upper terminus thus may be viewed as its “head.” Perhaps this notion was unconsciously present in the carver's mind. In any event he must have become aware at some point of the face hidden among the foliage, and from then on the effect was exploited quite explicitly. The foliage mask, then, could be termed an “institutionalized chance image.” Figures that are seen in clouds are noted by Aristotle (Meteorology I, ii) and briefly mentioned in Pliny's Natural History (II, lxi) and other ancient authors. Because of their instability and remoteness, however, they were not given the significance of the miraculous images made by Nature or Fortune in rocks and blots, and their origin rarely excited speculation. An excep tion is Lucretius (De rerum natura IV, 129ff.), who found them a challenge to his theory that all images are material films given off by objects somewhat in the manner of snakes shedding their outer skin. Since cloud figures are unstable, there cannot be any objects from which these image films emanate; Lucretius therefore postulates the spontaneous generation of such films in the upper air—an ingenious but hardly persuasive solution. By far the most interesting analysis of the phenomenon, linking it for the first time with the / Page 342, Volume 1 process of artistic creation, occurs in a memorable dialogue in Philostratus' Apollonius of Tyana (II, 22). Apollonius and his interlocutor, Damis, agree that the painter's purpose is to make exact likenesses of everything under the sun; and that these images are make- believe, since the picture consists in fact of nothing but pigments. They further agree that the images seen in clouds are make-believe, too. But, Apollonius asks, must we then assume that God is an artist, who amuses himself by drawing these figures? And he concludes that those configurations are produced at random, without any divine significance; it is man, through his natural gift of make-believe, that gives them regular shape and existence. This gift of make-believe (i.e., imagination) is the common property of all. What distinguishes the artist from the layman is his ability to reproduce his mental images in material form. To Philostratus the difference between cloud figures and painted images would thus seem to be one of degree only: the artist projects images into the pigments on his panel the way all of us project images into the random shapes of clouds, but he articulates them more clearly because of his manual skill. Although this view clearly reflects the growing ascendency of fantasia over mimesis—of imagination over imitation—that had been asserting itself in the attitude of the ancients toward the visual arts ever since Hellenistic times, it retains the traditional conception of painting and sculpture as crafts or “mechanical arts” as against the “liberal arts.” That the artist might be distinguished from the nonartist by the quality of his imagination rather than by his manual training did not occur to Philostratus. If it had, he would have anticipated an achievement of the Renaissance by more than a thousand years. Nor did ancient painters think of the pigments on their panels as a “hunting ground” for images analogous to clouds; they seem, in fact, to have been repelled by clouds—the skies in ancient landscapes are devoid of them, and even where the subject requires them (as in The Sacrifice of Iphigenia, Naples) they appear as the merest wisps. This aversion was clearly a matter of aesthetics, not of disability. Ancient painters commanded all the illusionistic techniques for rendering clouds, and bequeathed them to Early Christian art, where clouds are conspicuous. II The Middle Ages inherited most of the classical accounts of chance images, but did not respond to all of the three types discussed above. The “lucky blot,” known from Pliny's story of Protogenes, seems to have evoked neither repetition nor comment. References to cloud figures occur as a rhetorical device in theological writings, stressing their instability and lack of substance, as when Anselm of Canterbury (Cur Deus homo, ed. F. S. Schmitt, Darmstadt [1960], p. 16) compares certain fallacious arguments to “figments painted on clouds” (perhaps indirectly echoing Philostratus); Michael Psellus, in a similar vein, says that demons Page 343, Volume 1 can change their appearance as easily as the ever changing configurations of clouds, which may resemble the shape of men, bears, dragons, etc. Albertus Magnus seems to have been the only one to attribute material substance to cloud figures, although his explanation differs from that of Lucretius: exhalations from the earth, he claims, if aided by heavenly constellations, can form in the clouds perfect though lifeless animal bodies, which may actually drop from the sky (On Meteors, III, iii, 23, citing Avicenna). Elsewhere he also records the chance images inside locks of marble, stressing their miraculous characters; he even reports that he himself once saw the head of a bearded king on the cut surfaces of such a block that had just been sawed in two (On Minerals, II, iii, 1); all who witnessed the event agreed that Nature had painted this image on the stone. Both of these accounts of “natural miracles” were given popular currency toward the end of the Middle Ages by Franciscus de Retza, who cited the animal body dropping from the ky as well as the head in the marble as arguments for the Immaculate Conception in his Defensorium in- violatae virginitatis Mariae (ca. 1400). The scenes were even illustrated in an early printed edition.By far the most widespread chance images, however, were those of the “agate-of-Pyrrhus” type. The ancients' love of gems continued undiminished throughout the Middle Ages; indeed, these stones were the only artistic relics of the pagan past to enjoy continuous and unquestioned appreciation. Thousands of them were incorporated in medieval reliquaries and other sacred objects, regardless of their pagan subject matter, and reports of chance images recur in treatises on mineralogy from the lapidary of Marbod of Rennes to Ulisse Aldrovandi and Athanasius Kircher. (The accounts of these pierres imagées have been collected and analyzed by Baltrušaitis.) Their effect on artistic practice, however, is difficult to measure. One clear-cut—and so far unique—instance was discovered by Ladendorf: the tiny faces hidden among the striations of the multicolored marble columns on the canon table pages of the Gospel Book from Saint Médard, Soissons. The artist who painted these columns in the early years of Charlemagne's reign may have seen such faces in early Christian manuscripts, or he could have “discovered” them in his own brushwork while he was at work. In either case, his intention must have been to characterize the material of these columns as miraculous and uniquely precious—and hence worthy to frame the words of the Lord. A certain propensity toward chance images seems to have existed throughout medieval art, even though the subject is far from fully explored. Thus, in the Nativity scene of an early Gothic German Psalter, there are no less than three faces on the ground in the immediate vicinity of Saint Joseph. The one farthest to the left appears to have been developed from a piece of drapery; the other two fill interstices be tween clumps of plants. Perhaps the most plausible explanation for them is that the artist “found” (i.e., / Page 344, Volume 1 projected) them in the process of copying an older miniature whose stylistic conventions he did not fully understand. His readiness to interpret unfamiliar details physiognomically suggests that he knew the “institutionalized chance image” of the foliage mask, which had been revived at least as early as the twelfth century and was well-established in the repertory of Gothic art. Since these masks sometimes carry in scriptions identifying them as images of pagan nature spirits or demons, the faces in our Nativity may have been intended to evoke the sinister forces overcome by the Savior.That Gothic art continued to be receptive to chance images even in its final, realistic phase is strikingly shown by the Hours of Catherine of Cleves, a Nether landish manuscript of ca. 1435-40 distinguished for its elaborate painted borders. One of these consists of butterflies, rendered with painstaking attention to the colorful patterns of their wings. Among them is a butterfly whose wing pattern resembles a cavernous human face, like that of a decaying corpse come back to life. There can be no question that the effect is intentional, yet it could hardly have been planned from the start; in all likelihood the artist became aware of it only in the process of ainting, and then chose to elaborate upon it so that the beholder could share his experience. What made him do so, we may assume, was not only an interest in chance images (there is evidence of this on other pages of the same manuscript) but the role of the butterfly as a symbol of vanitas, which associated it with death. Despite such links with orthodox iconography, there is a strong element of playfulness in medieval chance images. The purest instance of this is a drawing of 1493 by the young Albrecht Dürer, one side of which shows a self-portrait, a sketch of his left hand, and a pillow, / Page 345, Volume 1 / while six more pillows appear on the other side (Figure 8). Ladendorf was the first to recognize the purpose of these pillows: a search for faces hidden among the folds. Most easily recognizable is the one in the lower left-hand corner—a bearded Turk with a huge turban. Turning the sheet upside down, we also discover that the pillow in the upper left-hand corner contains the craggy face of a man wearing a pointed hat. Since these are the only image-bearing pillows we know of in the history of art, Dürer presumably discovered their physiognomic potential by accident, perhaps while sketching a pillow in preparation of a print or a painting. What enabled him to play this game, however, must have been a familiarity with chance images in other, more traditional materials such as stone. He might indeed have looked upon his pillows as “malleable rocks” from which such images could be elicited by manipulation. Yet he seems to have kept his discovery to himself, so that the pillow-faces never be-came “institutionalized.” III The Renaissance phase in the history of our subject begins with the opening sentences of Leone Battista Alberti's treatise De statua, written about 1430. Here the origin of sculpture is described as follows Those [who were inclined to express and represent... the bodies brought forth by nature] would at times observe in tree runks, clumps of earth, or other objects of this sort certain lineaments which through some slight changes could be made to resemble a natural shape. They thereupon took thought and tried, by adding or taking away here and there, to render the resemblance completeBefore long, Alberti adds, the primeval sculptors learned how to make images without depending on such resemblances latent in their raw material. This passage is the earliest statement of the idea that what sets the artist apart from the layman is not his manual skill but his ability to discover images in random shapes, i.e., his visual imagination, which in turn gives rise to the desire to make these images more explicit by adding or taking away. How did Alberti arrive at this astonishing insight? Classical art theory provides no etiology of sculpture, and its etiology of painting is purely mimetic: the first artist traced a shadow cast by the sun. Moreover, in contrast to the agate of Pyrrhus and the heads supposedly discovered in cracked blocks of marble, the chance images in Alberti's tree trunks and clumps of earth are rudimentary rather than miraculously complete. Perhaps the key to the puzzle is the fact that Alberti postulates wood and clay, not stone or marble, as the sculptor's aboriginal materials. If he started out by wondering what the earliest statues were made of, he could have found an answer in Pliny (XII, i), who concludes a discussion of the central importance of trees in the development of religious practices by stating that the statues of the gods, too, used to be ex arbore. In view of the anthropomorphic shape of certain trees, reflected in such myths as that of Daphne turned into a laurel, this must have seemed plausible enough. Another early work of Alberti, the dialogue Virtus et Mercurius, has Virtus complaining of persist ent abuse at the hands of Fortuna: “While I am thus despised, I would rather be any tree trunk than a goddess,” a notion suggestive both of the Plinian tree deities and of the tree trunks in De statua. This “trunkated” Virtue-in-distress was translated into visual terms by Andrea Mantegna, whose image of her might almost serve as an illustration of the Destatua text. It also resembles actual idols such as the pair of tree-trunk deities carved by a Teutonic contemporary of Pliny and recently unearthed in a bog near the German-Danish border. Like many another explorer of new territory, Alberti did not grasp the full significance of what he had / Page 346, Volume 1 / discovered. His chance-image theory is subject to two severe limitations: it applies to sculpture only, and to the remote past rather than to present artistic practice. In his treatise on painting, written a few years after De statua, he merely cites the ancient shadow-tracing theory but adds that “it is of small importance to know the earliest painters or the inventors of painting.” When he mentions the chance images in cracked blocks of marble and on the gem of Pyrrhus recorded by Pliny, he does so in order to fortify his claim that painting is a noble and “liberal” activity, since “nature herself seems to take delight in painting.” He also explicitly denies that painting is comparable to the kind of sculpture “done by addition,” even though the painter works by adding pigments to a bare surface. This puzzling gulf that existed in Alberti's mind between the two arts reflects the singular importance he attached to scientific perspective as the governing theory of painting. His treatise focuses on painting as a rational method of epresenting the visible world, rather than as a physical process, and hence leaves little room for the chance-image etiology he had proposed in De statua. We do not know who first applied it to painting and to present-day conditions. The earliest explicit statement occurs in the writings of Leonardo, but the passage strongly suggests that he learned it from older artists: If one does not like landscape, he esteems it a matter of brief and simple investigation, as when our Botticelli said that such study was vain, because by merely throwing a sponge full of diverse colors at a wall, it left a stain... where a fine landscape was seen. It is really true that various inventions are seen in such a stain.... But although those stains give you inventions they will not teach you to finish any detail. This painter of whom I have spoken makes very dull landscapes (Leonardo's Treatise on Painting, ed. and trans. Philip McMahon, Princeton [1956], I, 59) Apparently Leonardo here records an experience he had about 1480, shortly before his departure for Milan; Botticelli, then at the height of his career, plays the role of an “anti-Protogenes” whose views Leonardo turns to his own advantage. In another passage, Leonardo recommends that painters look for landscapes as well as figure compositions in the accidental patterns of stained walls, varicolored stones, clouds, mud, or similar things, which he compares to “the sound of bells, in whose pealing you can find every name and word you can imagine.” The spotted walls, clouds, etc., here obviously play the same role as the tree trunks and clumps of earth in De statua. Leonardo, moreover, states more clearly than Alberti does that chance images are not objectively present but must be projected into the material by the artist's imagination. While he presents his idea as “a new discovery,” there can be little doubt that he did in fact derive it from Alberti, whose writings are known to have influenced his thinking in a good many instances. That Leonardo should have transferred the chance-image theory from the remote past to the present and from sculpture to painting is hardly a surprise in view of his lack of interest in historical perspectives and his deprecatory attitude toward sculpture. At the same time, the reference to Botticelli (whose remark may well have been aimed at Leonardo himself) suggests that there was some awareness among early Renaissance painters of the role of chance effects in actual artistic practice before Leonardo formulated his chance-image theory of pictorial invention.That such was indeed the case may be gathered from some visual evidence which in point of time stands midway between Alberti's De statua and “Botticelli's stain.” Interestingly enough, these are images in clouds, rather than in the more palpable substances that had yielded chance images in medieval art, thus indicating a new awareness of the unstable and subjective character of chance images. The best-known instance is the tiny horseman in Mantegna's Saint Sebastian in Vienna, which has resisted all efforts to explain / Page 347, Volume 1 / it in terms of the overt subject matter of the panel. Not only is the image so unobtrusive that most viewers remain unaware of it; it is also incomplete, the hind quarters of the horse having been omitted so as not to break the soft contour of the cloud. Did Mantegna plan it from the very start, or did he discover the horseman only in the process of painting that particular cloud and then, like the primeval sculptors of De statua, added or took away a bit here and there in order to emphasize the esemblance? Be that as it may, we can only conclude that he must have been taken with the idea of cloud images, and that he expected his patron, too, to appreciate the downy horseman. This patron would seem to have been a passionate admirer of classical antiquity, for the panel is exceptionally rich in antiquarian detail; the artist even signed it in Greek. Apparently the horseman is yet another antiquarian detail, a visual pun legitimized by the discussion of cloud images in Greek and Roman litera ture. It has been kept “semi-private” so as not to offend less sophisticated beholders. If this view is correct, the horseman need have no connection at all with the chance images of Alberti, even though Mantegna must have been well acquainted with Alberti's writings We know rather less about a second cloud image, contemporary with Mantegna's horseman, that occurs in the Birth of the Virgin by the Master of the Barberini Panels. Here a cloud assumes the shape of a dolphin A possible clue to its meaning is the flight of birds next to it, which may be interpreted as a good omen for the newborn child according to Roman belief. Since the scene takes place in a setting filled with references to pagan antiquity, an “auspicious” flight of birds would be in keeping with the rest; and the cloud-dolphin would then be a further good omen (dolphins having strongly positive symbolic connotations), whether the image was planned or accidentally discovered. Flights of birds as a means of divination are mentioned so frequently in Roman literature that they must have been well-known among fifteenth century humanists.These early cloud images, however small and unobtrusive, are the ancestors of a wide variety of figures made of clouds in sixteenth-century painting. Mantegna himself institutionalized the technique in his late work (Minerva Expelling the Vices from the Grove of Virtue, 1501-02, Paris, Louvre), Raphael introduced cloud-angels in his Madonna of Foligno and Sistine Madonna, and Correggio depicted the amorous Jupiter as a cloud in his Io. Even the human soul, hitherto shown as a small figure with all the substance of living flesh, could now be given a cloudy, “ectoplasmic” shape, as in El Greco's Burial of Count Orgaz. What began as a semi-private visual pun had become a generally accepted pictorial device for representing incorporeal beings. It would be fascinating to know whether Leonardo practiced what he preached. If he did, no evidence of chance images derived from spotted walls or similar sources has survived among his known works. A Madonna and Saints by one of his Milanese followers indicates that Leonardo's advocacy of chance images was not confined to the theoretical plane. The group is posed against an architectural ruin among whose / Page 348, Volume 1crumbling stones we discern the face of a bearded man wearing a broad-brimmed hat. Evidently the artist, alerted by Leonardo's teachings, felt that no ancient wall surface was complete without a chance image. The influence of Leonardo's chance-image the-ory can be seen also in the work of the Florentine painter Piero di Cosimo, who according to Vasari was in the habit of staring at clouds and spotted walls, “imagining that he saw there equestrian combats and the most fantastic cities and the grandest landscapes.” Some of Piero's pictures show extravagantly shaped willow trees with pronounced chance-image features but based on a close study of actual trees, which he must have gone out of his way to find. Finally, Leonardo's discussion of chance images may have inspired a curious pictorial specialty that flourished, Volume 1mainly in Florence from the late sixteenth to the eighteenth century. These paintings are done on the polished surfaces of agates or other strongly patterned stones in such a way that the colored veins become part of the composition, providing “natural” back grounds of clouds, landscape, etc., for the figures. They were prized as marvels of nature no less than of art (a description cited by Baltrušaitis terms them “an interplay of ars and natura”) and tended to accumulate in the cabinets of royalty. Linked with the legendary gem of Pyrrhus, they might be defined as elaborated chance images were it not for the fact that the painter's share always remains clearly distinguishable from nature's. Apparently a real merging of the two spheres was deemed aesthetically undesirable. Despite his interest in unorthodox techniques—confirmed by recent studies which show that he often painted not only with brushes but with his fingers—Leonardo did not favor homemade chance images such as “Botticelli's stain.” Nor does he reveal how the images found in spotted walls, etc., are to be transformed into works of art. Apparently he thought of this process as taking place in the artist's mind, rather than on the surface of the painting, where the task of “finishing the detail” would be impeded by the inherent vagueness of images resulting from thrown sponges. His ideal of objective precision, inherited from the early Renaissance, gave way in sixteenth-century art theory to values more attuned to the concept of genius. Among them was sprezzatura, a recklessness mirroring inspired frenzy at the expense of rational control, which meant a disregard of accepted usage in literature and a rough, unfinished look in the visual arts. The story of the sponge-throwing Protogenes could now provide a supreme example of such recklessness, as it does for Montaigne (Essays, I, xxiv, xxxiv), who cites it to illustrate the close relationship between chance (good luck, fortuna) and inspiration IV The chance images discussed so far all have one feature in common—the artist finds them, or pretends to find them, among the random shapes of the outside world. He does not create them but merely discovers them and “makes the resemblance omplete” while leaving the identity of the matrix (stone, foliage, pillows, clouds, etc.) untouched. This limitation may help to explain why Leonardo's advice to painters, even though enshrined in the text of his Treatise on Painting, had little practical effect until the dawn of the modern era. At that time it was suddenly revived, with appropriate modifications, by the British landscape painter and drawing teacher Alexander Cozens, who in 1785-86 published an illustrated treatise entitled A New Method of Assisting the Invention in Drawing Original Compositions of Landscape. It describes “a mechanical method... to draw forth the ideas” of artists, which consists of making casual and largely accidental ink blots on paper with a brush, to serve as a store of compositional suggestions.Cozens recommends that these blots be made quickly and in quantity, and that the paper be first crumpled up in the hand and then stretched out again. The next step is to select a particularly suggestive sheet of blots, place a piece of transparent paper over it and make a selective tracing; the author cautions us to “preserve the spirit of the blot” by not adding anything that is not suggested by it. The drawing is then finished by adding ink washes.Cozens cites Leonardo's words about the images to be seen on dirty walls, etc., but adds proudly that he thinks his procedure an improvement, since it permits the artist to produce his chance images at will, without having to seek them out in the world of nature. Oddly enough, he fails to quote the Leonardo passage dealing / Page 350, Volume 1 / with “Botticelli's stain,” which anticipates his own procedure so closely that one wonders if he was really ignorant of it. The ink blots of Cozens' Method, how ever, are not meant to be entirely ccidental; he defines them as “a production of chance, with a small degree of design,” since the artist is expected to think of a landscape subject in general terms while producing them. His own sample of such a “blotscape” is clearly a work of art, displaying a highly individual graphic rhythm. Its purpose, he makes clear, is to free the artist from involuntary servitude to conventional schemes of landscape composition by making him relinquish deliberate control of his movements as much as possible in the beginning; the selective tracing of the blots is intended to redress the balance.To his contemporaries, on the other hand, Cozens' blots seemed sheer chaos, and an occasion for endless ridicule. Neo-classic taste was so opposed to the ideas implicit in the Method that it rejected even the hallowed story of Protogenes. In a critique of the pictures shown at the Paris Salon of 1783 (Le Triumvirat des arts, ou dialogue entre un peintre, un musicien et un poète, published anonymously as a pamphlet) the poet ridicules one painting by pronouncing it a masterpiece à la manière de Protogène. Henry Fuseli notes that “many beauties in art come by accident that are preserved by choice,” but is quick to add that these have nothing in common with the sponge of Protogenes or “the modern experiments of extracting compositions from an ink-splashed wall,” an obvious reference to Cozens (Aphorism 153). Yet Cozens' very notoriety kept his Method from being forgotten. Its liberating effect on Constable and Turner, the great Romantic landscape painters of the early nineteenth century, must have been profound.That Cozens anticipated a general trend toward free, spontaneous brushwork transcribing the artist's creative impulse more directly than before, is amusingly attested by a French cartoon of 1844 which shows the Romantic painters, with Delacroix in the foreground, as simian virtuosos who do not even bother to look at their canvases while they paint. The Method also seems to be the ancestor of the Rorschach ink-blot test. A parlor game based on it enjoyed a certain vogue in England and may have helped to popularize it on the Continent, especially among amateurs. Elaborated blots are to be found in the drawings of Victor Hugo, and in the 1850's the German physician and poet Justinus Kerner produced Klecksographien, ink blots on folded paper which he modified slightly to emphasize the chance images he had found in them (Figure 19). He wrote little descriptive poems based on these images and collected this material in his Hadesbuch, which remained unpublished until 1890. The belated / Page 351, Volume 1 / rediscovery of Kerner's Klecksographien makes it likely that they were known to Hermann Rorschach, who used the same