Showing posts with label speed of light. Show all posts
Showing posts with label speed of light. Show all posts

Thursday, December 18, 2014

Of Space-Time and Clock Towers

by Len Hart, the Existentialist Cowboy

Brian Greene is an American theoretical physicist and string theorist who has worked on mirror symmetry since 1996 while a professor at Columbia University. As a result, he believes that in “infinite” universes, matter can arrange itself in an infinite number of ways. Eventually, a “universe” is repeated. Such a parallel universe would look very much like the one we live in.

Therefore, Greene says, if the universe is infinitely large, it is also home to infinite parallel universes.
As a string theorist, he believes that apparent conflicts between current cosmology (Relativity theory) and quantum mechanics is resolved with string theory –his 'specialty' for the past 25 years. Greene believes that the entire universe is explained with small strings vibrating in as many as 11 dimensions. Moreover, within our single universe time is relative to where you are and how fast you are going at any given instant.

Therefore, time is always local even within the single universe we live in. For example, time is slower for anyone who is moving. As Einstein demonstrated, time stops for anyone traveling at light speed.

Einstein imagined a street car leaving the clock tower in Bern. As long as his speed was less than that of light, the clock viewed from the street car would appear to be moving forward, marking the 'forward' progress of time. But –should the street car exceed the speed of light, the hands of the clock would appear to go backward as the street car catches up with and passes light beams.

This effect can be simulated with an oscillator or an old 33 and a third RPM album turntable with a disc of concentric hash marks calibrated to appear stationary under florescent (pulsing) light. If the turntable is too slow, the hash marks will appear to rotate in one direction. If the rotation is too fast, the marks will appear to move in the opposite direction. At the desired turntable speed, the hashmarks will appear absolutely motionless. By the same token, time STOPS for one traveling at the speed of light.

The downside is that many other unfortunate things will happen to you at that speed. So –don't try this at home or without the supervision of experts. You are safe if you confine your experiments to an old 33 1/3 RPM turntable and some old Rolling Stone LPs.

A few years ago, Julian Barbour “shook up” readers of “Discover” magazine when he denied the existence of “time”. He may have been correct. In fact, he is consistent with Einstein. Einstein posits that time is merely one's local' movement relative to the speed of light. Young Einstein lived in Bern (Switzerland) where he worked at the patent office. He often took the tram home in a direction away from the famous Bern clock tower. He imagined how the clock might appear should his tram exceed light speed.

He immediately concluded that the hands on the clock tower would appear to move backward relative to the forward movement perceived by pedestrians on either side of the street. The explanation is simple: at faster than light travel, the tram overtakes light that had already left the tower. One looking back at the tower would see the hands run backward.

That, of course, is a dramatic example that drives home the point for anyone daring to imagine faster-than-light trams. The conclusion is simpler: time is different for every person occupying a different space from every other person. For that matter, time differs from every point to every other point in the universe.Barbour believes the past, present and future all exist in what may be called a timeless 'super-verse'. Barbour posits a series of “NOWS” like individual frames on a motion picture film strip. 'Nows' exist for actual events but, interestingly, many 'nows' are alternate possibilities, i.e, virtual universes.

This view is consistent with Einstein's analogy re: the Bern clock tower. To use Barbour's film strip analogy, NOW is a single frame. The universe is the entire film strip. Parallel universes may be compared to alternate "film strips", thus Barbour's views are consistent with Greene's "parallel" universes. If Barbour's timeless universe is akin to a film-strip, then Greene's parallel universes are a shelf full of film-strip canisters –each containing a feature-length film. In this case the feature-length movie is the universe as it unfolds. But as long as we travel at sub-light speeds, we move forward in time as "light" over-takes us. But if we should exceed light speed we will eventually see the big bang! In fact, we can see remnants of the big bang now. This "object", astronomers tell us, is some 13.7 billion years old and as many light-years distant.