folded-paper technique for his tests but substituted oral for graphic interpretation of images Meanwhile, Alberti's hypothesis about the origin of sculpture was also being put to the test. In the 1840's Boucher de Perthes, one of the pioneer students of Paleolithic artifacts, collected large numbers of oddly shaped flint nodules which he claimed had been treasured by the men of the Old Stone Age because of their accidental resemblance to animal forms. As evidence he adduced what he regarded as efforts by these primeval sculptors to modify the shape of these “figure stones” so as to make the likeness more palpable. His discovery caught the imagination of other students of “antediluvian antiquity,” and figure stones soon turned up in England as well, while the skeptics denounced Boucher de Perthes and his followers as self-deluded or fraudulent. The skeptics eventually won out, but the issue may never be fully resolved; after all, the men of the Old Stone Age might have prized these nodules for their image-bearing quality even if there is no proof that they modified their shapes.Nor was the controversy useless, for it probably alerted students of the Paleolithic to the existence of modified chance images in the cave art of Spain and the Dordogne, which was discovered a few decades later. The aesthetic attitude of the Romantics not only favored impulsiveness at the expense of rational control; it also undermined the classic view that “painting is mute poetry” by enthroning music as the highest of the arts. To those who espoused this belief, the subject of a picture was little more than a peg on which to hang attractive combinations of form and color. Their most articulate spokesman, James Whistler, began in the early 1860's to call his works “symphonies,” “harmonies,” “nocturnes,” or “arrangements,” in order to stress his convinction that descriptive values in painting are as secondary as they are in music; the subject proper was mentioned only as a subtitle, for the benefit of the ignorant ublic.Whistler's attitude toward chance effects, far more radical than Cozens', became a matter of public record during his famous libel suit against John Ruskin, who had charged him with “flinging a pot of paint in the public's face.” In painting a Nocturne, Whistler stated, “I have... meant to indicate an artistic interest alone ..., divesting the picture from any outside sort of interest which might have been otherwise attached to it. It is an arrangement of line, form and colour first, and I make use of any incident of it which shall bring about a symmetrical result.” By “incident,” he clearly meant accidental, unforeseen effects, and “symmetrical” to him was a synonym for “harmonious.” Some of Whistler's works are indeed so divested of “outside interest” that without the aid of the subtitle we would be hard put to recognize the subject. How much accident went into the painting of them is impossible to say, for we are approaching the point where chance and intention become inseparable.Unlike Cozens, who still wanted his blots to yield recognizable images, Whistler solicits chance effects /Page 352, Volume 1 / for the sake of “symmetry”; representation, taken for granted as the aim of art from the beginning of time, is about to give way to a new primary reality, that of the brush stroke itself, and when this happens we lose the frame of reference that enables us to differentiate between accident and purpose. The nonfigurative art of the twentieth century is strikingly forecast in Whistler's thinking (and to a lesser extent his practice) The retreat from likeness that began with Impressionism would seem to leave no room for the concept of images made by chance. Not surprisingly, the subject is disregarded—as extra-aesthetic, we may assume—in theories keyed to Cubism and abstract art. Still, an awareness of it persisted, as evidenced by the following story, which Picasso told to Françoise Gillot. During the most austere phase of “Analytical Cubism,” when he and Braque were working in closely related styles, Picasso one day went to look at his friend's latest work. Suddenly, he became aware that there was a squirrel in the picture, and pointed it out to Braque, who was rather abashed at this discovery. The next day Braque howed him the picture again, after reworking it to get rid of the squirrel, but Picasso insisted he still saw it, and it took yet another reworking to banish the animal for good. Whatever its literal truth, this anecdote suggests that the artist's imagination remains ba sically iconic, and hence ready to find images where none were intended, even under the discipline of an abstract style. Picasso's own later work, from the 1930's on, abounds in chance images of every sort. The most striking cases occur among his sculpture, such as a bull's head composed of the seat and handlebars of a bicycle, or a monkey's face made of a toy automobile Making the resemblance explicit here involves, in the first instance, no more than putting the bicycle parts together in a novel way; in the second, the artist forces us to share his interpretation of the toy automobile by constructing the rest of the animal around it. Perhaps it was visual adventures of this kind that made him recall the story of Braque's squirrel some thirty years after the event. During the interval, the artistic climate of the West ern world had been thoroughly transformed by Dada and Surrealism, which acclaimed chance as the basis of aesthetic experience. As early as 1916-17, Hans Arp was producing compositions of torn bits of paper which he claimed were “arranged according to the laws of chance”; later, he wrote eloquently in praise of “the Muse of Chance.” Marcel Duchamp, the most influen tial member of the movement, was an equally persuasive advocate and practitioner of chance effects. What the Dadaists sought to elicit was not chance images so much as “chance eetings”—unexpected juxtaposi tions of objects which by their very incongruity would have a liberating effect on the imagination. The creative act to them was a spontaneous gesture devoid of all conscious discipline. Surrealism supported this out look with an elaborate theoretical framework invoking the authority of Sigmund Freud for its view of the unconscious. It also invented a number of new pictorial techniques, or variations of older ones such as ink blots, for soliciting chance images, its orientation being una bashedly iconic. Nor was this reversal of the retreat from likeness confined to the Surrealists; the same trend can be found among artists independent of or only loosely linked with the movement. The result has been a renewed awareness of the link between chance and inspiration. The sponge-throwing Protogenes, were his story better known today, would be the ideal hero of many mid-twentieth-century artists. V The history of our subject in Western civilization has a close parallel in the Far East, although the evidence is even more fragmentary and its frame of reference difficult to interpret. As early as the eighth century, toward the end of the T'ang dynasty, there were Chinese painters using procedures astonishingly similar to Cozens' Method. Their style, called i-p'in (“untrammeled”), is known only from literary accounts such as that concerning one of them, Wang Mo: Whenever he wanted to paint a picture, he would first drink wine, and when he was sufficiently drunk, would spatter the ink onto the painting surface. Then, laughing and singing all the while, he would stamp on it with his feet and smear it with his hands, besides swashing and sweeping it with the brush. The ink would be thin in some places, rich in others; he would follow the shapes which brush and ink had produced, making these into mountains, rocks, clouds, and water. Responding to the movements of his hand and / Page 353, Volume 1/ following his inclinations, he would bring forth clouds and mists, wash in wind and rain, with the suddenness of Crea tion. It was exactly like the cunning of a god; when one examined the painting after it was finished he could see no traces of the puddles of ink (S. Shimada, 1961). Such a display of sprezzatura was surely an extreme manifestation of the i-p'in style. Yet Wang Mo and the other “untrammeled” painters had a catalytic effect upon the development of Sung painting analogous to that of Cozens on the Romantics. Their works may not have survived for long, but descriptions of their methods did, providing future artists in both China and Japan with a model of the creative process stressing individual expression and an exploratory attitude toward the potentialities of ink technique. There are later accounts, ranging from the eleventh to the nineteenth century, of painters soliciting chance images in ways comparable to those of the i-p'in pioneers. None of the surviving examples, however, ap proach the freedom of Cozens' “blotscapes.” It is hard to say, therefore, how accurately the literary sources reflect actual practice. One recurrent element in these accounts is the claim that the work—almost invariably a landscape—looks as if “made by Heaven” or “brought forth with the suddenness of Creation,” rather than like something made by man. Such terms of praise imply that the picture in question seems completely effortless and unplanned; a work of nature, not a work of art. This aesthetic ideal musthave led the Chinese to the discovery that certain kinds of veined marble could be sliced in such a way that the surface suggested the mountain ranges and mist-shrouded valleys characteristic of Sung landscapes. The marble slabs would be framed like paintings and supplied with an evoca tive inscription. Since they were small, durable, and produced in large quantities, it seems likely that some of them reached the West with the expansion of the China trade in the eighteenth century. If so, these Far Eastern chance images may have helped to stimulate the train of thought that produced Cozens' Method BIBLIOGRAPHY Jurgis Baltrušaitis, “Pierres imagées,” Aberrations, quatre essais sur la légende des formes (Paris, 1957). Ernst Gom-
A COAT OF MANY COLOURS Herbert Read 1945 Page 57 "The aim of the superrealists as Max Ernst has recently declared, is not merely to gain access to the unconscious and to paint its contents in a descriptive or realistic way: nor is it even to take various elements from the unconscious and with them construct a separate world of fancy; it is then their aim to break down the barriers both physical and psychical, between the conscious and the unconscious, between the inner and the outer world, and to create a superreality in which real and unreal, meditation and non, conscious and unconscious, meet and mingle and dominate the whole of life. In Bosch's case, a quite similar intention was inspired by medieval theology, and a very literal belief in the reality of the Life Beyond. To a man of his intense powers of visualization, the present life and life to come, Paradise and Hell and the World, were equally real and interpenetrating; they combined, that to say, to form a superreality that was the only reality with which an artist could be concerned"
DAILY MAIL, TUESDAY, 2012 Page 60 ANSWERS TO CORRESPONDENTS COMPILED BY CHARLES LEGGE! QUESTION WHAT DOES THE ART WORLD MEAN BY 'CRITICAL PARANOIA!'? VIEW OF A GENIUS: SWANS REFLECTING ELEPHANTS BY SALVADOR DALI (INSET) DALI'S SURREAL DEAL CRITICAL PARANOIA OR THE PARANOIC-CRITICAL METHOD WAS A CONCEPT INVENTED BY SPANISH SURREALIST SALVADOR DALI AS A WAY OF PERCEIVING REALITY. DALI DEFINED IT AS 'IRRATIONAL KNOWLEDGE' BASED ON A DELIRIUM OF INTERPRETATION', AND IT DESCRIBES THE ABILITY OF THE ARTIST OR VIEWER TO PERCEIVE MULTIPLE IMAGES WITHIN THE SAME CONFIGURATION, ACCORDING TO DALI, BY SIMULATING PARANOIA ONE CAN SYSEMATICALLY UNDERMINE ONE'S RATIONAL VIEW OF THE WORLD BY CONTINUALLY SUBJECTING IT TO ASSOCIATIVE TRANSFORMATIONS: 'FOR INSTANCE, ONE CAN SEE, OR PERSUADE OTHERS TO SEE ALL SORTS OF SHAPES IN A CLOUD: A HORSE, A HUMAN BODY, A DRAGON, A FACE, A PALACE AND SO ON,' HE SAID. THE FRENCH SURREALIST MICHEL JEAN WROTE: 'ANY PROSPECT OR OBJECT OF THE PHYSICAL WORLD CAN BE TREATED IN THIS MANNER, FROM WHICH THE PROPOSED CONCLUSION IS THAT IT IS IMPOSSIBLE TO CONCEDE ANY VALUE WHATSOEVER TO IMMEDIATE REALITY, SINCE IT MAY REPRESENT OR MEAN ANYTHING AT ALL.' THE POINT IS TO PERSUADE ONESELF OF THE AUTHENTICITY OF THESE TRANSFORMATIONS IN SUCH A WAY THAT THE 'REAL' WORLD FROM WHICH THEY ARRIVE LOSES ITS VALIDITY. DALI'S METHOD LEADS TO A WORLD SEEN IN CONTINUOUS FLUX, AS IN HIS PAINTINGS WHERE OBJECTS DISSOLVE FROM ONE STATE INTO ANOTHER, SOLID OBJECTS BECOME TRANSPARENT AND INSUBSTANTIAL THINGS TAKE FORM. DALI BELIEVED THAT ALTHOUGH SUPERFICIALLY HIS WORK MIGHT SEEM ABSURD, IT COULD BE UNDERSTOOD ON A SUBCONSCIOUS LEVEL. HE USED HIS PARANOID-CRITICAL METHOD THROUGHOUT HIS CAREER, IT CAN BE SEEN IN MANY WORKS, INCLUDING THE PERSISTANCE OF MEMORY, SWANS REFLECTING ELEPHANTS, THE BURNING GIRAFFE AND DREAM CAUSED BY THE FLIGHT OF A BEE AROUND A POMEGRANITE A SECOND BEFORE AWAKENING. Kay Apley, York.
PLATO'S PROGRESS Gilbert Ryle 1966 Edition Page 23 Chapter 2 The Publication of the Dialogues "The literary simulacrum has to be posterior to the real thing and to lack the life of the real thing. It smells pro -/ Page 24 / leptically of the reader's lamp. There is no such smell in Plato's earlier dialogues. (b) Aristotle frequently contrasts 'exoteric' discourses with other discourses designed for academic recipients"
LOOKING FOR THE ALIENS A PSYCHOLOGICAL, SCIENTIFIC AND IMAGINATIVE INVESTIGATION Peter Hough & Jenny Randles 1991 Page 77 (photograph omitted) 9 Life on Mars "The remarkable 'face' on the surface of Mars taken from Viking 1. Is this really an alien construction or an accident of light and shade? Compare it with the rock simulacra on the Sedona photograph on page 81. (NASA)" Page 81 (photograph omitted) "This New Age community has been set up in the red rock country around Sedona, Arizona.. Here psychics channellers and other esoteric believers live together. Note the human face on the rock to the left. This is simulacra, an accident of erosion and lighting, or as some believe - an alien artefact like the face on Mars. (Jenny Randles) "
Robert Burns (25 January 1759 – 21 July 1796) (also known as Rabbie Burns, Scotland's favourite son, the Ploughman Poet, the Bard of Ayrshire and in ... en.wikipedia.org/wiki/Robert_Burns "LOOK ABROAD THROUGH NATURES RANGE NATURES MIGHTY LAW IS CHANGE"
WHERE DOES THE WEIRDNESS GO David Lindley 1996 WHY QUANTUM MECHANICS IS STRANGE BUT NOT AS STRANGE AS YOU THINK Page ix Introduction: Why do I trust my computer? "The computer I've been using to write these words has been satisfactorily reliable: I switch it on and off repeatedly, calling up files that contain the words I wrote last time, adding new words, shuffling the old ones around, and saving the results for next time. I rarely trouble to think what is going on inside the computer that lets me see my words on the screen, or move them painlessly from one place to another, or restore a sentence that I accidentally erased, or play a game of solitaire in the odd moment when inspiration deserts me. And if I do think about these inner workings, I'm not nearly enough of a computer expert to be able to say at all accurately what is happening in the machine. Instead, I tend to comfort myself with plausible analogies that give me a sense that I more or less know how the computer works, without going to the difficulty of mastering the volumes of technical detail I would need to know to understand it properly (which, I'm happy to say, I don't need to. The reliability of my computer gives me ample confidence that there are dogged and knowledgeable people in the world who can indeed design and build these things). And when I have done for the day and want to store what I have written, I can tell the computer to send the sequence of electrical zeroes and ones to the hard disk, where they are encoded now as a series of magnetic blips on the disk's surface. To get an idea of how the hard disk works, I imagine its surface to be studded with tiny magnets whose poles can be flipped one way or the other on command, to record either a zero or a one. The hard disk is perhaps ten centimeters across, and can store 120 megabytes of data (the computer is a few years old, or that figure would be more like 1,000 megabytes); one byte, in standard computer technology, is a word of eight binary bits-eight zeroes or ones-so that all in all my hard disk can accommodate close to a billion blips of data. Each of those tiny magnets must, according to a quick calculation, be a few millionths of a meter across. This is the size of a grain of dust, too small to be seen by the unaided eye, and yet my computer can record and retrieve data on the hard disk as if these magnetized dust grains \vere levers that could be set firmly up or down, like the signal levers that an old-time railway signalman would operate, and it can set and read millions of these levers in a fraction of a sec- , ond. How can invisible dust grains be so dependable? How can I store and retrieve a file of written words hundreds of times without ever a single dust grain accidentally flipping the wrong way, or being disturbed by some wayward external influence? Page xi On the rare occasions that I think about the inner workings of my computer, I resort to mechanical images of this sort. I conjure up familiar pieces of machinery-pinball flippers, railway switches and signals-and then imagine that these devices can be reduced to the size of dust grains, and arranged into fantastically complicated networks. This doesn't really tell me how my computer works, but it lets me think I have the right kind of idea in my head, and that I could understand it, really, if I wanted to. And now, thinking about all this, my assurance that I understood how my computer works and how it can be so reliable begins to crumble. If I'm not allowed to think of the electrons as pin balls rattling around the precisely engineered pathways of the silicon chips, if they are really sloshing about like waves in
/ Page xii / channels, if the uncertainty principle tells me an electron cannot be altogether in this place but has to be also a little bit in that place at the same time, how can my computer perform the same tasks over and over again with such reliability? And if there's some unpredictability associated with every act of measurement, how can I trust the data I read off the hard disk since, in effect, reading the data amounts to measuring the orientations of all those little magnetized dust grains? Quantum mechanics, or so I recan from my education in physics, says that at the most "fundamental level, the world is not wholly knowable, and not ""wholly" dependable. In dealing with individual electrons or the magnetic alignment of individual atoms, I must think not in certainties but in probabilities. Nevertheless, my computer continues to work, as imperturbably as ever. A standard answer to this riddle is that, in fact, a computer does not rely on individual electrons and atoms for its operation. The signals that make up the zeroes and ones chasing around its silicon pathways are gangs of perhaps a trillion electrons. The magnetic dust grains on the hard disk are built from trillions of atoms. These things may be microscopic by human standards, but compared to the individual inhabitants of the quantum world they are nevertheless gigantic. And so, ifs sometimes claimed, the quantum mechanical strangeness that besets individual electrons and atoms, and bedevils our thinking about them, becomes negligible when we think about the trillions of electrons and atoms on whose collective behavior my computer depends. But what sort of an answer is this? Why should an assembly of a trillion weird little quantum objects behave any less mysteriously than its components? A trillion drops of water make a bucket of water, not a concrete block. If it's true that the weirdness of the quantum mechanical world seems to disappear when we look at "big" objects, then where, precisely, does that weirdness go? If we can't trust a single electron to be precisely in one place at one time, how can we trust a throng of electrons /Page xiii /
to invariably represent the letter a on my computer screen, and not turn casually into a z? To understand the answer, you have to first formulate the question. The quantum world is an undeniably strange place, working to unfamiliar rules, and in the first part of the book I have tried to explain, as clearly as I know how, what that strangeness consists of and (just as important) what it is not. With the essentials laid out, I delve briefly into some of the misguided efforts that have been pursued over the years in the hope of making quantum mechanics look less weird than it really is. Only, in the end, by accepting the true nature of quantum mechanical weirdness does it become possible to see exactly what the central problem is, and how, in practice, nature gets around it. DRAMATIS PERSONAE Niels Bohr-a sage, late of Copenhagen; the founding father and guiding spirit of the Copenhagen interpretation of quantum mechanics ACT I Mechanical Failure
Page 3 The mystery of the other glove You and a friend are at Heathrow Airport, London. You each have a locked wooden box containing a glove. One box contains the right-handed glove of the pair, the other the lefthanded glove, but you don't know which box is which. Both of you also have keys, but they are not the keys to the boxes you are carrymg. Thus equipped; you board a plane and fly to Los Angeles. When you get to Los Angeles you use your key to open a locker at the airport, and inside you find another key. This is the key to your wooden box, which you now open to discover that the glove you have brought to Los Angeles is the righthanded one. As soon as you know this, of course, you know also that your friend's wooden box, by now in Hong Kong, contains the left-handed glove. With that instantaneous realization, you have acquired a piece of knowledge about a state of affairs on the other side of the world. But still, you think there might be some way of exploiting your knowledge to influence your friend's behavior. Suppose, before you both set off on your plane trips, you had agreed with your friend that if she found the left-handed glove in her box she would proceed to Tokyo, but if she got the right-handed one she would fly to Sydney. Does your opening the box in Los Angeles determine where she ends up? By no means: whichever glove was in her box was there from the outset, so whether she has to fly to Tokyo or Sydney is predetermined. When you open your box in Los Angeles you instantly know where she must be going next, but her destination is as much of a surprise to her as it is to you. As before, you've now found out what happens next, but you haven't had any influence over it. But now let's change the story. The gloves in the two boxes are, you are informed, of a strange and magical kind, unlike any
gloves you have come across before. They still make up a pair, but for as long as they are sealed in their boxes, they are neither right-handed nor left-handed but of an unfixed, indeterminate / Page 5 /
nature. Only when a box is opened; letting in the light, is the glove inside forced to become either right-handed or lefthanded. And there is a fifty-fifty chance of either eventuality. On the other hand, when you now arrive at Los Angeles and open your box to find, let us suppose, a right-handed glove, you begin to think that things are not as straightforward as before. You immediately know that when your friend opens her box, she must discover a left-handed glove. But now, apparently, some sort of signal or information must have traveled from your glove to hers, must it not? If both gloves were genuinely indeterminate before you opened your box and looked inside, then presumably as soon as your glove decided to be a righthanded one, hers must have become left-handed, so that the two would be guaranteed to remain a pair. Does this mean that your act of observing the glove in Los Angeles instantaneously reduced the indefiniteness of its partner in Hong Kong to a definite state of left-handedness? But it occurs to you that there's another possibility. How do you know your friend didn't get to Hong Kong first and open her box before you had a chance to open yours? In that case, she evidently found a left-handed glove, which forced yours to be right-handed even before you looked inside your box. So if there was an instantaneous transmission of information, it might have gone the other way. Your friend's act of opening her / Page 6 / box determined what sort of glove you would find, and not the other way around. And then, you think, the only way to find out which way the instantaneous information went, from your glove to hers or from hers to yours, is to pick up the phone, call Hong Kong, and find out what time she opened her box. But that phone call goes no faster than the speed of light. Now you are getting really confused: there seems to have been some kind of instantaneous communication between the two gloves, but you can't tell which way it went, and to find out you have to resort to old-fashioned, slower-than-light means of communication, which seems to spoil any of the interesting tricks you might be able to figure out if there. really had been an instantaneous glove-to-glove signal. And if you think again of the strategy whereby your friend had to get on a plane to either Tokyo or Sydney, depending on which glove she found in her box, you realize you are no more able than before to influence her choice by your action in Los Angeles. The rules of the game are such that you have a fiftyfifty chance of finding either a right-handed or a left-handed glove in your box, so even if you are sure that you have opened your box before she opened hers, and even if you think that opening your box sends an instantaneous signal to hers, forcing her glove to be the partner of yours, you still have no control over which glove you find. It remains a fifty-fifty chance whether she'll end up in Tokyo or Sydney, and you still have no say in the matter. And now you're even more confused. You think there's been some sort of instantaneous transmission of information, but you can't tell which way it went, and you can't seem to find a way to communicate anything to your friend by means of this secret link between the gloves. And perhaps you conclude it's a good thing glove gloves aren't like this. / Page 7 / In that, you would be in agreement with Albert Einstein. It's true that gloves don't behave this way but, according to quantum mechanics, electrons and other elementary ary particles do. These particles have properties which, apparently, lie in some unresolved intermediate state until a physicist comes along and does an experiment that forces them to be one thing or the other. And that physicist cannot know in advance, for sure, what particular result any measurement is going to yield; quantum mechanics predicts only the probabilities of possible results. This offended Einstein's view of what physics should be like. The story we just went through, about indeterminate gloves being taken to separate places and examined by two different people, is part of an experimental setup that Einstein and some colleagues devised as a way to show how absurd and unreasonable quantum mechanics really is. They hoped to convince their glovet colleagues that something must be wrong with a theory that demanded signals traveling faster than the speed of light. In which things are exactly what they are seen to be Ultimately, there must be recourse to experimental evidence. If Quantum mechanics asserts that the act of measurement does not simply yield information about a preexisting state, but / Page 9 / rathr forces a previously indeterminate system to take on a definite appearance, there must be empirical reasons for the assertion. Even theoretical physicists would not come up with so bizarre and counterintuitive an idea if they were not forced to it."
THE LOVE THAT FITS YOU LIKE A GLOVE HAND IN GLOVE IN HAND HAND ON ART ON HAND IF YOU BELIEVE THAT YOU WILL BELIEVE ANYTHING BELIEVE
I SAY EXACTLY I SAY I SAY I EXACTLY SAY I
I SAY READING GLOVE READ LOVE READ GLOVE READING COMMONSENSE LOVE SENSECOMMON COMMON GOOD GODS LOVE GODS GOOD COMMON
THE EMPERORS'S NEW MIND CONCERNING COMPUTERS, MINDS, AND THE LAWS OF PHYSICS Roger Penrose 1989 QUANTUM MAGIC AND QUANTUM MYSTERY EXPERIMENTS WITH PHOTONS: A PROBLEM FOR RELATIVITY? Page 369 "We must ask whether actual experiments have borne out these astonishing quantum expectations. The precise experiment just described is a hypothetical one which has not actually been performed, but similar experiments have been performed using the polarizations of pairs of photons, rather than the spin of spin-one-half massive particles. Apart from this distinction, these experiments are, in their essentials, the same as the one described above - except that the angles concerned (since photons have spin one rather than one-half) would be just one-half of those for spin-one-half particles. The polarizations of the pairs of photons
have been measured in various different combinations of directions, and the results are fully in agreement with the predictions of
quantum theory, and inconsistent with any local realistic model! Page 370 " But we saw in the last chapter that, so long as relativity holds true, the sending of signals faster than light leads to absurdities (and conflict with our feelings of 'free will', etc., cf. p. 273). This is certainly true, but the non-local 'influences' that arise in EPR-type experiments are not such that they can be used to send messages as one can see, for the very reason that they would lead to such absurdities, if so. (A detailed demonstration that such 'influences' cannot be used to signal messages has been carried out by Ghirardi, Rimini, and Weber 1980.) It is of no use to be told that a photon is polarized 'either vertically or horizontally', (as opposed, say, to 'either at 60° or 150°') until one is informed which of the two alternatives it actually is. It is the first piece of 'information' (i.e. the directions of alternative polarization) which arrives faster than light ('instantaneously'), while the knowledge as to which of these two directions it must actually be polarized in arrives more slowly, via an ordinary signal communicating the result of the first polarization measurement. Fig. 6.32. (omitted) Two different observers form mutually inconsistent pictures of 'reality' in an EPR experiment in which two photons are emitted in opposite directions from a spin-O state. The observer moving to the right judges that the left-hand part of the state jumps before it is measured, the jump being caused by the measurement on the right. The observer moving to the left has the opposite opinion!"
http://home.btconnect.com/scimah/Quantumphenomena.htm Spooky action at a distance - EPR "One of the most vivid illustrations of the interactions of the mind of the observer with a quantum system is given by EPR - the 'Einstein Podolsky Rosen Paradox', or 'Spooky action at a distance' as it is sometimes known. The experimental evidence seems to show that the observer's mind goes to its object unobstructedly and instantaneously, for example through ten kilometres of intervening Geneva city-scape (walls, buildings, railway stations, the lot!) at speeds exceeding that of light.
MUSIC OF THE MIND Darryl Reanney 1994 An Adventure Into Consciousness Page 77 REALITIES WE DO NOT SEE "This is the strange reality-all thoughts, whatever 'waveband' they occupy, exist in the disembodied reality of the quantum dream. The essence of a quantum ripple is that it exists in an indeterminate, non-localised state, in that uninhabited quantum 'space' where there is neither yesterday nor tomorrow, neither here nor there. Moreover, a thought, once created, no longer needs the physical structure of the brain that made it to sustain it further-it is thereafter just as 'real' as an electron or a stone.
Charles Bonnet syndrome (CBS) is a disease that causes patients to have complex visual hallucinations, first described by Charles Bonnet in 1769 [1]. ... en.wikipedia.org/wiki/Charles_Bonnet_syndrome Charles Bonnet syndrome From Wikipedia, the free encyclopedia Jump to: navigation, search Charles Bonnet syndrome (CBS) is a disease that causes patients to have complex visual hallucinations, first described by Charles Bonnet in 1769 [1]. A typical profile of a person suffering with CBS has been compiled based upon recent research.[2]. Contents[hide] 1 Characteristics 2 Causes 3 Prognosis 4 Treatment 5 History 6 Society and culture 7 See also 8 References 9 External links [edit] Characteristics Sufferers, who are mentally healthy people, have vivid, complex recurrent visual hallucinations (fictive visual percepts). One characteristic of these hallucinations is that they usually are "lilliput hallucinations" (hallucinations in which the characters or objects are smaller than normal). Sufferers understand that the hallucinations are not real and the hallucinations are only visual, that is, they do not occur in any other senses, eg: hearing, smell or taste[3][4]. The prevalence of Charles Bonnet syndrome has been reported to be between 10% and 40%; a recent Australian study has found the prevalence to be 17.5% [2]. Two Asian studies, however, report a much lower prevalence [5].[6]. The high incidence of non-reporting of this disorder is the greatest hindrance to determining the exact prevalence; non-reporting is thought to be as a result of sufferers being afraid to discuss the symptoms out of fear that they will be labelled insane[4]. People suffering from CBS may experience a wide variety of hallucinations. Images of complex coloured patterns and images of people are most common, followed by animals, plants or trees and inanimate objects. The hallucinations also often fit into the person's surroundings[2] [edit] Causes CBS predominantly affects people with visual impairments due to old age or damage to the eyes or optic pathways. In particular, central vision loss due to a condition such as macular degeneration combined with peripheral vision loss from glaucoma may predispose to CBS, although most people with such deficits do not develop the syndrome. The syndrome can also develop after bilateral optic nerve damage due to methyl alcohol poisoning [7]. Charles Bonnet syndrome has not been reported in children. [edit] Prognosis There is no treatment of proven effectiveness for CBS. It usually disappears within a year or 18 months, but this can vary greatly from person to person. Some people experience CBS for anywhere from a few days up to many years, and these hallucinations can last only a few seconds or continue for most of the day. For those experiencing CBS, knowing that they are suffering from this syndrome and not a mental illness seems to be the best treatment so far, as it improves their ability to cope with the hallucinations. Most people with CBS meet their hallucinations with indifference, but they can still be disturbing because they may interfere with daily life. It seems that there are a few activities that can make the hallucinations stop although many people are not aware of these. Interrupting vision for a short time by closing the eyes or blinking is sometimes helpful[2]. [edit] Treatment Because there is no prescribed treatment, the physician will consider on a case by case basis whether to treat any depression or other problems that may be related to CBS. A recent case report suggests selective serotonin reuptake inhibitors may be helpful.[8]. [edit] History Charles Bonnet, first to describe the syndrome. The disease is named after the Swiss naturalist Charles Bonnet, who described the condition in 1769. He first documented it in his 89-year-old grandfather, who was nearly blind from cataracts in both eyes but perceived men, women, birds, carriages, buildings, tapestries, and scaffolding patterns. [edit] Society and culture This syndrome is well portrayed in Vilayanur S. Ramachandran's book Phantoms in the Brain and in Vikram Chandra's book Sacred Games. All main characters in Six Feet Under have these types of hallucinations at least throughout the run of the show. [edit] See also Phantom eye syndrome Musical ear syndrome [edit] References ^ de Morsier G (1967)"Le syndrome de Charles Bonnet: hallucinations visuelles des vieillards sans deficience mentale" (in French). Ann Med Psychol 125:677-701. ^ a b c d Vukicevic M, Fitzmaurice K (2008) "Butterflies and black lacy patterns: the prevalence and characteristics of Charles Bonnet hallucinations in an Australian population". Clinical and Experimental Ophthalmology. 36:659-65 ^ Schultz G, Melzack R (1991) "The Charles Bonnet Syndrome: phantom visual images". Perception. 20:809-25 ^ a b Mogk LG, Riddering A, Dahl D, Bruce C, Brafford S (2000) "Charles Bonnet Syndrome in adults with visual impairments from age-related macular degeneration. In Stuen C et al Vision Rehabilitation: Assessment, Intervention and Outcomes.117-119 ^ Tan C, Lim V, Ho D, Yeo E, Ng B, Au Eong K. (2005)"Charles Bonnet syndrome in Asian patients in a tertiary ophthalmic centre". British Journal of Ophthalmology.88(10):1325-9 ^ Abbott E, Connor G, Artes P, Abadi R. "Visual Loss and Visual Hallucinations in Patients with Age-Related Macular Degeneration (Charles Bonnet Syndrome)". Investigative Ophthalmology and Visual Science.48:1416-23. ^ Olbrich HM, Lodemann E, Engelmeier MP (1987). "Optical hallucinations in the aged with diseases of the eye" (in German). Z Gerontol. 20 (4): 227–9. PMID 3660920 ^ Lang et al. (2007)J. Psychopharmacology 2007; 21:553. [edit] External links FAQ at RNIB Fortean Times article on Charles Bonnet syndrome 'Damn Interesting' article on Charles Bonnet syndrome Mentioned in a radio article on The Blindfold Study, which is looking at the brain's ability to adapt to different stimuli. National Public Radio article with an audio segment about Charles Bonnet syndrome Charles Bonnet syndrome Complications of macular degeneration The Charles Bonnet syndrome: 'phantom visual images' Harmless Hallucinations in the Elderly by Bernard Baars (From: Science and Consciousness Review) Ghostly faces and visions of 'little people': The eye disorder that leaves thousands of Britons fearing they've lost their senses by Morag Preston (From: DailyMail)
http://www.dailymail.co.uk/health/article-1134415/Ghostly-faces-visions-little-people-The-eye-disorder-leaves-thousands-Britons-fearing-theyve-lost-senses.html Ghostly faces and visions of 'little people': The eye disorder that leaves thousands of Britons fearing they've lost their senses Comments (11) Add to My Stories Following his wife's death six years ago, David Stannard has become accustomed to spending quiet evenings alone at his home in Walton-on-Thames, Surrey. So it came as a surprise to the 73-year-old when he looked up from his television one evening to discover he was sharing his living room with two RAF pilots and a schoolboy. 'The pilots were standing next to the TV, watching it as if they were in the wings of a theatre,' he says. An estimated 100,000 people in Britain have Charles Bonnet Syndrome (CBS), which leads to hallucinations. These can include visions of miniature people 'The little boy was in a grey, Fifties-style school uniform. He just stood there in the hearth looking puzzled. He was 18 inches high at most.' Mr Stannard's guests never said a word and vanished after 15 minutes. That night, he says, the walls of his house, which had always been white, looked as though they had been redecorated in patterned wallpaper with a brickwork effect. The next morning he was caught off-guard again when he found a fair-haired girl standing on his sofa. She also appeared to be from the Fifties, but was life-size, wearing a short skirt and pink cardigan, with chubby knees, white ankle socks and ribbons in her hair. 'I watched her for a while,' he says. 'She didn't move much. Then she was gone.' It would be easy to dismiss Mr Stannard's story as the bizarre imaginings of an elderly mind. Fortunately, he knew he wasn't losing his mind; neither was his house haunted. A few weeks earlier he had been registered blind, though he was still able to watch television if he sat at a certain angle. He'd been warned that as his eyesight deteriorated, he might experience visual hallucinations in the form of Charles Bonnet Syndrome (CBS). 'I was lucky enough to know what it was,' he says, 'otherwise I would have thought I was going bonkers.' An estimated 100,000 people in the UK have CBS, but many won't realise it because the condition remains something of a mystery. Lord Dacre of Glanton jokingly referred to his 'phantasmagoria' The real number is probably higher because sufferers are often too ashamed to talk about what they have seen for fear of being considered crazy. The late historian Lord Dacre of Glanton, formerly Hugh Trevor-Roper, was unusual among CBS patients in that he talked openly about what he jokingly referred to as his 'phantasmagoria'. He would see horses and bicycles racing, and whole landscapes whizzing by as if he were on a train. On one occasion, he found himself trapped in an apparently endless tunnel. Hallucinations tend to have common themes: simple geometric patterns, disembodied faces with jumbled features, landscapes, groups of people, musical notes, vehicles and miniature figures in Victorian or Edwardian costume. They can be in black and white or colour, moving or still, but they are always silent. The condition was named after Charles Bonnet, an 18th-century Swiss natural philosopher whose grandfather had seen people, patterns and vehicles that were not really there. Bonnet was the first person to identify that you could have visual hallucinations and still be mentally sound. The condition can affect anybody at any age with diminishing eyesight. Even people with normal vision can develop it if they blindfold themselves for long enough. But most people who have CBS have it as a side-effect of age-related macular degeneration - the most common cause of blindness in the UK. It is thought that up to 60 per cent of patients with severe vision loss develop CBS. Crucially, CBS is caused by lack of visual stimulation rather than mental dysfunction. Usually, on opening our eyes, the nerve cells in the retina send a constant stream of impulses to the visual parts of the brain. If the retina is damaged, the stream of impulses reduces, but - rather than lie dormant - other parts of the brain become hyperactive. So when the brain isn't receiving as many pictures as it is used to, it builds its own artificial images instead from the areas we use every day to process faces, objects, landscapes and colours. What you hallucinate depends on which part of the brain these increases are located. But why only a proportion of patients with macular degeneration experience hallucinations is still unknown, or why younger patients with macular degeneration are less likely to have CBS than older ones. Dr Dominic ffytche, a senior lecturer at the Institute of Psychiatry, is a leading expert on CBS. He has been at the forefront of a campaign led by the Royal College of Ophthalmologists and The Macular Disease Society calling for eye doctors to warn patients with macular degeneration that they may develop CBS. It is thought that stimulating the fingertips, for example by feeling a dice with dimples, can help sufferers of CBS stop experiencing hallucinations He says: 'In our experience, forewarning and knowledge of the possibility of hallucinations helps patients cope when they occur. It allows them to realise this indicates a functional problem with their sight and not a problem with their mind.' In 2003, Sandra Jones, 54, a former TV producer, thought she was losing her mind when she started seeing faces looming towards her out of nowhere. Having visited various massacre sites, including Rwanda, as part of her job, she assumed it was a form of post-traumatic stress disorder. 'Part of me thought this was payback time,' she says. The faces would swirl off the pages of the book she was reading, or appear in front of her computer screen. It would happen three or four times a day, usually when she was feeling relaxed or trying to get to sleep. 'Some nights I couldn't lose them and I would only get an hour's sleep,' she says. 'Closing my eyes wouldn't help, so I'd get up and clean my house just to keep moving. I got the feeling that if I was tired, it would help me fall asleep, which would then free up my mind.' She didn't dare tell friends or anyone at work for fear of jeopardising her job, and found out about CBS only after researching her symptoms online. Earlier that year she had been diagnosed with Sorsby's fundus dystrophy, a rare genetic eye condition which causes early onset macular degeneration, but nobody had warned her that hallucinations might be a side-effect. If the retina is damaged, the stream of impulses reduces and other parts of the brain become hyperactive (file photo) 'The unpleasant feeling was of not being in control,' she says. 'Once they are identified, they are not a problem.' Hallucinations can last from only a few seconds to several hours. In a minority of unlucky cases, they are continuous throughout the day. Patients usually have several daily before they taper off to once a week, then once a month. For 60 per cent of patients, they will stop entirely after 18 months. There has not yet been a long-term study, but some patients report having them for at least three years. Part of Dr ffytche's research involves looking into ways patients can stop the hallucinations. 'There won't be a single recipe for everyone,' he says. 'But hallucinations tend to occur when you are in a state of drowsy wakefulness, so you want to rouse yourself.' As the condition is caused by a lack of stimulation in the visual part of the brain, one of the techniques he is investigating is stimulating the fingertips. This is based on the fact that studies of brain scans of sight-impaired people reading Braille show increased activity in that area. The theory is that even feeling a dice with dimples could bring visions to a halt. Other techniques include holding your breath; turning on a light if it is off, or vice-versa; standing up if you are sitting down; and moving your eyes. In extreme cases, medication is used. But the drugs can have side-effects such as tremors, drowsiness, sickness and diarrhoea. Dr Winfried Amoaku, chairman of the Scientific Committee of the Royal College of Ophthalmologists and a specialist in macular degeneration, says when they come to visit him, patients do two things: first, they request that nobody else is in the room before mentioning the hallucinations, then afterwards they breathe a sigh of relief. For Mary Orr, 84, from West Kilbride, the final straw was seeing the walls of her house covered in white fur. In desperation, she started to claw at them. 'It was then I thought: "I can't live like this," ' she says. After months assuming she had dementia, she was referred to a psychiatrist who recognised the signs of CBS straight away and told her to see an eye doctor. It explains why she still sees pink squares and snakes rising out of the pavement, but Mary is resolute that the worst is behind her. As she says: 'It's the fear of not knowing what's happening that you can't live with.' • The Macular Disease Society, www.maculardisease.org, 0845 241 2041; Royal National Institute for the Blind, www.rnib.org.uk, 0303 123 9999 Here's what readers have had to say so far. Why not add your thoughts below? Interesting. However, psychics do not "see" people with their eyes, but their minds, so this seems to tally with this blind syndrome. - Shirley, UK, 04/2/2009 09:56 I had to download information from the internet and take a printed copy to hospital where my mother [who had MD] was a patient.Staff assumed that she suffered from dementia ,and found it amusing! Mum was distressed and embarrassed to be treated as an object of fun! Neither medical or nursing staff were prepared to consider that the reported visions had a rational explanation - Marion, Mold Flintshire, 03/2/2009 19:10
I ME MIN MINE OF MIND GODS MIND OF MINE FROM FORM TRANSFORM TRANSFORM FORM FROM REAL REALITY REVEALED DIVINE THOUGHT DIVINE REVEALED REAL REALITY
Daily Mail, Tuesday, December 16, 2008 Out of perspective Frivolous: Rex Whistler (inset) and his mural in the restaurant at Tate Britain (Image omitted)
REX WHISTLER (1905-1944) studied art at the Royal Academy School in London, but was asked to leave because his approach was considered frivolous. His professor at the Slade School of Fine Art in London, where he continued his studies, later wrote to the academy principal, thanking aim for 'sending me your best pupil'. In the Thirties, the 6th Marquess of Anglesey commissioned Whistler to paint a mural in his dining room. Arcadian And Romantic View Of A Coastal Landscape was painted on a single canvas which Whistler commissioned on a French loom. Painted between 1936 and 1937, it is full of allegorical references to Whistler's growing love of the family and his unrequited desire for the Marquess's daughter Caroline. Several coded references to his love for her can be found in the picture, but a clear depiction is the diminutive self-portrait of Whistler standing below a balcony looking up at the ever-beautiful Caroline — a straightforward reference to Romeo And Juliet. There's plenty of humour in the detail, including the family's pet dog sitting with its back turned to a bowl of stew; the spoilt pup would eat only steak. Whistler also applied his genius for trompe l'oeil (literally 'to fool the eye'), notably where at one point a boat appears heading into harbour, whereas a few more feet down the dining room the same boat seems to be struggling out to sea. Sadly, Whistler was barely in his creative prime when he was killed, aged 39. A mortar bomb exploded while he was trying to free a trapped tank on the first day of action in Normandy.
ARTISTS throughout history have toyed with perspective to create optical illusions to trick and surprise their audience. Richard Goss, London SW2.