Sunday, October 27, 2013

The Nature of Creative Genius

by Len Hart, The Existentialist Cowboy

The genius mentality sees analogies where ordinary minds see only isolated instances. Einstein, for example, made a cosmic leap from a tram departing the clock tower in Bern to a faster than light space craft. Looking backward the tram passenger sees the hands on the clock tower moving forward. Einstein was inspired to conduct one of his famous "thought experiments"; he imagined the same tram exceeding light speed at which time the hands on the Bern clock tower would run backward as his tram overtook light waves that had recently departed the clock tower.

From that moment, Einstein understood that to overtake light is to travel backward in time. Every day we travel at speeds less than that of light. The hands on the clock go forward; therefore, we go forward in time –not backward. To go backward in time requires that we "overtake" the speed of light, that we overtake those beams of light that had already left us behind! This insight has profound implications should we decide, one day, to “go where no man has gone before”.

Many other examples of genius may be found to include Newton's insights inspired by the simple fall of an apple from a tree. In all cases, however, the genius mentality finds pattern where others see only chaos, analogies where many may see only isolated phoenomena, things-in-common as opposed to mere but obvious differences. Genius sees the bigger picture, finds order in chaos but often, and as well, we see frightening faces in a stained wall. We see the "boogie man" -not in daylight --but at night! Nevertheless, those "frightening images" are, as well, the products of the creative faculty, the creative genius.

The subtitle of a timeless anthology by Brewster Ghiselin is "Reflections on Invention in the Arts and Sciences". In almost every case, it is the artist, the writer, the scientist him/herself who "reflects". We are privileged to share those very thoughts as they are put down in diaries, letters, memos to one's self. In this volume may be found near ramblings by Thomas Wolfe, the lucid mind of Einstein, the toubled mind of van Gogh and, as well, the meditative thoughts of William Wordsworth on Westminster Bridge.
Earth has not anything to show more fair:
Dull would he be of soul who could pass by
A sight so touching in its majesty:
This City now doth, like a garment, wear
The beauty of the morning; silent, bare,
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and to the sky;
All bright and glittering in the smokeless air.
Never did sun more beautifully steep
In his first splendour, valley, rock, or hill;
Ne'er saw I, never felt, a calm so deep!
The river glideth at his own sweet will:
Dear God! the very houses seem asleep;
And all that mighty heart is lying still!
--William Wordswroth, Composed upon Westminster Bridge
I am inclined to conclude that only the creative "genius" could a write a single sentence so rich in imagery and mood, so evocative of time and place.
I cannot imagine a "writer" failing to get something out of this book. Not all of the essays in this anthology are about writing. Some are about the visual arts! One is a letter by Albert Einstein. Another, by Roger Sessions, is about musical composition. The art of sculpture is not forgotten. Nor collage.

Nor science. Kekule is "covered" for having dreamed of a snake eating itself by its tail. Awake, Kekule made the quantum leap: this was no mere snake; this was, rather, the molecular structure of the Benzine molecule.

Most "essays", however, are about writing especially as writing is believed to be and ought to be a creative enterprise. In a single volume, you will find many writers/authors and all of them, it seems, are "speaking" directly to you. That is especially the case with Thomas Wolfe's "The Story of a Novel".

Think of it as a Monet but with words. There are dabs and strokes both here and there and up close they mean very little, but from a respectable distance, the whole will coalesce. So it is with "the creative process". In a single setting, Wolfe gives you "his" Paris.

The only other "work" which does the same and as well is Gershwin's "Rhapsody in Blue". Or, of course, Monet's series of paintings of the cathedral at Rouen, a cathedral which seems, as if in a movie, to dissolve before our eyes.

Wolfe writes: "During that summer in Paris, I think I felt this homesickness more than ever before, and I really believe that from this emotion, this constant and almost intolerable effort of memory and desire, the material and the structure of the books I now began to write were derived."

Now --the obligatory "recommendation": get this book! You won't regret it.