I I ME I SAY SEE HEAR HEAR SEE SEE THAT SEA HEAR THAT SEA SEA THE SEE HERE HERE SEE THE SEA THAT HERE THAT HEAR THAT HERE THAT THAT I THAT SEES THAT I THAT SEES THAT I THAT THE EYES THAT SEE THE SEA THE EARS THAT HEAR THE SEA MIND CREATORS THAT MIND GODS MIND THAT CREATORS MIND ACTIONS IN ACTIONS IN ACTIONS GODS ACTIONS IN ACTIONS IN ACTIONS
21 Jan 2009 ... 3.2.1 Mathematics; 3.2.2 Artificial intelligence; 3.2.3 Anatomy ... In Islamic logic, analogical reasoning was used for the process of qiyas ... en.wikipedia.org/wiki/Analogy
Analogy is both the cognitive process of transferring information from a particular subject (the analogue or source) to another particular subject (the target), and a linguistic expression corresponding to such a process. In a narrower sense, analogy is an inference or an argument from one particular to another particular, as opposed to deduction, induction, and abduction, where at least one of the premises or the conclusion is general. The word analogy can also refer to the relation between the source and the target themselves, which is often, though not necessarily, a similarity, as in the biological notion of analogy. Niels Bohr's model of the atom made an analogy between the atom and the solar system. Analogy plays a significant role in problem solving, decision making, perception, memory, creativity, emotion, explanation and communication. It lies behind basic tasks such as the identification of places, objects and people, for example, in face perception and facial recognition systems. It has been argued that analogy is "the core of cognition" (Hofstadter in Gentner et al. 2001). Analogy has been studied and discussed since classical antiquity by philosophers, scientists and lawyers. The last few decades have shown a renewed interest in analogy, most notable in cognitive science. Contents[hide] 1 Usage of the terms source and target 2 Models and theories of analogy 2.1 Identity of relation 2.2 Shared abstraction 2.3 Special case of induction 2.4 Hidden deduction 2.5 Shared structure 2.6 High-level perception 3 Applications and types of analogy 3.1 In language 3.1.1 Rhetoric 3.1.2 Linguistics 3.2 In science 3.2.1 Mathematics 3.2.2 Artificial intelligence 3.2.3 Anatomy 3.2.4 Engineering 3.3 In normative matters 3.3.1 Morality 3.3.2 Law 3.3.2.1 Analogies from codes and statutes 3.3.2.2 Analogies from precedent case law 4 See also 5 External links and references [edit] Usage of the terms source and target With respect to the terms source and target there are two distinct traditions of usage: The logical and mathematical tradition speaks of an arrow, homomorphism, mapping, or morphism from what is typically the more complex domain or source to what is typically the less complex codomain or target, using all of these words in the sense of mathematical category theory. The tradition that appears to be more common in cognitive psychology, literary theory, and specializations within philosophy outside of logic, speaks of a mapping from what is typically the more familiar area of experience, the source, to what is typically the more problematic area of experience, the target. [edit] Models and theories of analogy [edit] Identity of relation In ancient Greek the word αναλογια (analogia) originally meant proportionality, in the mathematical sense, and it was indeed sometimes translated to Latin as proportio. From there analogy was understood as identity of relation between any two ordered pairs, whether of mathematical nature or not. Kant's Critique of Judgment held to this notion. Kant argued that there can be exactly the same relation between two completely different objects. The same notion of analogy was used in the US-based SAT tests, that included "analogy questions" in the form "A is to B as C is to what?" For example, "Hand is to palm as foot is to ____?" These questions were usually given in the Aristotelian format: HAND : PALM : : FOOT : ____ While most competent English speakers will immediately give the right answer to the analogy question (sole), it is quite more difficult to identify and describe the exact relation that holds both between hand and palm, and between foot and sole. This relation is not apparent in some lexical definitions of palm and sole, where the former is defined as the inner surface of the hand, and the latter as the underside of the foot. Analogy and abstraction are different cognitive processes, and analogy is often an easier one. Recently a computer algorithm has achieved human-level performance on multiple-choice analogy questions from the SAT test (Turney 2006). The algorithm measures the similarity of relations between pairs of words (e.g., the similarity between the pairs HAND:PALM and FOOT:SOLE) by statistical analysis of a large collection of text. It answers SAT questions by selecting the choice with the highest relational similarity. edit] Shared abstraction In several cultures, the sun is the source of an analogy to God. Greek philosophers such as Plato and Aristotle actually used a wider notion of analogy. They saw analogy as a shared abstraction (Shelley 2003). Analogous objects did not share necessarily a relation, but also an idea, a pattern, a regularity, an attribute, an effect or a function. These authors also accepted that comparisons, metaphors and "images" (allegories) could be used as valid arguments, and sometimes they called them analogies. Analogies should also make those abstractions easier to understand and give confidence to the ones using them. The Middle Ages saw an increased use and theorization of analogy. Roman lawyers had already used analogical reasoning and the Greek word analogia. Medieval lawyers distinguished analogia legis and analogia iuris (see below). In Islamic logic, analogical reasoning was used for the process of qiyas. In Christian theology, analogical arguments were accepted in order to explain the attributes of God. Aquinas made a distinction between equivocal, univocal and analogical terms, the latter being those like healthy that have different but related meanings. Not only a person can be "healthy", but also the food that is good for health (see the contemporary distinction between polysemy and homonymy). Thomas Cajetan wrote an influential treatise on analogy. In all of these cases, the wide Platonic and Aristotelian notion of analogy was preserved. [edit] Special case of induction On the contrary, Bacon and later Mill argued that analogy be simply a special case of induction (see Shelley 2003). In their view analogy is an inductive inference from common known attributes to another probable common attribute, which is known only about the source of the analogy, in the following form: Premises a is C, D, E, F and G. b is C, D, E and F. Conclusion b is probably G. Alternative conclusion every C, D, E and F is probably G. This view does not accept analogy as an autonomous mode of thought or inference, reducing it to induction. However, autonomous analogical arguments are still useful in science, philosophy and the humanities (see below), which makes this reduction philosophically uninteresting. Moreover, induction tries to achieve general conclusions, while analogy looks for particular ones. [edit] Hidden deductionThe opposite move could also be tried, reducing analogy to deduction. It is argued that every analogical argument is partially superfluous and can be rendered as a deduction stating as a premise a (previously hidden) universal proposition which applied both to the source and the target. In this view, instead of an argument with the form: Premises a is analogous to b. b is F. Conclusion a is plausibly F. We should have: Hidden universal premise all Gs are plausibly Fs. Hidden singular premise a is G. Conclusion a is plausibly F. This would mean that premises referring the source and the analogical relation are themselves superfluous. However, it is not always possible to find a plausibly true universal premise to replace the analogical premises (see Juthe 2005). And analogy is not only an argument, but also a distinct cognitive process. [edit] Shared structure According to Shelley (2003), the study of the coelacanth drew heavily on analogies from other fish. Contemporary cognitive scientists use a wide notion of analogy, extensionally close to that of Plato and Aristotle, but framed by the structure mapping theory (See Dedre Gentner et al. 2001). The same idea of mapping between source and target is used by conceptual metaphor theorists. Structure mapping theory concerns both psychology and computer science. According to this view, analogy depends on the mapping or alignment of the elements of source and target. The mapping takes place not only between objects, but also between relations of objects and between relations of relations. The whole mapping yields the assignment of a predicate or a relation to the target. Structure mapping theory has been applied and has found considerable confirmation in psychology. It has had reasonable success in computer science and artificial intelligence (see below). Some studies extended the approach to specific subjects, such as metaphor and similarity (see Gentner et al. 2001 and Gentner's publication page). Keith Holyoak and Paul Thagard (1997) developed their multiconstraint theory within structure mapping theory. They defend that the "coherence" of an analogy depends on structural consistency, semantic similarity and purpose. Structural consistency is maximal when the analogy is an isomorphism, although lower levels are admitted. Similarity demands that the mapping connects similar elements and relations of source and target, at any level of abstraction. It is maximal when there are identical relations and when connected elements have many identical attributes. An analogy achieves its purpose insofar as it helps solve the problem at hand. The multiconstraint theory faces some difficulties when there are multiple sources, but these can be overcome (Shelley 2003). Hummel and Holyoak (2005) recast the multiconstraint theory within a neural network architecture. A problem for the multiconstraint theory arises from its concept of similarity, which, in this respect, is not obviously different from analogy itself. Computer applications demand that there are some identical attributes or relations at some level of abstraction. Human analogy does not, or at least not apparently. [edit] High-level perception Douglas Hofstadter and his team (see Chalmers et al. 1991) challenged the shared structure theory and mostly its applications in computer science. They argue that there is no line between perception, including high-level perception, and analogical thought. In fact, analogy occurs not only after, but also before and at the same time as high-level perception. In high-level perception, humans make representations by selecting relevant information from low-level stimuli. Perception is necessary for analogy, but analogy is also necessary for high-level perception. Chalmers et al. conclude that analogy is high-level perception. Forbus et al. (1998) claim that this is only a metaphor. It has been argued (Morrison and Dietrich 1995) that Hofstadter's and Gentner's groups do not defend opposite views, but are instead dealing with different aspects of analogy. [edit] Applications and types of analogy [edit] In language [edit] Rhetoric An analogy can be a spoken or textual comparison between two words (or sets of words) to highlight some form of semantic similarity between them. Such analogies can be used to strengthen political and philosophical arguments, even when the semantic similarity is weak or non-existent (if crafted carefully for the audience). Analogies are sometimes used to persuade those that cannot detect the flawed or non-existent arguments. [edit] Linguistics An analogy can be the linguistic process that reduces word forms perceived as irregular by remaking them in the shape of more common forms that are governed by rules. For example, the English verb help once had the preterite holp and the past participle holpen. These obsolete forms have been discarded and replaced by helped by the power of analogy (or by widened application of the productive Verb-ed rule.) This is called leveling. However, irregular forms can sometimes be created by analogy; one example is the American English past tense form of dive: dove, formed on analogy with words such as drive: drove. Neologisms can also be formed by analogy with existing words. A good example is software, formed by analogy with hardware; other analogous neologisms such as firmware and vaporware have followed. Another example is the humorous term underwhelm, formed by analogy with overwhelm. Analogy is often presented as an alternative mechanism to generative rules for explaining productive formation of structures such as words. Others argue that in fact they are the same mechanism, that rules are analogies that have become entrenched as standard parts of the linguistic system, whereas clearer cases of analogy have simply not (yet) done so (e.g. Langacker 1987.445-447). This view has obvious resonances with the current views of analogy in cognitive science which are discussed above. [edit] In science Analogues are often used in theoretical and applied sciences in the form of models or simulations which can be considered as strong analogies. Other much weaker analogies assist in understanding and describing functional behaviours of similar systems. For instance, an analogy commonly used in electronics textbooks compares electrical circuits to hydraulics. Another example is the analog ear based on electrical, electronic or mechanical devices. [edit] Mathematics Some types of analogies can have a precise mathematical formulation through the concept of isomorphism. In detail, this means that given two mathematical structures of the same type, an analogy between them can be thought of as a bijection between them which preserves some or all of the relevant structure. For example, and are isomorphic as vector spaces, but the complex numbers, , have more structure than does - is a field as well as a vector space. Category theory takes the idea of mathematical analogy much further with the concept of functors. Given two categories C and D a functor F from C to D can be thought of as an analogy between C and D, because F has to map objects of C to objects of D and arrows of C to arrows of D in such a way that the compositional structure of the two categories is preserved. This is similar to the structure mapping theory of analogy of Dedre Gentner, in that it formalizes the idea of analogy as a function which satisfies certain conditions. [edit] Artificial intelligence See case-based reasoning. [edit] Anatomy See also: Analogy (biology) In anatomy, two anatomical structures are considered to be analogous when they serve similar functions but are not evolutionarily related, such as the legs of vertebrates and the legs of insects. Analogous structures are the result of convergent evolution and should be contrasted with homologous structures. [edit] Engineering Often a physical prototype is built to model and represent some other physical object. For example, wind tunnels are used to test scale models of wings and aircraft, which act as an analog to full-size wings and aircraft. For example, the MONIAC (an analog computer) used the flow of water in its pipes as an analog to the flow of money in an economy. [edit] In normative matters [edit] Morality Analogical reasoning plays a very important part in morality. This may be in part because morality is supposed to be impartial and fair. If it is wrong to do something in a situation A, and situation B is analogous to A in all relevant features, then it is also wrong to perform that action in situation B. Moral particularism accepts analogical moral reasoning, rejecting both deduction and induction, since only the former can do without moral principles. [edit] Law In law, analogy is used to resolve issues on which there is no previous authority. A distinction has to be made between analogous reasoning from written law and analogy to precedent case law. [edit] Analogies from codes and statutes In civil law systems, where the preeminent source of law is legal codes and statutes, a lacuna (a gap) arises when a specific issue is not explicitly dealt with in written law. Judges will try to identify a provision whose purpose applies to the case at hand. That process can reach a high degree of sophistication, as judges sometimes not only look at a specific provision to fill lacunae (gaps), but at several provisions (from which an underlying purpose can be inferred) or at general principles of the law to identify the legislator's value judgement from which the analogy is drawn. Besides the not very frequent filling of lacunae, analogy is very commonly used between different provisions in order to achieve substantial coherence. Analogy from previous judicial decisions is also common, although these decisions are not binding authorities. [edit] Analogies from precedent case law By contrast, in common law systems, where precedent cases are the primary source of law, analogies to codes and statutes are rare (since those are not seen as a coherent system, but as incursions into the common law). Analogies are thus usually drawn from precedent cases: The judge finds that the facts of another case are similar to the one at hand to an extent that the analogous application of the rule established in the previous case is justified. [edit] See also Thinking portal List of thinking-related topics Conceptual metaphor Conceptual blending False analogy Portal: thinking Metaphor Allegory [edit] External links and references ook up analogy in Wiktionary, the free dictionary. Dictionary of the History of Ideas: Analogy in Early Greek Thought. Dictionary of the History of Ideas: Analogy in Patristic and Medieval Thought. Stanford Encyclopedia of Philosophy: Medieval Theories of Analogy. Dedre Gentner's publications page, most of them on analogy and available for download. Shawn Glynn’s publications page, all on teaching with analogies and some available for download. Keith Holyoak's publications page, many on analogy and available for download. Boicho Kokinov's publications page, most of them on analogy and available for download. Chalmers, D.J. et al. (1991). Chalmers, D.J., French, R.M., Hofstadter, D., High-Level Perception, Representation, and Analogy. Forbus, K. et al. (1998). Analogy just looks like high-level perception. Gentner, D., Holyoak, K.J., Kokinov, B. (Eds.) (2001). The Analogical Mind: Perspectives from Cognitive Science. Cambridge, MA, MIT Press, ISBN 0-262-57139-0 Hofstadter, D. (2001). Analogy as the Core of Cognition, in Dedre Gentner, Keith Holyoak, and Boicho Kokinov (eds.) The Analogical Mind: Perspectives from Cognitive Science, Cambridge, MA: The MIT Press/Bradford Book, 2001, pp. 499-538. Holland, J.H., Holyoak, K.J., Nisbett, R.E., and Thagard, P. (1986). Induction: Processes of Inference, Learning, and Discovery. Cambridge, MA, MIT Press, ISBN 0-262-58096-9. Holyoak, K.J., and Thagard, P. (1995). Mental Leaps: Analogy in Creative Thought. Cambridge, MA, MIT Press, ISBN 0-262-58144-2. Holyoak, K.J., and Thagard, P. (1997). The Analogical Mind. Hummel, J.E., and Holyoak, K.J. (2005). Relational Reasoning in a Neurally Plausible Cognitive Architecture Itkonen, E. (2005). Analogy as Structure and Process. Amsterdam/Philadelphia: John Benjamins Publishing Company. Juthe, A. (2005). "Argument by Analogy", in Argumentation (2005) 19: 1–27. Kokinov, B. (1994). "A hybrid model of reasoning by analogy." Kokinov, B. and Petrov, A. (2001). "Integration of Memory and Reasoning in Analogy-Making." Lamond, G. (2006). Precedent and Analogy in Legal Reasoning, in Stanford Encyclopedia of Philosophy. Langacker, Ronald W. (1987). Foundations of Cognitive grammar. Vol. I, Theoretical prerequisites. Stanford: Stanford University Press. Little, J. (2000). Analogy in Science: Where Do We Go From Here? Rhetoric Society Quarterly, 30, 69-92. Little, J. (2008). The Role of Analogy in George Gamow's Derivation of Drop Energy. Technical Communication Quarterly, 17, 1-19. Morrison, C., and Dietrich, E. (1995). Structure-Mapping vs. High-level Perception. Shelley, C. (2003). Multiple analogies in Science and Philosophy. Amsterdam/Philadelphia: John Benjamins Publishing Company. Turney, P.D., and Littman, M.L. (2005). Corpus-based learning of analogies and semantic relations. Machine Learning, 60 (1-3), 251-278. Turney, P.D. (2006). Similarity of semantic relations. Computational Linguistics, 32 (3), 379-416. Applications and examples jMapper - Java Library for Analogy/Metaphor Generation Retrieved from "http://en.wikipedia.org/wiki/Analogy" Categories: Philosophical arguments | Cognitive science | Semantics | Logic | Linguistics | Greek loanwords Hidden category: Articles lacking in-text citations
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The Sun Wednesday, March 25, 2009 Page 17 WORLD'S OLDEST WOMAN IS 130 A MOTHER of ten will mark her 130th birthday this week making her the world's oldest person by 16 years. Sakhan Dosova's passport states that she was born in 1879..." "Her incredible age came to light during a census in Karaganda in northern Kazakhstan."
Daily Mirror Wednesday. 25.03.2009 By Mark Dowdney Page 27 "130 yrs old ...AND NOT ONE VISIT TO HER GP AMAZING mum-of-ten Sakhan Dosova is said to be the worlds oldest human - outdoing her nearest rival by 16 years. She is set to celebrate her 130th birthday on Friday without ever having visited a doctor or taken any medicine" "Sakhan was discovered during a census in Karaganda, Kazakhstan." "Her date of birth is said to be March 27, 1879 shown on her Soviet era passport and Kazakhstan identity card. Her Granddaughter Gaukhar Kanieva, 42 said: She is a very cheerful woman. We think laughter and a good mood helped her live so long." Karaganda statistics expert Nailya Dosayeva said there was no doubt Sakhan was nearing 130: "She has an old passport and documents which are genuine and based on these we can judge her age as being correct." "But other Kazakh officials have cast doubt over the claim fearing humiliation if the story turns out to be untrue. "One official said: "There's no doubt she is very old. But is she 130? Or was there a white lie long ago we need to find out."
AMAZING mum-of-ten Sakhan Dosova is said to be the worlds oldest human - out doing her nearest rival by 16 years. She is set to celebrate her 130th birthday on Friday without ever having visited a doctor or taken any medicine" "Sakhan was discovered during a census in Karaganda, Kazakhstan." "Her date of birth is said to be March 27, 1879 shown on her Soviet era passport and Kazakhstan identity card.
Her Granddaughter Gaukhar Kanieva, 42 said: She is a very cheerful woman. We think laughter and a good mood helped her live so long."
Daily Mail Wednesday, March 25, 2009 Page 26 Is this woman really 130? A WOMAN claiiming to be the world's oldest living person will celebrate her 130th birthday this week.
Daily Mail Tuesday, May 12, 2009 'World's oldest person' dies at 130 after a fall Page 24 "A WOMAN thought to be the world's oldest person at 130 has died after slipping on the bathroom floor of her new flat.
THE MAGIC MOUNTAIN Thomas Mann 1824-1955 Page 649 The invisible character sang: "Now the parting hour has come I must leave my loved home" and turned under these circumstances to God, imploring Him to take under His special care and protection his beloved sister. He was going to the wars: the rhythmm changed, grew brisk and lively, dull care and sorrow might go hang! He the invisible singer, longed to be in the field, to stand in the thickest of the fray, where danger was hottest, and fling upon the foe - gallang, God fearing, altogether French, But if, he sang, God should call him to Himself, then would He look down protectingly / Page 650 / on "thee" - meaning the singer's sister, 'as Hans Castorp was perfectly aware, yet the word thrilled him to the depths, and his emotion prolonged itself as the hero sang, to a mighty choral accompaniment: "O Lord of heaven, hear my prayer! There the record ceased. We have dwelt upon it because oF Hans' Castorp's especial penchant; but also because it played a certain role on a later and most strange occasion. And now we come back to the fifth and last piece in his group of high favourites: this time not French, but something especially ,and exemplarily German; not opera either, but a lied, one of those which are folk-song and masterpiece together, and from the combination receive their peculiar stamp as spiritual epitomes. Why should we beat about the bush? It was Schubert's "Linden-tree," it was none other than the old, old favourite, "Am Brunnen vor demTore." It was sung to piano ,accompaniment by a tenor voice; and to. the singer was a lad of parts and discernment, who knew how to render with great skill, fine musical feeling and finesse inrecitative his simple yet consummate theme. We all know that the noble lied sounds rather differently when' given as a concert-number from its rendition in the childish or the popular mouth. In its to simplified form. the melody is sung straight through; whereas in the original art-song, the key changes to minor in the second of the eight-line stanzas, changes back again with beautiful effect to major in the fifth line; is dramatically resolved in the following "bitter blasts" and "facing the tempest"; and returns again only with the last four lines of the third stanza, which are repeated to finish out the melody. The truly compelling turn in the melody occurs three times, in its modulated second half, the third of time in the repetition of the last half-strophe" Ay, onward, ever onward." The enchanting turn, which we would not touch too nearly in bold words, comes on the phrases "Upon its branches fair " A message in my ear," "Yet ever in my breast"; and each time the tenor rendered them, in his clear, warm voice, with his excellent breathing-technique, with the suggestion of a. sob, and so much sensitive, beauty-loving intelligence, the listener felt his heart gripped in undreamed-of fashion with an effect the singer knew how to heighten by head-tones of extraordinary ardour on the lines" I found my solace there," and " For rest and Peace are here," In the repetition of the last line;. "Here shouldst thou find / Page 651 / thy rest," he sang the " shouldst thou" the first time yearningly, at full strength, but the second in the tenderest flute-tones. So much for the song, and the rendering of it. For the earlier selections, we may flatter ourselves, perhaps, that we have been ble to communicate to the reader some understanding, more or less precise, of Hans Castorp's intimate emotional participation in the chosen numbers of his nightly programme. But to make clear what this last one, the old "Linden-tree," meant to him, is truly, a ticklish endeavour; requiring great delicacy of emphasis if more harm than good is not to come of the undertaking. Let us put it thus: a conception which is of the spirit, and therefore significant, is so because it reaches beyond itself to become the expession and exponent of a larger conception, a whole world of feeling and sentiment, which, whether more or less completely, is mirrored in the first, and in this wise, accordingly, the degree of its significance measured. Further, the love felt for such a creation is in itself "significant": betraying something of the person who cherishes it, characterizing his relation to that broader world the conception bodies forth - which, consciously or unconsciously, he loves along with and in the thing itself. May we take it that our simple hero, after so many years of hermetic-pedagogic discipline, of ascent from one stage of being to another has now reached a point where .he is conscious of the" meaningfulness" of his love and the object of it? We assert, we record, that he has. To him the song meant a whole world, a world which he must have loved, else he could not have so desperately loved that which it represented and symbolized to him. We know what we are saymg when we add - perhaps rather darkly - that he might have had a different fate if his temperament had been less accessible to the charms of the sphere of feeling, the general attitude of mind, which the lied so profoundly, so mystically epitomized. The truth was that his very destiny had been marked by stages, adventures, insights, and these flung up in his mind, suitable themes for his "stock-taking" activities, and these, in their turn, ripened him into an intuitional critic of this sphere, of this its absolutely exquisite image, and his love of it. To the point even that he was quite capable of bringing up all three as objects of his conscientious scruples! Only one totally ignorant of the tender 'passion will suppose that such scruples .can detract from the object of love. On the contrary, they but give it spice. It is they which lend love the spur of passion, so that one might almost,define passion as misgiving / Page 653 / love. But wherein lay Hans Castorp's conscientious and stock-taking misgiving; as to the ultimate propriety of his love for the enchanting lied and the world whose image it was? What was the world behind the song, which the motions of his conscience made to seem a world of forbidden love? It was death; What utter and explicit madness! That glorious song! An indisputable masterpiece, sprung' froni the profoundest and holiest depths of racial feeling; a precious possession, the archetype of the genuine; embodied loveliness. What vile detraction! Yes. Ah, yes! All very line. Thus must every upright man speak. What was all this he was thinking? He would not have listened to it from one of you. Sinister issues. Fantastical, dark-corner, misanthropic, torture-ehamber thoughts, Spanish black and the ruff, lust not love - and these the issues of pure-eyed loveliness! Unquestioning confidence, Hans Castorp knew, he had never placed in Herr Settembrini. But he remembered now an admonition the enlightened mentor had given him. in past time, at the beginning of his hermetic career; on the subject of "spiritual backsliding" to darker ages. Perhaps it would be well to make cautious application of that wisdom to the present case. It was the backslidmg which Herr Settembrini had characterized as "disease"; the e:pitome itself, the spiritual phase to which one backslid - that too would appeal to his pedagogic mind as "diseased".? And even so? Hans Castorp's loved nostalgic lay, and the sphere of feeling to which it belonged-morbid? Nothing of the sort. They were the sanest, the homeliest in the world. And yet - This was a fruit, sound and splendid enough for the instant or so, yet extraordinarily prone to decay; the purest refreshment of the spirit, if enjoyed at the right moment, but the next, capable of spreading decay and corruption among men. It was the fruit of life, conceived of death, pregnant of dissolution; it was a miracle of the soul, perhaps the highest, in the eye and sealed with the blessing of consienceless beauty; but on cogent grounds. re- / Page 653 / garded with mistrust by the eye of shrewd geniality dutifully "taking stock" in its love of the organic; it was a subject for self-conquest at the definite behest of conscience. Yes, self-conquest - that might well be the essence of triumph over this love, this soul-enchantment that.bore such sinister fruit! Hans Castorp's thoughts, or rather his prophetic half-thoughts soared high, as he sat there in night and silence before his truncated sarcophagus of music. They soared higher than his understanding, they were alchemistically enhanced. Ah, what power had this soul-enchantment! We were all its sons, and could achieve mighty things on earth, in so far as we served it. One need have no more genius, only .. much more. talent, than the author of the "Lindenbawn," to be such an artist of soul-enchantment as should give to the song a giant volume by which it should subjugate the world. Kingdoms might be founded upon it, earthly, all-tooearthly kingdoms, solid, "progressive," not at all nostalgic - in which the song degenerated to a piece of gramophone music played by electricity. But its faithful son might still be he who consumed his life in self-conquest; and died, on his lips the new word of love which as yet he knew not how to speak. Ah, it was worth dying for, the enchanted lied! But he who died for it, died indeed no longer for it; was a hero only because he died for the new, the new word of love and the future that whispered in his heart.
THE MAGIC MOUNTAIN Thomas Mann 1824-1955 HIGHLY QUESTIONABLE
We say this because we consider it our duty to confound those flippant 'spirits who declared that Dr. Krokowski had resorted to mystification for the sake of redeeming his lectures from hopeless monotony; in other words, with purely emotional ends in view. Thus spoke the slanderous tongues which are everywhere to be found: True, the gentlemen at the Monday lectures flicked their ears harder than ever to make them hear; Fraulein Levi looked, if possible; even more like a wax figure wound up by machinery. But these effects were as legitimate as the train of thought pursued by the mind of the learned gentleman, and for that he might claim 'that it was not only consistent but even inevitable. The field of his study had always been those wide,.dark tracts of the human soul, which one had been used to call the subconsciousness, though they might perhaps better be called the superconsciousness, since from them sometimes emanates a knowingness beyond anything of which the conscious intelligence is capable, and giving rise to the hypothesis that there may subsist connexions and associations between the lowest and least illumined regions of the individual soul and a wholly knowing All-soul. The province of the subsconscious, "occult" in the proper sense of ,the word, very soon shows itself to be occult in the narrower sense as well, and forms one of the sources whence flow the phenomena we have agreed thus to characterize. But that is not all. Whoever recognizes a symptom of organic disease as an effect of the conscious soul-life of forbidden and hystericized emotions, recoguizes the creative force of the psychical within the. material - a force which one is inclined to claim as a second source of magic phenomena. Idealist of the pathological, not to say pathological idealist, he sees himself at the point of departure of certain trains of thought which will shortly issue in the problem of existence, that is to say in the problem of the relation between spirit and matter. The materialist, son of a philosophy of sheer animal vigour, can never be dissuaded from explaining spirit as a mere phosphorescent product,of matter; whereas the idealist, proceeding from the principle of. creative hysteria, is inclined; and very readily resolved, to· answer the question of primacy in the exactly opposite sense. Take it all in all, there is here nothing less than the old strife over which was first, the chicken or the egg - a strife which assumes its, extraordinary complexity from the fact / Page 655 / that no egg is thinkable except one laid by a hen, and no hen to that has not crept out of a previously postulated egg. Take it all in all, there is here nothing less than the old strife over which was first, the chicken or the egg Causality A question related to this argument is which came first, the chicken or the egg?
CHICKENS OR EGGS EGGS OR CHICKEN FIRST YOU SEE IT THEN YOU DONT
Page 654 Take it all in all, there is here nothing less than the old strife over which was first, the chicken or the egg - a strife which assumes its, extraordinary complexity from the fact / Page 655 / that no egg is thinkable except one laid by a hen, and no hen to that has not crept out of a previously postulated egg. Well then, it was such matters as these that Dr. Krokowski discussed in his lectures. He came upon them organically, logically, legitimately - that fact cannot be over-emphasized. We will even add that he had already begun to treat of them before the arrival of Ellen Brand upon the scene of action, and the progress of matters into the empirical and experimental stage. Who was Ellen Brand? We had almost forgotten that our readers do not know her, so familiar to us is the name. Who was she? Hardly anybody, at first glance. A sweet young thing of nineteen years, a flaxen-haired Dane, not from Copenhagen but from Odense-on-Funen, where her father had a butter business. She herself had been in commercial life for a couple of years or so; with a - sleeve-protector on her writing-arm she had sat over heavy books, perched on a revolving stool in a provincial branch of a city bank-and developed temperature. It was a trifling case, probably more suspected than real, though Elly was indeed fragile, fragile and obviously chlorotic - distinctly sympathetic too, giving one a yearning to lay one's hand upon the flaxen head- as the Hofrat regularly did, when he spoke to her in the dining-room. A northern freshness emanated from her, a chaste and glassy, maidenly chaste atmosphere surrounded her, she was entirely lovable, with a pure, open look from childlike blue eyes, and a pointed, fine, High-German speech, slightly broken, with small, typical mispronunciations. About her features there was nothing unusual. Her chin was too short. She sat at table with the Kleefeld, who mothered her. Now this little Fraulein Brand, this little Elly, this friendlynatured little Danish bicycle-rider and stoop-shouldered young counter-jumper, had things about her, of which no one could have dreamed, at first sight of her transparent small personality, but which began to discover themselves after a few weeks; and these it became Dr. Krokowski's affair to lay bare in all their extraordinariness. The leamed, man received his first hint in the course of a general evening conversation. Various guessing games were being played; hidden objects found by the aid of strains from the piano, which swelled higher when one approached the right spot, and died away when the seeker strayed on a false scent. Then one person went outside and waited while it was decided what task he should perform; as, exchanging the rings of two selected persons; inviting someone to dance by making three bows before her; taking a / Page 656 / designated book from the shelves. and presenting it to this or that person - and more of the same kind. It is worthy of remark such games had not been the practice among the Berghof guests. Who had introduced them was not afterwards easy to decide; it had not been Elly Brand, yet they had begun since her arrival. The participants were nearly all old friends of ours, among them Hans Castorp. They showed themselves apt in greater or less degree - some of them were entirely incapa.ble. But Elly Brands talent was soon seen to be surpassmg, stnking, unseemly. Her power of finding hidden articles was passed over with applause and admiring laughter. But when it came to a concerted seies of actions they were struck dumb. She did whatever they covenanted she should do, did it directly she entered the room; with a gentle smile, without hesitation, without the help of music. She fetched a pinch of salt from the dining-room, sprinkled it over Lawyer Paravant's head; took him by the hand, led him to the piano and played the beginning of a nursery ditty with his forefinger; then brought him back to his seat, curtseyed, fetched a footstool and finally seated herself at his feet, all of that being precisely what they had cudgelled their brains to set her for a task. She had been listening. She reddened. With a sense of relief at her embarrassment they began in chorus to chide her; but she assured them she had not blushed in that serise. She had not listened, not outside, not at the door, truly, truly she had not! Not outside, not at the door? "Oh, no" - she begged their pardon. She had listened after she came back, in the room, she could not help it. How not help it? Something whispered to her, she said; It whispered and told her what to do, softly, but quite clearly and distinctly. Obviously that was an admission. In a certain sense she was aware, she had confessed, that she had cheated. She should have said beforehand that she was no good to play such a game, if she had the advantage of being whispered - to. A competition loses all sense if one of the competitors has unnatural advantages over the others. In a sporting sense, she was straightway disqualifieddisqualified in a way that made chills run up. and down their backs. With one voice they called on Dr. Krokowski, they ran to fetch him, and he came. He was immediately at home in the situation, and stood there; sturdy, heartily smiling,. in his very essence inviting confidence. Breathless they told him they had / Page 657 / Something quite Abnormal for him, an omniscient; a girl with voices. Yes, yes? Only let them be calm, they should see. This was his native heath, quagmirish and uncertain footing enough for the rest of them, yet he moved upon it with assured tread. He asked questions, and they told him. Ah, there she was - come, my child, is it true, what they are telling me? And he laid his hand on her head, as scarcely anyone could resist doing. Here was much ground for interest, none at all for consternation. He plunged the gaze of his brown, exotic eyes deep into Ellen Brands blue ones, and ran his hand down over her shoulder and arm, stroking her gently. She returned his gaze with increasing submission, her head inclined slowly toward her shoulder and breast. Her eyes were actually beginning to glaze, when the master made a careless outward motion with his hand before her face. Immediately thereafter he expressed his opinion that everything was in perfect order, and sent the overwrought company off to the evening cure, with the exception of Elly Brand, with whom he said he wished to have a little chat. A little chat. Quite so. But nobody felt easy at the word, it was just the sort of word Krokowski the merry comrade used by preference, and it gave them cold shivers. Hans Castorp, as he sought his tardy, reclining-chair, remembered the feeling with which he had seen Elly's illicit achievements and heard her shamefaced explanation. as though the ground were shifting under his feet, and giving him a slightly qualmish feeling, a mild seasickness. He had never been in an earthquake; but he said to himself that one must experience a like sensation of unequivocal alarm. But he had also felt great curiosity at these fateful gifts of Ellen Brand; combined, it is true, with the knowledge that, their field was with difficulty accessible to the spirit, and the doubt as to whether it was not barren, or even sinful, so far as he was concerned -all which did not prevent his feeling from being what in fact it actually, was, curiosity. Like everybody else, Hans Castorp had, ,at his time of life, heard this and that about the mysteries of nature, or the supernatural. We. have mentioned the clairvoyante great-aunt, of whom a melancholy tradition had come down. But, the world of the supernatural, though theoretically and objectively he had recognized its existence, had never come close to him, he had never had any practical experience of it. And his aversion from it, a matter of taste, an aesthetic revulsion, a reaction of human pride -'if we may use such large words in connexion with our modest hero - was almost as great as his curiousity. He felt beforehand, quite clearly, that such experiences, / Page 658 / whatever the course of them, could never be anything but in bad taste, unintelligible and humanly valueless. And yet he was on fire to go through them. He was aware that his alternative of "barren" or else "sinful," bad enough in itself, was in reality not an alternative at all, since the two ideas fell together, and calling a thing spiritually unavailable was only an a-moral way of of expressing its forbidden character. But the "placet experiri" planted in Hans Castorp's mind by one who would surely and resoundingly have reprobated any experimentation at all in this field, was planted firmly enough. By little and little his morality and his curiosity approached and overlapped, or had probably always done so; the pure curiosity of inquiring youth on its travels, which had already brought him pretty close to the forbidden field, what time he tasted the mystery of personality, and for which he had claimed the justification that it too was almost military in character, in that it did not weakly avoid the forbidden, when it presented itself. Hans Castorp came to the final resolve not to avoid; but to stand his ground if it came to more developments in the case of Ellen Brand. Dr. Krokowski had issued a strict prohibition against any further experimentation on the part of the laity upon Fraulein Brand's mysterious gifts. he had pre-empted the child for his scientific use, held sittings with her in his scientific oubliette, hypnotized her, it was reported, in an effort to arouse and discipline her slumbering potentialities, to make researches into her previous psychic life. Hermine Kleefeld, who mothered and patronized the child, tried to do the same; and under the seal of secrecy a certain number of facts were ascertained, which under the same seal she spread throughout the house, even unto the porter's lodge. She learned , for example, that he who - or that which whispered the answers, into the little one's ear at games was called Holger. This Holger was the departed and etherealized spirit of a young man, the familiar, something like the guardian angel, of little Elly. So it was he who had told all that about a pinch of salt and the tune played with Lawyer Paravant's finger? Yes those spirit lips, so close to her ear that they were like a caress, and tickled a little, making her smile, had whispered her what to do. It must have been very nice when she was in school and had not prepared her lesson to have him tell her the answers. Upon this point Elly was silent. Later she said she thought he would not have been allowed. It would have been forbidden to him to mix in such serious matters - and moreover, he would probably not have known the answers himself. Page 659 It was learned, further, that from her childhood up Ellen had had visions, though at widely separated intervals of time; visions, visible and invisible. What sort of thing were they, now - invisible visions? Well, for example: when she was a girl of sixteen, she had been sitting one day alone in the living-room of her parents' house, sewing at a round table, with her father's dog Freia lying near her on the carpet..The table was covered with a Turkish shawl, of the kind old women wear three-cornered across their shoulders. It covered the table diagonally, with the corners somewhat hanging over. Suddenly Ellen had seen the corner nearest her roll slowly up. Soundlessly, carefully, and evenly it turned itself up, a good distance toward the centre of the table, so that the resultant roll was rather long; and while this was happening, the dog Freia started up wildly, bracing her forefeet, the hair rising on her body. She had stood on her hind legs, then run howliog into the next room and taken refuge under a sofa. For a whole year thereafter she could not be persuaded to set foot in the living-room. Hans Castorp, when Fraulein Kleefeld related this to him, expressed the view that there was some sort of sense in it: the apparition here, the death there - after all, they did hang together. And he consented to be present at a spiritualistic sitting, a table-tipping, glass-moving game which they had determined to undertake with Ellen Brand, behind Dr. Krokowski's back, and in defiance of his jealous prohibition. A small and select group assembled for the purpose, their theatre being Fraulein Kleefeld's room. Besides the hostess, Fraulein Brand, and Hans Castorp, there were only Frau Stohr, Fraulein Levi, Herr Albin, the Czech Wenzel, and Dr. Ting-Fu. In the evening, on the stroke of ten, they gathered privily, and in whispers mustered the apparatus Hermine had provided, consisting of a mediumsized round table without a cloth, placed in the centre of the room, with a wineglass upside-down upon it, the foot in the air. Round the edge of the table, at regular intervals, were placed twenty-six little bone counters, each with a letter of the alphabet written on it in pen and ink. Fraulein Kleefeld served tea, which was gracefully received, as Frau Stohr and Fraulein Levi, despite the harmlessness of the undertaking, complained of cold feet and palpitations. Cheered by the tea, they took their places about the table, in the rosy twilight dispensed by the pink-shaded tablelamp, as Fraulein Kleefeld, in concession to the mood of the gathering, had put out the ceiling light; and each of them laid a finger of his right hand lightly on the foot of the wineglass. This was the prescribed technique. They waited for the glass to move. He put it into his pocket, unobservably. The others were busied about Ellen Brand, who remained sitting in her place in the same state, staring vacantly, with that curious simpering expression. Herr Albin blew in her face and imitated the upward sweeping motion of Dr. Krokowski, upon which she roused, and incontinently wept a little. They caressed and comforted her, kissed her on the forehead and sent her to bed. Fraulein Levi said she was willing to sleep with Frau Stohr, for that abject creature confessed she was too frightened to go to bed alone. Hans Castorp, with his, retrieved property in his breast pocket, had no objection to finishing off the evening with a cognac in Herr Albin's room. He had discovered, in fact, that this sort of thing affected neither the heart nor the spirits So much as the nerves of the stomach - a retroactive effect, like seasickness, which sometimes troubles the traveller with qualms hours after he has set foot on shore. His curiosity was for the was for the time quenched. Holger's poem had not oeen so bad; but the antlclpated futility and vulgarity of the scene as a whole had been so unmistakable that he felt quite willing to let it go at these few vagrant sparks of hell-fire. Herr Settembrini, to whom he related his experiences, strengthened this conviction with all his force. "That," he cried out, "was all that was lacking. Oh, misery, misery! " And cursorily dismissed little Elly as a thorough-paced impostor. His pupil said neither yea nor nay to that. He shrugged his Shoulders, and expressed the view that we did not seem to be altogether sure what constituted actuality, nor yet, in consequence, what imposture. Perhaps the boundary line was not constant. Perhaps there were transitional stages between. the two, grades of actuality within nature; nature being as she was, mute, not susceptihle of valuation, and thus defying distinctions which in any case, it seemed to him, had a strongly moralizing flavour. What / Page 667 / did Herr Settembrini think about delusions which were a mixture of actuality and dream, perhaps less strange in nature than to our crude, everyday processes of thought? The mystery of life was literally bottomless. What wonder, then, if sometimes illusions arose - and so on and so forth, in our hero's genial, confiding, loose and flowing style. Herr Settembrini duly gave him a dressing-down, and did produce a temporary reaction of the conscience, even something like a promise to steer clear in the future of such abominations. "Have respect," he adjured him, " for your humanity, Engineer! Confide in your God-given power of clear thought, and hold in abhorrence these luxations of the brain, these miasmas of the spirit! Delusions? The mystery of life? Caro mio! When the moral courage to make decisions and distinctions between reality and deception degenerates to that point, then there is an end of life, of judgment, of the creative deed: the process of decay sets in, moral scepsis, and does its deadly work." Man, he went on to say, was the measure of things. His right to recognize and to distinguish between good and evil, reality and counterfeit, was indefeasible; woe to them who dared to lead him astray in his belief in this creative right. Better for them that a millstone be hanged about their necks and that they be drowned in the depth of the sea. Hans Castorp nodded assent - and in fact did for a while .keep aloof from all such undertakings. He heard that Dr. Krokowski. had begun holding seances with Ellen Brand in his subterranean cabinet, to which certain chosen ones of the guests were invited. But he nonchalantly put aside the invitation to join them - naturally not without hearing from them and from Krokowski himself something about the success they were having. It appeared that there had been wild and arbitrary exhibitions of power, like those in Fraulein Kleefeld's room: knockings on walls and table, the turning off of the lamp, and these as well as further manifestations were .being systematically produced and investigated, with every possible safeguardmg of their genuineness, after Comrade Krokowskihad practised the approved technique and put little Elly into her. hypnotic sleep. They had discovered that the process was facilitated by music; and on these evenings the gramophone was pre-empted by the circle and carried down into the basement. But the Czech Wenzel who operated it there was a not unmusical man, and would surely not injure or misuse the instrument; Hans Castorp might hand it over without misgiving. He even chose a suitable album of records, containing light music-, dances, smaIl overtures and suchlike tunable trifles. Little Elly / Page 668 / made no demands on a higher art, and they served the purpose admirably. To their accompaniment, Hans Castorp learned, a handkerchief had been lifted from the floor, of its own motion, or, rather, that of the ."hidden hand" in its folds. The doctor's waste-paperbasket: had risen to the ceiling; the pendulum of a clock been afternately stopped and set going again" without anyone touching it," a table-bell " taken" and rung.- these and a good many other turbid and meaningless phenomena. The learned master of ceremonies was in the happy position of being able to characterize them by a Greek word, very scientific and impressive. They were, so he. explained in his lectures. and in private conversations, "telekinetic' phenomena, cases of movement from a distance; he associated them with a class of manifestations which were scientifically known as materializations, and toward which his plans and attempts with Elly Brand were directed. He talked to them about biopsychical projections of subconscious complexes into the objective; about transactions of which the medial constitution, the somnambulic state, was to be regarded as the source; and which one might speak of as objectivated dreamconcepts, in so far as they confirmed an ideoplastic property of nature; a power, which under certain conditions appertained to thought, of drawing substance to itself, and clothing itself in temporary reality. This substance streamed out from the body of the medium, and developed extraneously into biological, living endorgans, these being .the agencies which had performed the extraordinary though meaningless feats they witnessed in Dr. Krokowski's laboratory. Under some conditions these agencies might be seen or touched, the limbs left their impression in wax or plaster. But some.times the matter did not rest with such corporealization. Under certain conditions, human heads, faces, full-length phantoms manifested themselves before the eyes of the experimenters, even within certain limits entered into contact with them. And here Dr. Krokowski's doctrine began, as it were, to squint; to look two ways at once. It took on a shifting and fluctuating character, like the method .of treatment he had adopted in his exposition of the nature of love. It was no longer plain-sailing, scientific treatment of the - objectively mirrored subjective content of the medium and her passive auxiliaries. It was a mixing in the game, at least sometimes, lit least half and half, of entities from without and beyond. It dealt - at least possibly, if not quite adinittedly - with the non-vital, with existences that took advantage of a ticklish, mysteriously and momentarily favouring chance to return to substantiality and show / Page 669 / themselves to their summoners.., in brief, with the spiritualistic invocation of the departed. Such manifestations it was that Comrade Krokowski, with the assistance of his followers, was latterly striving to produce; sturdily, with his ingratiating smile, challenging their cordial confidence, thoroughly at home; for his own person, in this questionable morass of the subhuman, and a born leader for the timid and compunctious in the regions where they now moved. He had laid himself out to develop and discipline the extraordinary powers of Ellen Brand and, from what Hans Castorp could hear, fortune smiled upon his efforts. Some of the party had felt the touch of materialized hands. Lawyer Paravant had received out of transcendency a sounding slap on the cheek, and had countered with scientific alacrity, yes, had even eagerly turned the other cheek, heedless of his quality as gentleman, jurist, and one-time member of a duelling corps, all of which would have constrained him to quite a different line of conduct had the blow been of terrestrial origin. A. K. Ferge, that good-natured martyr, to whom all " highbrow" thought was foreign, had one evening held such a spirit hand in his own, and established by sense of touch that it was whole and well shaped. His clasp had been heart-felt to the limits of respect; but it had in some indescribable fashion escaped him. A considerable period elapsed, some two months and a half of biweekly sittings, before a hand of other-worldly origin, a young man's hand, it seemed, came .fingering over the table, in the red glow of the paper-shaded lamp, and, plain to the eyes of all the circle, left its imprint in an earthenware basin full of flour. And eight days later a troop of Krokowski's workers, Herr Albin, Frau Stohr, the Magnuses, burst in upon Hans Castorp where he sat dozing toward midnight in the biting cold of his balcony, and with every mark of distracted and feverish delight, their words tumbling over one another, announced that they had seen Elly's Holger - he had showed his head over the shoulder of the little medium, and had in truth "beautiful brown, brown curls." He had smiled with such unforgettable, gentle melancholy as he vanished! Hans Castorp found this lofty melancholy scarcely consonant with Holger's other pranks, his impish and simple-minded tricks, the anything but gently melancholy slap he had given Lawyer Paravant and the latter had pocketed up. It was apparent that one must not demand consistency of conduct. Perhaps they were dealing with a temperament like that of the little hunch-backed man in the nursery song, with his pathetic wickedness and his' craving for intercession. Holger's admirers had no -thought for all this / Page 670 / What they were determined to do was to persuade Hans Castorp rescind his decree; positively, now that everything was so brilliantly in train, he must be present at the next seance. Elly, it seemed, in her trance had promised to materialize the spirit of any departed person the circle chose. Any departed person they chose? Hans Castorp still showed reluctance. But that it might be any person they chose occupied his mind to such an extent that in the next three days he came to a different conclusion. Strictly speaking it was not three days, but as many minutes, which brought about the change. One evening, in a solitary hour in the music-room, he played again the record that bore the imprint of Valentine's personality, to him so profoundly moving. He sat there listening to the soldierly prayer of the hero departing for the field of honour: "If God should summon me away, Thee I would watch and guard -alway, O Marguerite! " - and, as ever, Hans Castorp was filled by emotion at the sound, an emotion which this time circumstances magnified and as it were ndensed into a longing; he thought: "Barren and sinful or no, it. would be a marvellous thing, a darling adventure! And he, as I know him, if he had anything to do with it, would not mind." He recalled that composed and liberal" Certainly, of course," he had heard in the darkness of the x-ray laboratory, when he asked Joahim if he might commit certain optical indiscretions. The next morning he announced his willingness to take part in the evening seance; and half an hour after dinner joined the group of familiars of tl1e uncanny, who, unconcernedly chatting, took their way down to the basement; They were all old inhabitants, the-oldest of the old, or at least of long standing in the group, like the Czech Wenzel and Dr. Ting-Fu; Ferge and Wehsal, Lawyer Paravant, the ladies KIeefeld and Levi, and, in addition, those persons who had come to his balcony to announce to him the apparition of Holger's head, and of course the medium, Elly Brand. That child of thee north was already in the doctor's charge when Hans Castorp passed through the door with the visiting-card: the doctor, in his black tunic, his arm laid fatherly across her shoulder, stood at the foot of the stair leading from the basement floor and welcomed the guests, and she with him. Everybody greeted everybody else, with surprising hilarility and expansiveness -It seemed to be the common aim to keep the meeting pitched in a key free from all solemnity or constraint. They- talked in loud, cheery voices, / Page 671 / "poked each other in the ribs, showed everyway how perfectly at ease they felt. Dr. Krokowski's yellow teeth kept gleaming in his beard with every hearty, confidence-inviting sinile; he repeated his "Wel - come" to each arrival, with special fervour in Hans Castorp's case - who, for his .part, said nothing at all, and whose manner was hesitating. "Courage, comrade," Krokowski's energetic and hospitable nod seemed to be saying, as he gave the young man's hand an almost violent squeeze. No need here to hang the head, here is no cant nor sanctimoniousness, nothing but the blithe and manly spirit of disinterested research. But Hans Castorp felt none the better for all this pantomime. He summed up the resolve formed by the memories of the x ray cabinet; but the train of thought hardly fitted with his present frame; father he was reminded of the peculiar and unforgettable mixture of feelings nervousness, pridefulness, curiosity, disgust, and awe - with which, years ago, he had gone with some fellow students, a little tipsy, to a brothel in Sankt-Pauli. As everyone was now present, Dr. Krokowski selected two controls - they were, for the evening, Frau Magnus and the ivory Levi - to preside over the physical examination of the medium, and they withdtew to the next room. Hans Castorp and the remaining nine persons awaited in the consulting-room the issue of the austerely scientific procedure - which was invariably without any result whatever. The room was familiar to him from the hours he had spent here, behind Joachim's back, in conversation with the psycho-analyst. It had a writing-desk, an arm-chair and an easychair for patients on the left, the window side; a library of reference-books on shelves to right and left of the side door, and in the' further right-hand corner a chaise-longue, covered with oilcloth, separated by a folding screen from the desk and chairs. The doctor's glass instrument-case also stood in that corner, in another was a bust of Hippocrates, while an engraving of Rembrandt's " Anatomy Lesson" hung above the gas fire-place on the right side wall. It was an ordinary consulting-room, like thousands more; but with certain temporary special arrangements. The round mahogany table whose place was in the centre of the room, beneath the electric chandelier, upon the red carpet that covered most of the floor, had been pushed forward against the left-hand wall, beneath the plaster bust; while a smaller table, covered with a cloth and bearing a red-shaped lamp, had been set obliquely near the gas fire, which was lighted and giving out a dry heat. Another electric bulb, covered with "red and further with a black gauze veil, hung above the table. On this table stood certain notorious objects: two / Page 672 / table-bells, of different patterns, one to shake and one to press, the plate with flour, and the paper-basket. Some dozen chairs of different shapes and sizes surrounded the table in a half-circle, one end of which was formed by the foot of the chaise-longue, the other ending near the centre of the room, beneath the ceiling light. Here, in the neighbourhood of the last chair, and about half-way to the door, stood the gramophone; the album of light trifles lay on a chair next it. Such were the arrangements. The red lamps were yet lighted, the ceiling light was shedding an effulgence as of common day, for the window, above the narrow end of the writing-desk, was shrouded in a dark covering, with its open-work cream-coloured blind hanging down in front of it. After ten minutes the doctor returned with the three ladies. Elly's outer appearance had changed: she was not wearing her ordinary clothes, but a night-gownlike garment of white crepe, girdled about the waist by a cord, leaving her slender arms bare. Her maidenly breasts showed themselves soft and unconfined beneath this garment, it appeared she wore little else. They all hailed her gaily. "Hullo, Elly!, How lovely she looks again! A perfect fairy! Very pretty, my angel! " She smiled at their compliineilts to her attire, probably well knowing it became her. "Preliminary' control negative," Krokowski announced. "Let's get to work, then, comrades," he said. Hans Castorp, consious of being disagreeably affected by the doctor's manner of address, was about to follow the example. of the others, who, shouting, chattering, slapping each other on the shoulders, were settling themselves'in the circle of chairs, when the doctor addressed him personally. "My friend," said he, "you are a guest, perhaps a novice, in our midst, and therefore I should like, this evening, to pay you special honour. I confide to you the control of the medium. Our practice is as follows." He ushered the young man toward the end of the circle next the chaise-longue and the screen, where Elly was seated on. an ordinary cane chair, with her face turned rather toward the entrance door than to the centre of the room. He himself sat down close in front of her in another such chair, and clasped her hands, at the same time holding both her knees fiirmly between his own. "Like'that," he, said. and gave his place to Hans Castorp, who assumed the same position. "You'll grant that the arrest is complete. But we shall give you assistance too. Fraulem KIeefeld, may I implore you to lend us your aid?" And the lady. thus courteousfy and exotically entreated came and sat down. clasping Elly's fragile wrists, one in each hand. Page 673 Unavoidable, that Hans Castorp should look into'the face of the young prodigy, fixed as it was so immediately before his own. Their eyes met - but Elly's slipped aside and gazed with natural self-consciousness in her lap. She was smiling a little affectedly, with her lips slightly pursed, and her head on one side, as she had at the wineglass seance. And Hans Castorp was reminded, as he saw her, of something else: the look on Karen Karstedt's face, a smile just like that, when she stood with Joachim and himself and regarded the unmade grave in the Dorf graveyard. The circle had sat down. They were thirteen persons; not counting the Czech Wenzel, whose function it was to serve Polyhymnia, and who accordingly, after putting his instrument in readiness, squatted with his guitar at the back of the circle. Dr. Krokowski sat beneath the chandelier, at the other end of the row, after he had turned on both red lamps with a single switch, and turned off the centre light. A darkness, gently aglow, layover the room, the corners and distances were obscured. Only the surface of the little table and its immediate vicinity were illumined by a pale rosy light. During the next few minutes one scarcely saw one's neighbours; then their eyes slowly accustomed themselves to the darkness and made the best use of the light they had - which was slightly reinforced by the small dancing flames from the chimney piece. The doctor devoted a few words to this matter of the lighting, and excused its lacks from the scientific point of view. They must take care not to interpret it in the sense of deliberate mystification and scene-setting. With the best will in the world they could not, unfortunately, have 'more light for the present. The nature of the powers they were to study would not permit of their being developed with white light, it was not possible thus to produce the desired conditions. This was a fixed postulate, with which they must for the present reckon. Hans Castorp, for his part, was quite satisfied. He liked the darkness, it mitigated the queerness of the situation. And in its justification he recalled the darkness of the x-ray room, and how they had collected themselves, and "washed their"eyes" in it, before they" "saw." We will now form the chain," finished Dr. Krokowski; and they did so, laughing when they could not find each other's hands in the dark. Dr. Ting-Fu, sitting next Hermine Kleefeld, laid his right hand on her shoulder and reached his left to Herr Wehsal, who came next. Beyond him were Herr and Frau Magnus, then K. Ferge; who, if Hans Castorp mistook not, held the hand of the ivory Levi on his right - and so on. "Music!" the doctor commanded, and behind him his neighbour the Czech set the instrument in motion and placed the needle, on the disk. "Talk!" Krokowski bade them, and as the first bars of an overture by Millocker were heard, they obediently bestirred themselves to make conversation, about nothing at all: the winter snow-fall, the last course at dinner, a newly arrived patient, a departure, "wild" or otherwise - artificially sustained, half drowned by the music, and lapsing now and again. So some minutes passed. The record had not run out before Elly shuddered violently. trembling ran through her, she sighed, the upper part of her bo dy sank forward so that her forehead rested against Hans Castorp's, and her arms, together with those of her guardians, began: make extraordinary pumping motions to and fro. "Trance," announced the Kleefeld. The music stopped, so also conversation. In the abrupt silence they heard the baritone drawl of the doctor. "Is Holger present? " Elly shivered again. She swayed in her chair. Then Hans Castorp felt her press his two hands with a quick, firm pressure. "She pressed my hands," he informed them. "He," the doctor corrected him. "He pressed your hands. He is present. Wel-come, Holger," he went on with unction." Wel-come, friend and fellow comrade, heartily, heartily wel-come. And remember, when you were last with us," he went on, and Hans Castorp remarked that he did not use the form of address common to the civilized West - "you promised to make visible to our mortal eyes some dear departed, whether brother soul or sister soul, whose name should be given to you by our circle. Are you willing? Do you feel yourself able to perform what you promised? " Again Elly shivered. She sighed and shivered as the answer came. Slowly she carried her hands and those of her guardians to her fore- / Page 675 / head, where she let them rest. Then close to Hans Castorp's ear she whispered: "Yes." The warm breath immediately at his ear caused·in our friend that phenomenon of the epidermis popularly called goose-flesh, the nature of which the Hofrat had once explained to him. We mention this in order to make a distinction between the psychical and ·the purely physical. There could scarcely be talk of fear, for our hero was in fact thinking: "Well, she is certainly biting off more than she can chew!" But then he was straightway seized with a mingling of sympathy and consternation springing from the confusing and illusory circumstance that a blood-young creature, whose hands he held in his, had just breathed a yes into his ear. "He said yes," he reported, and felt embarrassed. "Very well, then, Holger," spoke Dr. Krokowski. "We shall take you at your word. We are confident you will do your part. The name of the dear departed shall shortly be communicated to you. Comrades," he turned to the gathering, " out with it, now! Who has a wish? Whom shall our friend Holger show us? " A silence followed: Each waited for the other to speak. Individually they had probably all questioned themselves, in these last few days; they knew whither their thoughts tended. But the calling back of the dead, or the desirability of calling them back, was a ticklish matter, after all. At bottom, and boldly confessed, the desire does not exist; it is a misapprehension precisely as impossible as the thing itself, as we should soon see if nature once let it happen. What we call mourning for our dead is perhaps not so much grief at not being able to call them back as it is grief at not being able to want to do so. This was what they were all obscurely feeling; and since it was here simply a question not of an actual return, but merely a theatrical staging of one, in which they should only see the departed, no more, the thing seemed humanly unthinkable; they were afraid to look into the face of him or her of whom they thought, and each one would willingly have resigned his right of choice to the next. Hans Castorp too, though there was echoing in his ears that large-hearted "Of course, of course" out of the past, held back, and at the last moment was rather inclined to pass the choice on. But the pause was too long; he turned his head toward their leader, and said; in a husky voice: "I should like to see my departed cousin, Joachim Ziemssen." That was a relief to them all. Of those present, all excepting Dr. Ting-Fu, Wenzel, and the medium had known the person asked / Page 676 / for. The others, Ferge, Wehsal, Herr Albin, Paravant, Herr and Frau Magnus, Frau Stohr, Fraulein Levi, and the Kleefeld, loudly announced their satisfaction with the choice. Krokowski himself nodded well pleased, though his relations with Joachim had always been rather cool, owing to the latter's reluctance in the matter of psycho-analysis. " Very good indeed," said the doctor. "Holger, did you hear? The person named was a stranger to you in life. Do you know him in the Beyond, and are you prepared to lead him hither? Immnse suspense. The sleeper swayed, sighed, and shuddered. he seemed to be seeking, to be struggling; fallihg this way and that, whispering now to Hans Castorp, now to the Kleefeld, something they could not catch. At last he received from her hands the pressure that meant yes. He announced himself to have done so. and- "Very well;-then," cried Dr. Krokowski. "To work, Holger Music," he cried. "Conversation! "and he repeated the injunction that no fixing of the attention, no strained anticipation was in place, only an unforced and hovering expectancy. And now followed the most extraordinary hours of our hero's young life. Yes, though his later fate is unclear, though at a certain moment in his destiny he will vanish from our eyes, we may assume them to have been the most extraordinary he ever spent. They were hours - more than two of them, to be explicit, counting in a brief intermission in the efforts on Holger's part which now began, or rather, on the girl Elly's - of work so hard and so prolonged that they were all toward the end inclined to be fainthearted and despair of any result; out of pure pity, too, tempted to resign an attempt which seemed pitilessly hard, and beyond the delicate strength of her upon whom it was laid. We men, if we do not shirk our humanity, are familiar with an hour of life when we know this almost intolerable pity, which, absurdly enough no one else,can feel, this rebellious "Enough, no more! ' which is wrung from us, though it is not enough, and cannot or will not be enough. until it comes somehow or other to its appointed end. The reader knows we, speak of our husband- and fatherhood, of the act of birth, which Elly's wrestling did so unmistakably resemble that even he must recognize it who had never passed through this experience, even ouryoung Hans Castorp; who, not having shirked life, now came to know, in such a guise, this act, so full of organic mysticism. In what a guise! To what an end! Under what circumstances! One could not regard as anything less than scandalous the sights and sounds in this red-lighted lying-in chamber, the / Page 677 / maidenly form of the pregnant one, bare-armed, in flowing nightrobe; and then by contrast the ceaseless and senseless gramophone music, the forced conversation which the circle kept up at command, the cries of encouragement they ever and anon directed at the struggling one: "Hullo, Holger! Courage, man! It's coming, just keep it up, let it come, that's the way!" Nor do we except the person and situation of the "husband" - if we may regard in that light our young friend, who had indeed formed such a wishsitting there, with the knees of the little "mother" between his own, holding in his her hands, which were as wet as once little Leila's, so that he had constantly to be renewing his hold, not to let them slip. For the gas fire in the rear of the circle radiated great heat. Mystical, consecrate? Ah, no, it was all rather noisy and vulgar, there in the red glow, to which they had now so accustomed their eyes that they could see the whole room' fairly well. The music and shouting were so like the revivalistic methods of the Salvation Army, they even made Hans Castorp think of the comparison, albeit he had never attended at a celebration by these cheerful zealots. It was in no eerie or ghostly sense that the scene affected the sympathetic one as mystic or mysterious, as conducing to solemnity; it was rather natural, organic - by virtue of the intimate association we have already referred to. Elly's exertions came in waves, after periods of rest, during which she hung sidewise from her chair in a totally relaxed and inaccessible condition, described by Dr. Krokowski as "deep trance." From this she would start up with a moan, throw herself about, strain and wrestle with her captors, whisper feverish, disconnected words, seem to be trying, with sidewise, jerking movements, to expel something; she would gnash her teeth, once even fastened them in Hans Castorp's sleeve. This had gone on for more than an hour when the leader found it to the interest of all concerned to grant a brief intermission. The Czech Wenzel, who had introduced an enlivening variation by closing the gramophone. and striking up very expertly on his guitar, laid that instrument aside. They all drew a long breath and broke the circle. Dr. Krokowski strode over to the wall and switched on the ceiling lamp; the light flashed up glaringly, making them all blink. Elly, bent forward, her face almost in her lap, slumbered. She was busy too, absorbed in the oddest activity, with which the others appeared familiar, but which Hans Castorp watched. with attentive wonder. For some minutes together she moved the hollow of her hand to and fro in the region of her hips: / Page 678 / carried the hand away from her body and then with scooping, raking motion drew It towards her, as though gathering something and pulling it in. Then, with a series of starts, she came to herself, blinked in her turn at the light with sleep-stiffened eyes and smiled. She smiled affectedly, rather remotely. In truth, their solicitude· seemed wasted; she did not appear exhausted by her efforts. Perhaps she retained no memory of them. She sat down in the chair reserved for patients, by the writing-desk near the window, between the desk and the screen about the chaise-longue; gave the chair a turn so that she could support her elbow on the desk and look into the room; and remained thus, receiving their sympathetic glances and encouraging nods, silent during the whole intermission, which lasted fifteen minutes. It was a beneficent pause, relaxed, and filled with peaceful satisfaction in respect of work already accomplished. The lids of cigarette-cases snapped, the men smoked comfortably, and standing.in groups discussed the prospects of the seance. They were far from despairing or anticipating a negative result to their efforts. Signs enough were present to prove such doubting uncalled for. Those sitting near the doctor, at the far-end of the row, agreed that they had several times felt, quite unmistakably, that current of cool air which regularly whenever manifestations. were under way streamed in a definite direction from the person of the medium. Others had seen light-phenomena, white spots, moving conglobations of forces showing themselves at intervals against the screen. In short, no faint-heartedness! No looking backward now they had put their hands to the plough: Holger had given his word they had no call to doubt that he would keep it. Dr. Krokowski signed for the resumption of the sitting. He led Elly back to her martyrdom and seated her, stroking her hair. The others closed the circle. All went as before. Hans Castorp suggested that he be released from his post of first control, but Dr. Krokowski refused. He said he laid great stress on excluding, by immediate contact, every possibility of misleading manipulation on the part of the medium. So Hans Castorp took lip again his strange position vis-a.-vis to Elly; the white light gave place to rosy twilight, the music began again, the pumping motions; this time it was Hans Castorp who announced 'trance." The scandalous lying-in proceeded. With what distressful difficulty! It seemed unwilling to take its course - how could it? Madness! What maternity was this, what delivery, of what should she be delivered? " Help, help,". the child / Page 679 / moaned, and her spasms seemed about to pass over into that dangerous and unavailing stage obstetricians call eclampsia. She called at intervals on the doctor, that he should put his hands on' her. He did so, speaking to her encouragingly. The magnetic effect, if such it was, strengthened her to further efforts. Thus passed the second hour, while the guitar was strummed or the gramophone gave out the contents of the album of light music into the twilight to which they had again accustomed their vision. Then came an episode, introduced by Hans Castorp. He supplied a stimulus by expressing an idea, a wish; a wish he had cherished from the beginning, and might perhaps have profitably expressed before now. Elly was lying with her face on their joined hands, in "deep trance." Herr Wenzel was just changing or reversing the record when our friend summoned his resolution and said he had a suggestion to make, of no great importance, yet perhaps - possibly - of some avail. He had - that is, the house possessed among its volumes of records - a. certain song, from Gounod's Faust, Valentine's Prayer, baritone with orchestral accompaniment, very appealing. He, the speaker, thought they might try the record. "Why that particular one? " the doctor asked out of the darkness. "A question of mood. Matter of feeling," the young man responded. The mood of the piece in question was peculiar to itself, quite special- he suggested they should try it. Just possible, not out of the question, that its mood and atmosphere might shorten their labours. "Is the record here? " the doctor inquired. No, but Hans Castorp could fetch it at once. "What are you thinking of? " Krokowski promptly repelled the idea. What? Hans Castorp thought he might go and come again and take up his business where he had left it off? There spoke the voice of utter inexperience. Oh, no, it was impossible. It would upset everything, they would have to begin all over. Scientific exactitude forbade them to think of any such arbitrary going in and out. The door was locked. He, the doctor, had the key in his pocket. In short, if the record was not now in the room - He was still talking when the Czech threw in, from the gramophone: "The record is here." " Here? " Hans Castorp asked. "Yes, here it is, Faust, Valentine's Prayer." It had been stuck by mistake in the album of light music, not in the green album of arias, where it belonged; quite by chance - or mismanagement / Page 680 / or carelessness, in any case luckily - it had partaken of the general topsyturvyness, and here it was, needing only to be put on. "What had Hans Castorp to say to that? Nothing. It was the doctor who remarked: "So much the better," and some of the others chimed in. The needle scraped, the lid was put down. The male voice began to choral accompaniment: "Now the parting hour has come." "No one spoke. They listened: Elly, as the music resumed, renewed her efforts. She started up convulsively, pumped, carried the slippery hands to her brow. The record went on, came to the middle part, with skipping rhythm, the part about war and danger, gallant, god-fearing, French. After that the finale, in full volume, the orchestrally supported refrain of the beginning. "O Lord of heaven, hear me pray. . . ." Hans Castorp had work with Elly. She raised herself, drew in a straggling breath, sighed a long, long, outward sigh, sank down illlc1 was still. He bent over her in concern, and as he did so, he heard Frau Stohr say; in a high, whining pipe: "Ziemssen! " He did not look up. A bitter taste came in his mouth. He heard another voice, a deep, cold voice, saying: "I've seen him a long time." The record had run off, with a. last accord of horns. But no one stopped the machine. The needle went on scratching in the silence, as the disk whirred round. Then Hans Castorp raised his head, and his eyes went, without searching, the right way. "There was one more person in the room than before. There in the background, where the red rays lost themselves in gloom, so that the eye scarcely reached thither, between writing-desk and screen, in the doctor's consulting-chair, where in the intermission Elly had been sitting, Joachim sat. It was the Joachim of the last days, with hollow, shadowy cheeks, warrior's beard and full, curling lips. He sat leaning back, one leg crossed over the other. On his wasted face, shaded though it was by his head-covering, was plainly seen the stamp of suffering, the expression of gravity mid austerity which had beautified it. Two folds stood on his brow, between the eyes, that lay deep in their bony cavities; but there was no change in the mildness of. the great dark orbs, whose quiet, friendly gaze sought out Hans Castorp, and him alone. That ancient grievance of the outstanding ears was still to be seen under the head-covering, his extraordinary head-covering, which they could not make out. Cousin Joachim was not in mufti. His sabre seemed to be leaning against his leg, he held the handle, one thought to distinguish something like a pistol-case in his belt. "But that was / Page 681 / no proper uniform he wore. No colour, no decorations; it had a collar like a litewka jacket, and side pockets. Somewhere low down on the breast was a cross. His feet looked large, his legs very thin, they seemed to be bound or wound as for the business of sport more than war. And what was it, this headgear? It seemed as though Joachim had turned an army cook-pot upside-down on his head, and fastened it under his chin with a band. Yet it looked quite properly warlike, like an old-fashioned foot-soldier, perhaps. Hans Castorp felt Ellen Brand's breath on his hands. And near him the Kleefeld's rapid breathing. Other sound there was none, save the continued scraping of the needle on the run-down, rotating record, which nobody stopped. He looked at none of his company, would hear or see nothing of them; but across the hands and head on his knee leaned far forward and stared through the red darkness at the guest in the chair. It seemed one moment as though his stomach would turn over within him. His throat contracted and a four- or fivefold sob went through and through him. "Forgive me! " he whispered; then his eyes overflowed, he saw no more. He heard breathless voices: "Speak to him! "he heard Dr. Krokowski's baritone voice summon him, formally, cheerily, and repeat the request. Instead of complying, he drew his hands away from beneath Elly's face, and stood up. Again Dr. Krokowski called upon his name, this time in monitory tones. But in two strides Hans Castorp was at the step by.the entrance door and with one quick movement turned on the white light. Fraulein Brand had collapsed. She was twitching convulsively in the Kleefeld's arms. The chair over there was empty. Hans Castorp went up to the protesting Krokowski, close up to him. He tried to speak, but no words came. He put out his hand, with a brusque, imperative gesture. Receiving the key, he .nodded several times, threateningly, close into the other's face;
ELLY BRAND
Daily Mail Monday, March 22, 2010 Mail Foreign Service Girl, 4 dies in car horror on holiday beach "She was beautiful, a princess': Ellie Bland Page 28 A BRITISH girl of four was killed by a car as she walked along a popular U.S. beach with her family. Horrified witnesses screamed as the car halted. But before they could reach Ellie, the driver, Barbara Worley, 66, panicked and hit the accelerator, surging forward and hitting the girl - killing her instantly. Ellie's parents, who were at home in Nottingham, learned of their daughter's death by phone. It is thought they flew out to Florida yesterday. Relatives said that her great uncle, John Langlands, 53, and his wife Karen, 44, had brought up Ellie and her five-year-old sister, believed to be called Kacey, since they were babies. Ellie had survived serious health problems including a heart murmur and a digestive tract condition. Last year she nearly died after contracting swine flu. The family regularly took holidays in Daytona Beach, where it is thought they had a holiday home. There are clearly marked lanes monitored by police, but officials said the high tide may have brought pedestrians and cars closer together than usual. It was also one of the first warm Saturdays of the year, meaning the beach was packed.
MAIL ON LINE Saturday, Mar 27 2010 9AM 9°C Results for ' Ellie Bland' You searched Pictured: British girl, 4, killed by car on Florida beach while walking hand-in-hand with uncle 'after driver panicked' By Mail Foreign Service Comments (81) Add to My Stories Victim:Ellie Bland was killed by a car as she walked along Daytona beach with her great uncle Horrified witnesses screamed as the car halted. But before they could reach Ellie, the driver, Barbara Worley, 66, panicked and hit the accelerator, surging over the little girl - killing her instantly. Florida Highway Patrol said an investigation had been launched and that charges were pending for Worley, from Elberton, Georgia. Ellie's parents, who were at home in Nottingham, learned of their daughter's death by phone. It is thought they flew out to Florida yesterday. Relatives said that her great uncle, John Langlands, 53, and his wife Karen, 44, had brought up Ellie and her five-year-old sister, believed to be called Kacey, since they were babies. Ellie had survived serious health problems including a heart murmur and a digestive tract condition. Last year she nearly died after contracting swine flu. The family regularly took holidays in Daytona Beach, where it is thought they had a holiday home. The Langlands had planned to take her to Disney's Magic Kingdom yesterday to dress up as the star of the film the Princess and the Frog. There are clearly marked lanes monitored by police, but officials said the high tide may have brought pedestrians and cars closer together than usual. It was also one of the first warm Saturdays of the year, meaning the beach was packed. Daytona Beach is one of few coastal resorts in the US where cars are permitted to drive on the sand Print this article Read later Email to a friend Share this article: Digg it Del.icio.us Reddit Newsvine Nowpublic StumbleUpon Facebook MySpace Fark Comments (81)Here's what readers have had to say so far. Why not debate this issue live on our message boards. Newest Oldest Best rated Worst rated View all The reason vehicles are allowed on the sand in Daytona Beach is, like most of the beaches on the U.S. Atlantic coast, frigging hotels dot every last bit of open space. The only other way to get to the beach is to pay a parking fee to a hotel to use a parking lot (car park), or fight with someone to get a parking space at one of the few free city mantained lots. In many Atlantic coastal cities, there are so many hotels you can't even SEE the beach. The alternative is to find a beach that is in the jurisdiction of the National Park Service, such as Pea Island National Bird Sanctuary in the Outer Banks. No frigging hotels allowed! Click to rate Rating 48 Report abuse I was so sad when reading this. I have a 4 year old daughter and I can only imagine the family's grief and great sadness. I am heartbroken. My deepest sympathy goes out to the family. Click to rate Rating 69 Report abuse This is so sad and horrible for all involved, and I include the driver in this. Mr. Ellis in Southhampton (22/3/2010 08:46), thank you and bless you for such a reasonable comment. - Linda, Farmington, USA, 22/3/2010 12:51 Click to rate Rating 79 Report abuse RIP Ellie For Gods sake take an Engish course,Or shut up. Click to rate Rating 49 Report abuse We went to Daytona when my son was small and when I saw the traffic on the beach, I was terrified. It seemed to me to be so easy for an excited child to run towards the sea and be hit by a car. Paranoia, maybe, but it looked to me like an accident waiting to happen. It was impossible to settle and enjoy a holiday there, so we packed up and went back to the Florida Keys. Click to rate Rating 40 Report abuse For everyone slamming American drivers and those of us fortunate enough to live in Daytona Beach, a little history. Cars have been on our beach since the early 1900s when racing began in Daytona (Daytona International Speedway, anyone?). The original race track was the beach, because of its hard packed sand. As a teenager, one of the best things in life was to cruise the beach with your friends. The speed limit is 10 miles per hour, strictly enforced. Until the overcrowding of our beloved beach, it was extremely rare for a sun bather to get run over by a car. The last accident of the sort was 22 years ago, when another child darted out into the traffic lanes. Our beach is 23 miles long, there is driving on only a small portion of that, most of the beach has sand that is too soft for cars. People are free to go there to play where there are no cars allowed. In the core tourist area driving has been banned for the last ten years, again people are free to go there. RIP dear Ellie. Read more: http://www.dailymail.co.uk/news/worldnews/article-1259623/Four-year-old-British-girl-killed-tragic-car-accident-popular-Florida-beach.html#ixzz0jMmSgekQ
I ME ENTANGLEMENTS
Quantum entanglement is a quantum mechanical phenomenon in which the quantum states of two or more objects have to be described with reference to each other ...en.wikipedia.org/wiki/Quantum_entanglement Quantum entanglement Quantum entanglement is a quantum mechanical phenomenon in which the quantum states of two or more objects have to be described with reference to each other, even though the individual objects may be spatially separated. This leads to correlations between observable physical properties of the systems. For example, it is possible to prepare two particles in a single quantum state such that when one is observed to be spin-up, the other one will always be observed to be spin-down and vice versa, this despite the fact that it is impossible to predict, according to quantum mechanics, which set of measurements will be observed. As a result, measurements performed on one system seem to be instantaneously influencing other systems entangled with it. But quantum entanglement does not enable the transmission of classical information faster than the speed of light (see discussion in next section below). Quantum entanglement applications in the emerging technologies of quantum computing and quantum cryptography, and has been used to realize quantum teleportation experimentally. At the same time, it prompts some of the more philosophically oriented discussions concerning quantum theory. The correlations predicted by quantum mechanics, and observed in experiment, reject the principle of local realism , which is that information about the state of a system should only be mediated by interactions in its immediate surroundings. Different views of what is actually occurring in the process of quantum entanglement can be related to different interpretations of quantum mechanics.
Quantum entanglement just got a whole lot weirder, says Michael Brooks ... The team believe that quantum entanglement between the atoms is the only ..www.biophysica.com/quantum Entanglement: The weirdest link New Scientist vol 181 issue 2440 - 27 March 2004, page 32 That spooky connection between tiny particles is appearing everywhere, and its consequences are even affecting the world that we experience. It seems to unravel the past, and may be what keeps us alive. Quantum entanglement just got a whole lot weirder, says Michael Brooks ENTANGLEMENT. Erwin Schrödinger called this phenomenon the defining trait of quantum theory. Einstein famously dubbed it spukhafte Fernwirkungen: "spooky action at a distance". It is not hard to understand why. Set things up correctly, and you can instantaneously affect the physical properties of a particle on the other side of the universe simply by prodding its entangled twin. This is no longer just a curiosity of the quantum world, visible only in excruciatingly delicate experiments. Physicists now believe that entanglement between particles exists everywhere, all the time, and have recently found shocking evidence that it affects the wider, "macroscopic" world that we inhabit. It is a discovery that might have far-reaching consequences. Not only will it give us a better grip on technological applications, such as quantum computing and cryptography, and the teleportation of quantum states, it could also open up a whole new realm of reality, enabling us to retain and control quantum weirdness in our everyday world. And it's not just a strange kind of "remote control" over matter that is at stake. Entanglement could even be the key to understanding what gives rise to the phenomenon of life. It's enough to set Einstein spinning in his grave. Entanglement has been an affront to our sensibilities for several decades now. Schrödinger discovered it through his newly formed quantum theory, when he examined the mathematical descriptions of two quantum particles that bump into one other. After the interaction, it is impossible to tease apart the two particles' characteristics. Once they are entangled, it makes no sense to talk about the properties of just one of them. All the information about the particles, such as their momentum and spin, lies only in their joint properties. So if something affects the quantum state of one particle, it will inevitably affect the quantum state of the other, no matter how far apart they are. It is this that gives entanglement the "spooky" character that Einstein found so distasteful. Although it seems like something from the realm of fantasy, many physicists now use entanglement as a kind of resource for experiments and applications. Entangled pairs of quantum particles such as photons are routinely created and sent down microscopes or fired across vast distances. Their spooky properties are used to perform such feats as high-resolution imaging, quantum teleportation or quantum cryptography. But, despite the growing use of entanglement as a technological tool, physicists are beginning to realise we have only just scratched the surface of its potential. "Are there some other forms of entanglement that we haven't yet discovered?" asks Benni Reznik, a theoretical physicist at Tel Aviv University in Israel. "I think there are." Just how little we know about entanglement was made crystal clear last year by a collaboration led by Sayantani Ghosh at the University of Chicago (Nature, vol 425, p 48). The team analysed experiments done more than a decade ago with a sample of a magnetic salt containing holmium atoms, and compared them with theoretical predictions. What they found is extraordinary. The holmium atoms within the salt behave like tiny magnets and respond to each others' magnetic fields by adjusting their relative orientation, just as a compass needle orients itself to align with the Earth's magnetic field. But the atoms change this settled orientation if they are placed in an external magnetic field. The degree to which they align with the field is known as the salt's "magnetic susceptibility". Ghosh and his colleagues examined how the susceptibility of the salt varied with temperature. They expected it would decrease as the temperature rose, because the extra energy at higher temperatures disrupts the atoms' ability to maintain the optimum alignment. And it did. But at very low temperatures, the atoms were aligned to a greater degree than would be expected if they had normal quantum energy levels (Graphic omitted). The team believe that quantum entanglement between the atoms is the only explanation for this phenomenon. It's a big shock: it shows that the quantum phenomenon of entanglement, whose power was thought to be confined to the infinitesimal world of subatomic particles, can produce effects that remain measurable on macroscopic scales. Ghosh and his colleagues also showed that entanglement affects the salt's heat capacity, defined as the amount of heat needed to change the temperature of a kilogram of substance by 1 kelvin. Throw in some heat, and you can only determine exactly how far the salt's temperature will rise if you take entanglement between atoms into account. According to Vlatko Vedral, a theoretical physicist at Imperial College in London, these discoveries are highly important. Vedral was one of the team that first predicted the effect, three years ago (Physical Review Letters, vol 87, p 017901). The fact that the prediction has been borne out by experiment catapults the mystery of entanglement into the list of big unanswered questions that scientists need to address, he says. That's partly because physicists can no longer content themselves with using the quantum and classical energy level descriptions of a material if they want to determine and understand its properties. The effects of entanglement now have to be included as an integral part of any accurate calculation. But the results also suggest that, if we knew where to look, we might find entanglement causing significant effects in other materials. "It's not just magnetic salts - this should be a more universal thing," Vedral says. The best place to look first, he believes, might be the enigmatic phenomenon of high-temperature superconductivity. Vedral points out that superconductors contain pairs of electrons whose quantum descriptions, or wave functions, appear to be entangled. "The wave function describing the pair is not equal to the product of two wave functions," he says. "Mathematically, I can see there is entanglement." So should entanglement be considered as a possible cause of high-temperature superconductivity? Might it show us how to make materials that are superconducting at room temperature? At this stage, it is too early to say: the effects of entanglement on Ghosh's magnetic salt only become noticeable below 1 kelvin. "That is almost absolute zero," Vedral admits. "What would be really interesting would be to find a material that exhibits the effects of entanglement at higher temperatures." Eventually, he thinks, we might well find such a material at room temperature. "I don't think it's going to be a very easy search, but I can't think of anything that would rule this out on the basis of fundamental theory. It doesn't look impossible to me." While this might seem hopelessly optimistic at first glance, other recent discoveries about entanglement are suggesting otherwise. Entanglements at room temperature appear to be an everyday part of the universe. Reznik, for instance, has shown that all of empty space - what physicists refer to as the vacuum - is filled with pairs of particles that are entangled. "It's an unusual idea," says Reznik. "It was quite hard to get our first paper on this accepted." His paper was finally published last year in Foundations of Physics (vol 33, p 167). Thomas Durt of Vrije University in Brussels also believes entanglement is everywhere. He has recently shown, from the basic equations that Schrödinger considered, that almost all quantum interactions produce entanglement, whatever the conditions. "When you see light coming from a faraway star, the photon is almost certainly entangled with the atoms of the star and the atoms encountered along the way," he says. And the constant interactions between electrons in the atoms that make up your body are no exception. According to Durt, we are a mass of entanglements. Curiouser and curiouser Of course, that is no guarantee we can use them. Reznik says he doesn't think you can take his vacuum entanglement and use it to perform feats such as teleportation. Indeed, he is not even sure how to demonstrate that this entanglement exists. Though the equations of quantum field theory show that it is present, he is still working out how to perform an experiment that makes vacuum entanglement more than a theoretical result. These are all tantalising revelations, because they suggest that something priceless is within our grasp. But how do we reach it? We certainly need to find a better handle on practical entanglement: at the moment, the only forms of it we have learned to use are somewhat constraining. The entangled photons used for cryptography and teleportation are produced by firing a photon into a "non-linear" crystal, such as beta barium borate. The optical properties of a non-linear crystal depend on its orientation, and a photon fired in at the correct angle will split into two entangled photons. But the entanglement between the photon pair is an artefact of the internal properties of the original photon - its path and polarisation (Link New Scientist, 30 October 1999, p 32. omitted). So entangled photons from a non-linear crystal effectively remain just one quantum system, rather than being the result of two distinct particles meeting and interacting. "It's a kind of entanglement, but not quite the same as between different quantum systems," Vedral says. What physicists would dearly like, the resource that would open the way for the best experiments, is an unlimited source of pure two-particle entanglements. Despite the recent progress, this rich source of quantum magic has eluded them so far. So how do we take things forward? Schrödinger first discovered entanglement through analysing the mathematical descriptions of quantum theory, so perhaps mathematicians should be the pioneers. The trouble with this is that entanglement gives mathematicians a severe headache - especially when the entanglement is between anything more than two particles. In theory, just bouncing particles off an entangled pair will establish another entanglement link that can then be put to work, but it's much easier said than done. Experimental physicists John Rarity and Paul Tapster were the first to entangle three photons, in their laboratory at the UK Defence Evaluation and Research Agency in Malvern, Worcestershire, five years ago. But no one has ever managed to work out how to describe the properties of such a system. For the most part, theorists can't even look at a given quantum state and tell if it is entangled - it is only possible in a few special cases. "Although I can define what it means to be entangled, that is, I can write down a state that's entangled and a state that's not, if you give me a state and ask whether it's entangled, then I have no efficient way of telling you that," says Vedral. In other words, he knows how to formulate the calculation, but it is so difficult that no computer can actually perform it. But these problems may be nothing compared to the bombshell that Caslav Brukner of the University of Vienna has just dropped. As if our current understanding of entanglement between widely separated particles were not sketchy enough, Brukner, working with Vedral and two other Imperial College researchers, has uncovered a radical twist. They have shown that moments of time can become entangled too (link omitted). They achieved this through a thought experiment that examines how quantum theory links successive measurements of a single quantum system. Measure a photon's polarisation, for example, and you will get a particular result. Do it again some time later, and you will get a second result. What Brukner and Vedral have found is a strange connection between the past and the future: the very act of measuring the photon polarisation a second time can affect how it was polarised earlier on. "It's really surprising," says Vedral. This entanglement between moments in time is so bizarre that it could expose a hole in the very fabric of quantum theory, the researchers believe. The formulation does not allow messages to be sent back in time, but it still means that quantum mechanics seems to be bending the laws of cause and effect. On top of that, entanglement in time puts space and time on an equal footing in quantum theory, and that goes sharply against the grain. Space and time have always been very different in quantum theory. A location in space is an "observable" - like momentum or spin, spatial coordinates are just another property any quantum particle can have. The passing of time, on the other hand, has always been part of the backdrop. An electron can have a particular value of spin, or momentum or location, but it cannot have a particular time. But if time can become entangled, it should be considered as an observable, and there is no way to write that into quantum theory. "People have tried, but something in quantum mechanics always has to be violated if you want a proper time-observable," Vedral says. "So it could be that something in quantum mechanics has to be reformulated." In other words, Brukner's result suggests that we might be missing something important in our understanding of how the world works. Maybe that shouldn't surprise us. After all, entanglement between two spatially separated objects already tells us that space doesn't really have the form that classical physics says it does: instantaneous cause and effect across cosmological distances is not something that any theory of the universe can cope with. And now Brukner's result seems to extend this "impossibility" to events separated in time as well. It's not cause for despair, though. We know that relativity and quantum theory have to be meshed together if we are to create a "final" theory of how the universe works. It is too early to read much into Brukner's result, but maybe it is a clue about how to produce such a theory. In the meantime, Vedral thinks he's identified an equally significant project to pursue. If, as Ghosh's result suggests, entanglement can produce macroscopic effects, is it such a stretch to reason that quantum entanglement might be the key to understanding life? We know that quantum mechanics describes how atoms combine into molecules, and so underpins chemistry. And chemical processes underpin all biological processes, including the metabolic cycle and replication. So could entanglement support the emergent, macroscopic characteristic of chemistry that we call life? Reznik and Durt's revelations - that entanglements exist around us and inside us all the time - can only add to the intrigue. "I think it's a speculation worth making," Vedral says. "There may be some experiments in biology or biochemistry where we can see more of these effects, interpret some of the results in a different light. It would be a very exciting find." Couple that with the ability to create materials that exploit our unfolding understanding of entanglement, and we might one day even gain the ability to use entanglement to create new forms of life. Now that is a spooky thought. Michael Brooks
QUANTUM ENTANGLEMENTS
LETTERS RE ARRANGED NUMERICALLY
ENLIGHTENMENT
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
THIRTEEN = 99 99 = THIRTEEN
THE R IN EVOLUTION REVOLUTION
WHOS THERE
WHOS THERE
WHOS THERE
TRANSFORMATION THE BREAKTHROUGH Whitley Strieber 1988 Page 128 "Dr Gliedman had given me his essay "Quantum Entanglements: On Atomic Physics and the Nature of Reality," and I had been reading it..." "Page 129 "I returned to Dr. Gliedman's essay. I read the following sentence: "The mind is not the playwright of reality." At that moment there came a knocking on the side of the house. This was a substantial noise, very regular and sharp. The knocks were so exactly spaced that they sounded like they were being produced by a machine. Both cats were riveted with terror. They stared at the wall. The knocks went on, nine of them in three groups of three, followed by a tenth lighter double-knock that communicated an impresssion of finality. These knocks were coming from just below the line of the roof, at a spot approximately eighteen feet above the gravel driveway. Below the point of origin of the knocks were two open windows. Had anybody been out on the driveway with a ladder I would certainly have heard their movements on the gravel. In addition, to get a ladder to that point they would have activated the movement-sensitive lights. But it was dark beeyond the windows. It would be next to impossible to stand on the sharply angled roof that covers the living room of the cabin. While the angle of the roof above the upstairs bedroom is almost flat, this roof is extremely steep. What's more, I would cerrtainly have heard anybody crawling around on the roof. There would have been creaks and groans from the boards, and there is no question but that I would have noticed the sounds, given the profound silence of the country night. I am absolutely dead certain about the reality of the knocks. They were not made by the house settling. Nothing but an intentional act could have produced such loud, evenly spaced sounds. They were not a prank being played by neighbors. In the summer of 1986 I had not yet told my neighbors about the visitors. What's more, the prank explaanation was hopelessly impractical. To reach the place from which I heard the knocks..." Page 131 cannot be put down to disease. Such a thing is not a sympptom. My cats would not have reacted to something happenning in my mind. I am reporting a true event. It was the first definite, physical indication I had while in a state of commpletely normal consciousness that the visitors were part of this world. They were responding to my attempts to develop the relationship and accept my fear by making their physical reality more plain. The stunning event of August 27, 1986, strengthened my wavering resolve to keep the matter where it belongs, which is in question. It is an awfully serious business, and it cannot be removed from question except as we learn more facts. Should we decide to believe something about this that is not true, we will ruin it for ourselves. We will form yet another mythology around the visitors, as I suspect we have been doing throughout our history. The moment after the nine knocks I thought to go outtside. I also thought, You're not ready yet. You just go up to bed. The next morning I thought that was exactly what I had done. But there was something wrong. While the knocks were taking place I was unquestionably in a normal state of mind. As soon as I began to move from the chair, though, I feel that I may have entered another state. Unfortunately, I did not remember that something may have happened after the knocks until weeks later. On the morning after, my immediate thought was that I had failed miserably. The visitors had come, had knocked-and I'd just sat there, too scared even to open the door! I therefore don:t know whether I concocted the subseequent memories to make myself feel better, or if they were hidden by a more prosaic screen memory. One day I glanced at the clock on our videotape machine and suddenly remembered seeing it when it said 2:18 A.M. An instant later I recalled that I'd seen it reading that time as I went upstairs on the night of the nine knocks. But they Page 134 (omitted) TWELVE Fire of the Question "In the days after I heard the nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three perfectly measured, exactly spaced sounds, each precisely as loud as the one previous. And then there had been a soft double-knock completely different in tone from the others. It had communicated a distinct sense of finality, and seemed by its lightness of tone not to be a part of the group. The nine knocks were a sort of communication. The tenth was punctuation..." Page 135 "The nine knocks made me struggle even harder to understand. And I did not understand. But I had a few ideas It was as if I had discovered an unknown world that has always been around us, that may be an even greater reality..."
WHOS THERE
I ME YOU ENTANGLEMENTS MENTAL ANGLE ANGEL ANGLE MENTAL ENTANGLE MENTALLY MENTALLY ENTANGLE KARMAS THOUGHT ENTANGLEMENT THOUGHT KARMAS 0123456789 REAL REALITY REVEALED REALITY REAL 9876543210 0987654321 GODS REAL REALITY REAL GODS 1234567890
ABCDEFGHIJKLMNOPQRSTUVWXYZ WELCOME HERO WELCOME ZYXWVUTSRQPONMLKJIHGFEDCBA
JUST CATS Fernand Mery 1957 Page 24 999, in the tenth day of the fifth Moon, at the Imperial Palace of Kyoto, a cat gave birth for the first time recorded here, and to five little kittens."
THE EXPANDING UNIVERSE Arthur Eddington 1940 THE UNIVERSE AND THE ATOM Page 99 "To the pure geometer the radius of curvature is an incidental characteristic-like the grin of the Cheshire cat. To the physicist it is an indispensable 'charac- teristic. It would be going too far to say that to the physicist the cat is merely incidental to the grin. Physics is concerned with interrelatedness such as the interrelatedness of cats and grins. In this case the ., cat without a grin" and the "grin without a cat" are equally set aside as purely mathematical phantasies."
THE COSMIC CODE Heinz Pagels 1982 The Road to Quantum Reality Page165 We feel excited by his remarks, though the old uneasiness has not left us. Yet listening to him is certainly better than that marketplace. After a long silence our old friend gives us his final words. "What quantum reality is, is the reality marketplace. The house of a God that plays dice has many rooms. We can live in only one room at a time, but it is the whole house that is reality."He gets up and leaves us. Only the smoke from his pipe remains, and then, like the smile of the Cheshire cat, that too disappears."
ALICE'S ADVENTURES IN WONDERLAND Lewis Carroll Page 61 "and was just saying to herself, 'if one only knew the right way to change them-' when she was a little startled by seeing the Cheshire Cat sitting on a bough of a tree a few yards off.
The Cat only grinned when it saw Alice. It looked good- natured, she thought: still it had very long claws and a great many teeth, so she felt that it ought to be treated with respect. 'Cheshire Puss,' she began, rather timidly, as she did not at all know whether it would like the name: however, it only grinned a little wider. 'Come, it's pleased so far,' thought Alice, and she went on. 'Would you tell me, please, which way I ought to go from here?' 'That depends a good deal on where you want to get to,' said the Cat. 'I don't much care where--' said Alice. 'Then it doesn't matter which way you go,' said the Cat. '-so long as I get somewhere,' Alice added as an explanation. 'Oh, you're sure to do that,' said the Cat, 'if you only walk long enough.' "
CAT AMONGST THE CATACOMBS
THE DEATH OF FOREVER Darryl Reaney 1991 Page 27 "The box is set up in such a way that any such disintegration will break open the poison capsule, releasing enough poison to kill the cat; in the time interval allowed for this 'thought experiment' there is an exactly 50:50 chance that the atom will or will not decay. This is the basis of Schroedinger's paradox. The observer outside the box cannot know whether an atom inside the box has decayed (opening the capsule and killing the cat) unless he looks. The condition of the cat (alive or dead) is therefore a litmus test of reality itself. According to the strict interpretation of the quantum wave, in the absence of observation, the cat in the box is neither alive nor dead but in some indeterminate, wave-like, in-between state. It is only when the consciousness of an observer enters the picture that the complex ripple of possibility that is the indeterminate 'alive and dead at the same time' quantum cat crystallises into one of the two possible real outcomes: either the cat is alive (no atom has decayed) or the cat is dead (an atom has decayed). In short, it is the observer's decision (his choice) to open the box that summons forth a real cat, dead or alive, from its ghostly quantum state of non-being."
DAILY MIRROR Jonathan Cainer Thursday May 27, 2004 SPIRITUAL HEALING Rupert Sheldrake Page 54 "Last month I wrote about after death contacts, when people feel the presence of someone who has passed on, it turns out that many readers have had these expe-riences, mostly with dearly loved spouses, parents or children..."
DAILY MIRROR Thursday May 27, 2004 Geoffrey Lakeman Page 35 SLABBY CAT Pet's tombstone is 900-yr old carving
JUST CATS Fernand Mery 1957 Page 24 "In the year 999, in the tenth day of the Fifth Moon, at the Imperial Palace of Kyoto, a cat gave birth for the first time recorded here, and to five little kittens." IN THE YEAR 999 GREAT CAT TALES Anthology 1992 THE CHESHIRE CAT Lewis Carroll Page 349 (number omitted) "...The Cat only grinned when it saw Alice. It looked good-natured, she thought: still it had very long claws and a great many teeth, so she felt that it ought to be treated with respect.
Sir Arthur Eddington 1932 Page 99 To the pure geometer the radius of curvature is an incidental characteristic-like the grin of the Cheshire cat. To the physicist it is an indispensible character-istic, It would be going too far to say that to the physicist the cat is merely incidental to the grin.
GREAT CAT TALES Anthology 1992 HE CHESHIRE CAT Lewis Carroll Page 351 "All right,' said the Cat; and this time it vanished quite slowly, beginning with the end of the tail, and ending with the grin, which waited some time after the rest of it had gone.
GREAT CAT TALES Anthology 1992 Mike Ernest A.Wallace Budge Page 383 / 4 "(The cat who assisted in keeping the main gate of the British Museum from February, 1909, to January 1929)"
SUPERNATURE Lyall Watson Page 96 RESONANCE If a tuning fork designed to produce a frequency of 256 cycles a second (that is, middle C), is sounded anywhere near another fork with the same natural frequency, the second one will begin to vibrate gentlyy in sympathy with the first, even without being touched. Energy has been transferred from one to the other. An insect without ears would not be able to hear the sound of the first fork, but if it were sitting on the second one, it would very soon become aware of the vibration - and thus of events taking place beyond its normal sphere. This is what Supernature is all about.
Fernand Mery FROM LEGEND TO HISTORY "By studying Egyptian mummified cats Cuvier thought it possible to prove that the species is immutable. On the other hand, Darwin, by taking a cat to Paraguay, proved how'little change is needed to alter an animal to the point of giving it a new form. EGYPT, PARADISE OF CATS What do we know of ancient Egypt, a shadowy country beginning at Karnak in the midst of the temples of Thebes and reaching its apotheosis in the sombre tombs of the Valley of Kings? The gods, with human bones and / Page 18 / animal heads, expressed by their strange form the limitations of a world to which the minds of mere men had no access. Page 19 No archaeologist was on the spot to prevent the inevitable vandalism; stupidly the graveyard was destroyed- an irreparable loss. It would have been enough to have kept just a random hundred of these cats for us to know now what the colouring and texture of the hair of these first cats were. By taking an average, we should have gained an approximate idea of their size.
IN SEARCH OF SCHRODINGER'S CAT John Gribbin 1984 PROLOGUE NOTHING IS REAL Page 1 "The cat of our title is a mythical beast, but Schrodinger was a real person. Erwin Schrodinger was an Austrian scientist instrumental in the development, in the mid-1920s, of the equations of a branch of science now known as quantum mechanics. Branch of science is hardly the correct expression, however, because quantum mechanics provides the fundamental underpinning of all of modem science. The equations describe the behavior of very small objects-generally speaking, the size of atoms or smaller-and they provide the only understanding of the world of the very small. Without these equations, physicists would be unable to design working nuclear power stations (or bombs), build lasers, or explain how the sun stays hot. Without quantum mechanics, chemistry would still be in the Dark Ages, and there would be no science of molecular biology-no under- standing of DNA, no genetic engineering-at all. www.mixx.com/.../woman_calls_uk_911_because_cat_s_playing_with_string_999_cat_playing_with_string_jezebel - Cached -Flickr: Views: 500 to 999 - Domestic Cats Only Thanks for making this work! Comment on other photos in the pool! You know how we love 'em! Views: 500 to 999 - Domestic Cats Only Pool on Flickriver ... www.flickr.com/groups/14781942@N00 - Cached -Woman Calls UK 911 Because Cat's Playing With String - 999 Cat ... 29 Dec 2009 ... Manchester, England police say they're getting far too many non-emergency calls to 999, the UK's 911 equivalent. www.guardian.co.uk/society/blog/2009/dec/.../unnecessary-999-calls - Cached -Woman Calls UK 911 Because Cat's Playing With String - 999 Cat ... You know, the solution to her problem is to put the string where the cat can't get it!!! Red-headed bookworm. www.rubylane.com/.../,cs=Artisan+Jewelry:Necklaces:22k+Gold+And+.999+Fine+Silver+Cat,id=1.3.1.html - Cached -Woman's 999 call over playful cat [UK] 29 Dec 2009 ... A woman made an emergency 999 call to Greater Manchester Police (GMP) to say her cat was "doing her head in" because it was playing with ... www.freerepublic.com/focus/f-chat/2417052/posts - Cached -CBBC - Newsround - Woman rang 999 for help with cat 29 Dec 2009 ... A woman rang Greater Manchester Police because her pet cat was playing with string and she couldn't cope with it. -Emergency 999 call over cat playing with string // current Emergency 999 call over cat playing with string. "Woman Calls UK 911 Because Cat's Playing With String [Halp Plz]" and related posts. -Cats image by Tabata-999 on Photobucket Photobucket cats-1.png picture, this photo was uploaded by Tabata-999. Browse other cats-1.png pictures and photos or upload your own with Photobucket free ...
SING A SONG OF SOLEMN SOLOMON
WHY SMASH ATOMS A,K.Solomon 1940
"ONCE THE FAIRY TALE HERO HAS PENETRATED THE RING OF FIRE ROUND THE MAGIC MOUNTAIN HE IS FREE TO WOO THE HEROINE IN HER CASTLE ON THE MOUNTAIN TOP"
THE TRUE AND INVISIBLE ROSICRUCIAN ORDER Paul Foster Case 1981 Page 108 "...the underlying purpose of the Fama, when it says the object of the manifesto is to reveal man's nobleness and worth and why he is called Microcosmus. For Microcosmus (or Microcosmos) is simply the Paracelsian adaptation of the Qabalistic Microprosopus, or Lesser Countenance. The Zohar says that all is contained in the mystery of Vav, and thereby all is revealed. The same Qabalistic authority connects Vav with the Son of David, and this was interpreted by erudite Europe in the seventeenth century, as a reference to the Christos. Attached to the nail was a stone. This is the same stone we have , mentioned before. It is the Stone rejected by the builders. It is the Stone of the Philosophers. It is ABN, Ehben, signifying the union of the Son with the Father. We have already said that Henry Khunrath published in 1609 a book called Amphitheatrum Chemicum, in which appears an illustration showing the word ABN, Ehben, enclosed in a triangle. This radiant triangle, with the letters ABN at its corners, is borne by a dragon, and the dragon is on top of a mountain. The mountain is in the middle or center of an enclosure, surrounded by a wall having seven sides, whose corners bear the words, reading from left to right or clockwise around the wall: Dissolution, Purification, Azoth Pondus, Solution, Multiplication, Fermentation, Projec-tion. Thus, the inner wall summarizes the alchemical operations. Its gate has the motto Non omnibus, meaning "Not for all," as if to intimate that entrance into the central mystery is not for everyone. . Surrounding this inner wall is another in the form of a seven- pointed star, composed of fourteen equal lines. The gate to this outer wall is flanked by two triangular pyramids, or obelisks. Over one is the sun, and this obelisk is named Faith. Over the other is the moon, and this pillar is named Taciturnity, or Silence. Between the pillars, in the gate, is a figure bearing the caduceus of Hermes or Mercury, standing behind a table on which is written "Good Works." Below is the motto: "The ignorant deride what the wise extol and admire." Thus, in Khunrath's diagram we have the same association be- tween a seven-sided figure and a stone that occurs in the Fama. The mystic mountain, with the dragon at its summit, is also a Rosicrucian symbol, as one may see in Thomas Vaughan's Lumen de Lumine, where Section 2 is entitled "A Letter from the Brothers of R.C., Concerning the Invisible, Magical Mountain and the Treasure therein Contained." Incidentally, the title of this section is a clear enough intimation that Thomas Vaughan was in communication with the Invisible Order, although he says in one of his books that he has "no acquaintance with this Fraternity as to their persons." Vaughan further says, concerning the Rosicrucians: Every sophister condemns them, because they appear not to the world, and concludes there is no such society, because he is not a member of it. There is scarce a reader so just as to consider upon what grounds they conceal
Paul Foster Case 1981 Page 108 "Concerning the Invisible, Magical Mountain and the Treasure therein Contained"
THE MAGIC MOUNTAIN Thomas Mann 1875 - 1955 FOREWORD "THE STORY of Hans Castorp, which we would here set forth, not on his own account, for in him the reader will make acquaintance with a simple-minded though pleasing young man, but for the sake of the story itself, which seems to us highly worth telling - though it must needs be borne in mind, in Hans Castorp's behalf, that it is his story, and not every story happens to everybody- this story, we say, belongs to the long ago; is already, so to speak, covered with historic mould, and unquestionably to be presented in the tense best suited to a narrative out of the depth of the past That should be no drawback to a story, but rather the reverse. Since histories must be in the past, then the more past the better, it would seem, for them in their character as histories, and for him, the teller of them, rounding wizard of times gone by. With this story, moreover, it stands as it does to-day with human beings, not least among them writers of tales: 'it is far older than its years; its age may not be measured by.length of days, nor the weight of time on its head reckoned by the rising or setting of suns. In a word, the degree of its antiquity has noways to do with the pas- sage of time - in which statement the author intentionally touches upon the strange and questionable double nature of that riddling element. But we would not wilfully obscure a plain matter. The exag-gerated pastness of our narrative is due to its taking place before the epoch when a certain crisis shattered its way through life and consciousness and left a deep chasm behind. It takes place - or, rather, deliberately to avoid the present tense, it took place, and had taken place - in the long ago, in the old days, the days of the world before the Great War, in the beginning of which so much began that has scarcely yet left off beginning. Yes, it took place before that; yet not so long before. Is not the pastness of the past the profounder, the completer, the more legendary, the more im- mediately before the present it falls? More than that, our story has, of its own nature, something of the legend about it now and again. Page xii We shall tell it at length, thoroughly, in detail- for when did a narrative seem too long or too short by reason of the actual time or space it took up? We do not fear being called meticulous, in-clining as we do to the view that only the exhaustive can be truly -interesting. Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!"
And now we begin."
IN SEARCH OF EXTRA TERRESTRIALS Alan Landsburg 1977 Page 79 "as I lay gazing at the star-dusted sky, a strange feeling of utter loneliness crept over me. Those who live in cities never see the sky as it was that evening. It was like an enormous intergalactic fireworks display-here and there a shooting star, whole whorls of many solar systems, distant suns and galaxies spar-kling across the vast ice reaches of outer space.
The words of J. B. S. Haldane came back to haunt me. He once wrote, "Now, my suspicion is that the universe is not only queerer than we suppose, but queerer than we can suppose. I suspect that there are more things in heaven and earth than are dreamed of in any philosophy. That is the reason why I have no philosophy myself, and must be my excuse for dreaming." The past fifteen years have reversed the thinking of the scientific community regarding extraterrestrial life, known as ETI. And while speculation about ETI has always been a heated one, today large segments of the scientific establishment are examining the hard proba- bilities that the universe is populated and that our galaxy is teeming with life. The problem-should say challenge - is more "how" than "if." "
SCIENCE AND EVERYDAY LIFE J.B.S Haldane 1939 "The truth about human races, when we know it, will no doubt be complicated. But one simple theory which is certainly nearer the truth than Hitler's was stated by old Andrew Marvell 270 years ago: " The world in all doth but two nations bear, The good, the bad, and these mixed everywhere."
MIN DOTH DREAM WHAT DOTH MIN MEAN
I ISISIS THATNINETHAT LIVINGLIGHTLIVING EVILLIVEEVILLIVEEVILLIVE DEVILLIVEDLIVEDDEVILLIVEDDEVIL LOVEEVOLVELOVEGODSLOVEEVOLVELOVE THERA7EARTH7HEART7HEART7EARTH7THERA
MIN DOTH DREAM WHAT DOTH MIN MEAN
FIRST CONTACT THE SEARCH FOR EXTRA TERRESTRIAL INTELLIGENCE Edited By Ben Bova and Byron Preiss 1990 A MARTIAN ODYSSEY Stanley G Weinbaum "Anyway, the creatures went sailing past us; everyone greeting us with the same statement. It got to be funny; I never thought to find so many friends on this God- forsaken ball! Finally I made a puzzled gesture to Tweel; I guess he understood, for he said, "One-one-two- yes! -two-two-four - no!" Get it?' 'Sure,' said Harrison. 'It's a Martian nursery rhyme.' 'Yeah! Well, I was getting used to Tweel's symbolism, and I figured it out this way. "One-one-two - yes!" The creatures were intelligent. "Two-two-four - no!" Their intelligence was not of our order, but something different and beyond the logic of two and two is four. Maybe I missed his meaning. Perhaps he meant that their minds were of low degree, able to figure out the simple things - "One-one-two - yes!" - but not more difficult things - "Two-two-four - no!" But I think from what we saw later that he meant the other. 'After a few moments, the creatures came rushing back - first one, then another. Their pushcarts were full of stones, sand, chunks of rubbery plants, and such rubbish as that. They droned out their friendly greeting, which didn't really sound so friendly, and dashed on. The third one I assumed to be my first acquaintance and I decided to have another chat with him. I stepped into his path again and waited. 'Up he came, booming out his "We are v-r-r-riends" and stopped. I looked at him; four or five of his eyes looked at me. He tried his password again and gave a shove on his cart, but I stood firm. And then the - the dashed creature reached out one of his arms, and two finger-like nippers tweaked my nose!'..."
THE SEARCH FOR EXTRA TERRESTRIAL INTELLIGENCE Edited By Ben Bova and Byron Preiss 1990 SETI ON CAMPUS Robert Dixon Page 252 Have we already detected extraterrestrial intelligence?" A UNIQUE MOMENT IN HUMAN HISTORY FIRST CONTACT SEIZING THE MOMENT Michael Michaud Page 314 Philip Morrison has suggested that aliens might send us a volume of information greater than that transmitted to medieval Europe from the ancient Greeks, stimulating a new and even greater Renaissance. By entering a communications net, we might receive maps of the Galaxy, and elaborate descriptions of the physical Universe and how it works. We might learn the histories of civilizations stretching far back into the galactic past, and become aware of alternative cultures, arts, social and economic systems, and forms of political organization. Deliberately or by implication, the aliens might tell us how they had survived. It is intriguing to consider how much we could contribute to the other side of the dialogue. Alien knowledge, integrated with our own, could generate a dramatic forward leap in our sciences and our other academic disciplines. For the first time, we could compare our information and our perceptions with those of other minds in different environments, illuminating voids in our own knowledge and suggesting new generalizations. This almost certainly would lead to new syntheses, a boom in interdisciplinary studies as we perceived new linkages, and new branches of science. Dealing with this influx of new knowledge could force us into mind-stretching responses. Our curiosity would be stimulated by finding out how much we had not known. Contact also could reveal areas of shared knowledge, supporting our own conclusions; this might include religious concepts such as creation or a Supreme Being. But we should beware of excessive optimism about this exchange of information; communication with an alien civilization may not be easy. No matter what we / Page 315 / wish to believe, aliens, by definition, will be very different. While they may share some of our perceptions of physical reality and some of our evolutionary experiences, their evolutions would differ from ours in many ways, and we might share little in philosophy and culture. There could be serious problems of mutual unintelligibility, or misunderstandings caused by different ways of perceiving reality and by different cultural frames of reference. We might find that our own concepts of language, including mathematics, are narrow and idiosyncratic. We also should not assume that the aliens will want to tell us everything. Transmitting the species data bank might not be the aliens' first priority. They might want to know first our capabilities and our intentions to assure themselves that their security would not be threatened. There might be things they would not want to tell us, such as how to achieve interstellar flight or how to create more powerful weapons. Receiving knowledge much more advanced than our own, and the solutions to problems we have struggled with for years, could break the intellectual morale of some scientists and other scholars, and undermine support for some forms of research. Instead, we might simply wait for alien answers, and translate them into our terms. Humans concerned about their personal and institutional interests might resist the dissemination of some alien information, or seek to brand it as dangerous, immoral, or subversive. Receiving, interpreting, and disseminating information from extraterrestrials could be a major enterprise for humanity, almost certainly requiring new institutions. Since control over this information could bring great power and status, there would be a strong / Page 316 / temptation to monopolize the channel and to limit access by others. Individual nations or groups might attempt to conduct separate dialogues with the aliens to exploit contact for their own purposes. Political and governmental leaders would be concerned about the impact that contact could have on their populations, and might try to let through only those ideas they considered safe. National security policy-makers might argue for classification of the contact and the information received. Some scholars, particularly those personally involved in the first contact, might be equally possessive about the information and the channel, especially if they distrusted governments and held a low opinion of the general population. Entrepreneurs might compete to get first access to alien ideas and to monopolize or patent those with commercial value."
CHEIRO'S BOOK OF NUMBERS Circa 1926 Page106 "Shakespeare, that Prince of Philosophers, whose thoughts will adorn English litera- ture for all time, laid down the well-known axiom: There is a tide in the affairs of men which if taken at the flood, leads on to fortune. " The question has been asked again and again, Is there some means of knowing when the moment has come to take the tide at the flood? My answer to this question is that the Great Architect of the Universe in His Infinite Wisdom so created all things in such harmony of design that He endowed the human mind with some part of that omnipotent knowledge which is the attribute of the Divine Mind as the Creator of all."
153 fishes x 12 Disciples ISISIS 1836
1836 DIVIDED 34 = 54
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ANUBIS ANUBIS A NUMBER IS
THE ROOTS OF COINCIDENCE Arthur Koestler 1972 Page 88 "Euclidian geometries, invented by earlier mathematicians more or less as a game, provided the basis for his relativistic cosmology Another great physicist whose thoughts moved in a similar direction was Wolfgang Pauli. At the end of the 1932 conference on nuclear physics in Copenhagen the participants, as was their custom on these occasions, performed a skit full of that quantum humour of which we have already had a few samples. In that particular year they produced a parody of Goethe's Faust, in which Wolfgang Pauli was cast in the role of Mephistopheles; his Gretchen was the neutrino, whose existence Pauli had predicted, but which had not yet been discovered. MEPHISTOPHELES (to Faust): Beware, beware, of Reason and of Science Man's highest powers, unholy in alliance. You'll let yourself, through dazzling witchcraft yield To weird temptations of the quantum field. Enter Gretchen; she sings to Faust. Melody: "Gretchen at the Spinning Wheel" by Schubert. GRETCHEN: My rest-mass is zero My charge is the same You are my hero Neutrino's my name."
THE CLOCKS ALL SAY THE HOURS OF HORUS HAVE ARRIVED AND THE DIE ALL READ FIVE LIVING FORM FROM OUT THE IN OF GODS LIVING FORM
LOOKING FOR THE ALIENS A PSYCHOLOGICAL, SCIENTIFIC AND IMAGINATIVE INVESTIGATION Peter Hough & Jenny Randles 1991 12 Page 98 Somewhere over the Interstellar Rainbow "In 1985, Glasgow University astronomer Professor Archie Roy was in buoyant mood. He told a journalist from the London Observer that, with new efforts to search the universe for intelligent signals, 'we can expect to make contact very quickly, probably within a decade.' He added that he thought civilizations were 'ten a penny' in the cosmos. A year later, in an interview with Paul Whitehead in Flying Saucer Reuiew (volume 31, number 3,1986) Professor Roy confirmed this view by saying, 'if we are the product of natural evolution, it is highly improbable that we are alone in the universe.' Presumably this leaves the door open just in case we are not solely the product of natura1 processes (as scientists understandably assume), but are also the creation of a mystic force, otherwise known as God. Roy actively pursues his broad1y based interest in this search. He subsequently became associated with Flying Saucer Review, and he has also become an active researcher and spokesperson in the heated debate over the potential 'alien' messages said by some to lie behind those crop circles recently found dotting the rural landscapes of our world. For instance, in 1981 Michael Papagiannis, of the astronomy department at Boston University, said that: The euphoric optimism of the 'sixties and early 'seventies that communication with extraterrestrial civilizations seemed quite possible is being slowly replaced in the last couple of years by a pessimistic acceptance that we might be the only technological civilization in the entire galaxy. One can hardly find more polarized opinions than these, and they represent a crucial debate that increasingly dominates the field. While there seems to be a gut reaction based on deductive logic shared by most scientists, implying that life should be 'out there' in great abundance, there is mounting concern at our continued failure to find it. Long before we understood the universe in any detail, we dreamt about this quest for alien life, and, as we have seen, still speculate on /Page 99 / what forms such beings might take. When science fiction became popular during the last century, we even began to wonder how we might establish contact. Early ideas were ingenious, but impractical: such as building a giant mirror and using sunlight to send Morse-code signals to the (then still plausible) inhabitants of the moon or Mars. Of course, the limitations of physics meant that this could never work, even if there were Martians to see the signals. Only the brightest light that we can produce (a nuclear explosion) is potentially visible from another world and this lasts such a brief time that it is hardly likely to produce incontrovertible proof of life on earth. Alien scientists would dismiss any sightings just as freely as ours now reject claims about UFO appearances. Another problem concerned the code to be used. How could the Martians have recognized the message, even if they had been able to see it? To thcm it would have been a meaningless series of flashes. How would they have unravelled any meaning behind it? This problem exists even if it is assumed (as it nearly always was back then) that Martians, although probably looking like bug-eyed monsters, would still think like human beings. The truth is surely that aliens would be alien in every way and their thought processes would not work in the same manner as ours. That said, the chances of any message from us to them being remotely comprehensible appear to be feeble. In science-fiction stories and films, such a problem is largely ignored, but that is merely an expediency to help the plot along. We suspend scientific logic to accommodate the story line. However, in any real search for life in the universe, we cannot afford to ignore such scientific reasoning. This complicates matters so much that one or two researchers even think it is a forlorn task. We will never communicate with an alien intelligence, even if we do come across one by chance. The result will be like a farmer staring at a cow and attempting to convey, by spoken language or gesture, why it has to go peacefully to the slaughterhouse. Page 99 "The result will be like a farmer staring at a cow and attempting to convey, by spoken language or gesture, why it has to go peacefully to the slaughterhouse".
MAN AND THE STARS CONTACT AND COMMUNICATION WITH OTHER INTELLIGENCE Duncan Lunan 1974 a liberating adventure for mankind or a disaster Page 219 Planetary contact 3(c) - intelligence unrecognizable by physical form. "There is a fantasy story about a university professor mysteriously translated into the body of a bull. After great efforts to communicate he finally gets the opportunity to write a message in the bloody sand of the slaughterhouse.. Unfortunately, the man with the gun is illiterate - "another of those steers that do a crazy kind of dance." To get at case 3(c), we have to magnify that problem into an alien mind in a non-human body; could there be intelligences like Arthur C. Clarke's Atheleni,12 unable to develop technology until they meet a race gifted with hands? "Dr Lilly' experiments suggested..."
SIMULATIONS OF GOD THE SCIENCE OF BELIEF John Lilly 1975 Page xi "I am only an extraterrestrial who has come to the / Page xii / planet Earth to inhabit a human body, Everytime I leave this body and go back to my own civilization, I am expanded beyond all human imaginings, When I must return I am squeezed down into the limited vehicle."
EHT NAMUH 1973
NUMBER 9 THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Page 32 5
THE BALANCING ONE TWO THREE FOUR FIVE NINE EIGHT SEVEN SIX
1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
ALWAYS BALANCING IS THAT FIVE THAT FIVE IS BALANCING ALWAYS
ATOMIC ENERGY
LETTERS REARRANGED NUMERICALLY
ATOMIC NUMBERS
LETTERS REARRANGED NUMERICALLY
Higgs boson - Wikipedia The Higgs boson is an elementary particle in the Standard Model of particle physics. First suspected to exist in the 1960s, it is the quantum excitation of the Higgs field, a fundamental field of crucial importance to particle physics theory. Unlike other known fields such as the electromagnetic field, it has a non-zero constant ... Higgs boson The Higgs boson is an elementary particle in the Standard Model of particle physics. First suspected to exist in the 1960s, it is the quantum excitation of the Higgs field, a fundamental field of crucial importance to particle physics theory. Wikipedia Composition: Elementary particle Classification: Boson Symbol: H° Mass: 125.09±0.21 (stat.)±0.11 (syst.) GeV/c² (CMS+ATLAS) Electric charge: 0 e Discovered: Large Hadron Collider (2011–2013) Mean lifetime: 1.56×10-22 s (predicted)
LETTERS RE-ARRANGED IN NUMERICAL ORDER
BREATHE ON ME BREATH OF GOD
HOLY BIBLE Scofield References Page 7 GENESIS C 2 V 7 And the LORD God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul
THE SCULPTURE OF VIBRATIONS 1971
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