Peter J. Slack B.E.Sc., P.Eng
Last Modified Thursday, 26-Aug-2010 18:36:31 EDT
PREFACE
If there is one thing that is certain; there will always be
uncertainty. As valid as the uncertainty principle applies to the quantum
scale, it equally applies to every scale ranging from our day to day lives
all the way up to the cosmic scale. This site is devoted to the better
understanding of uncertainty and change. In many respects this will be a
re-evalutation of foundations of ideas in classical applied physics and a
sounding board of ideas that I have jotted down over the last decade.
The ideas and principles on this site are postulates. My personal
belief is that there is more room for artistic expression in science than
there exists today. The internet gives a voice to those who are otherwise
silenced. The document below is a perpetual work in process.The purpose of artistic metaphor is to deconstruct
and reconstruct, in an abstract sense, from the
perspective of the subjective observer of
information. The application of abstractions are
not limited only to abstract art but are equally
applicable and beneficial to theoretical physics
and science in general.
THE CONCEPT OF ENTROPY
The very first re-evaluation I would like to propose is to redefine
entropy in the context of the information continuum:
THEOREM 1.0
ENTROPY = CONFIGURATIONAL ENERGY REQUIRED FOR
THE REORGANIZATION OF MASS IN THE UNIVERSE TO ACHIEVE HIGHER
STATES OF COMPLEXITY
THEOREM 1.0.1
NEGENTROPY = UNCERTAINY = FREE WILL = ENERGY
MAINTAINING STATES OF COMPLEXITY = HIGGS FIELD
The Merriam-Webster Online Dictionary defines entropy as follows:
1 : a measure of the unavailable energy in a closed thermodynamic
system that is also usually considered to be a measure of the system's
disorder and that is a property of the system's state and is related to it
in such a manner that a reversible change in heat in the system produces a
change in the measure which varies directly with the heat change and
inversely with the absolute temperature at which the change takes place;
broadly : the degree of disorder or uncertainty in a system 2 a : the
degradation of the matter and energy in the universe to an ultimate state
of inert uniformity b : a process of degradation or running down or a
trend to disorder
The classical definition of entropy suggests degradation and disorder.
In this evaluation I will propose that this definition suggests disorder
only because we cannot easily define configurations of mass with higher
levels of complexity using the deterministic tools of classical physics.
For example, geology is only considered a soft science because the tools
of determinism and the traditional scientific method are not able to
describe the level of complexity inherent in the configuration of mass
that are a result of high energy, high complexity geological processes.
I will suggest here that, rather than disorder, entropy represents the
energy required to achieve organization of mass in the universe with a
greater degree or higher order of complexity.
This fundamental way of thinking regarding irreversible change and
disorder suggests an eternal battle of expending energy to "keep order".
In fact the reality and psychology associated with this way of thinking
results in us always expending energy to achieve only a perception of
uniformity in our lives. The psychology manifests itself in many ways: we
consider time as a degrading process because our physical being is
degraded, we must not have weeds in our lawns or gardens and fight life
with chemicals to reduce disorder and diversity. We continue to loose the
battle however because the second law of thermodynamics states that all
systems tend towards maximum entropy. What we fail to realize is that
what we consider disorder is actually order; weeds and insects serve a
higher organizational purpose, our actions in our lives and our eventual
demise add to the overall higher degree of complexity in the universe.
Is it possible that the energy "lost" in performing work in a
closed thermodynamic system in the classical definition of entropy is
rather stored as "information energy"? The "information continuum" is the
hypothetical field where energy is stored or expended to change the
topology of distribution of mass. Topology changes when energy is applied
to a system containing mass. What may look like disorder is actually
higher order and requires energy to get there. All systems tend towards
higher forms of complexity, and in particular, life systems. If this is
possible then it is also possible that the evolution of life to higher
forms of complexity is fueled by entropy for life itself would not be
possible without high order complexity systems. The following sections
are dedicated to searching for understanding the nature of the information
continuum
CRITICAL STATE PHENOMENON AND BIFURCATION : THE MODEL
OF CHANGE IN THE INFORMATION CONTINUUM
Hydraulic Jump
Hydraulic jump is a classical hydrodynamic phenomenon that has been the focus of
detailed analytical studies. The figure below depicts a cross section of water flowing
through a horizontal rectangular channel. given certain conditions of flow rate, height of
water, and channel widths a hydraulic jump will occur where the water level rises
downstream. There are formulas that describe the conditions that exist where a hydraulic
jump occurs (see references below). The area between the two water levels is the transition
or turbulent region. Calculating the overall energy before and after the jump there is an
energy loss. Most references attribute this loss to turbulence or otherwise stating that
energy is dissipated when there is turbulence.
The studies provide formulas to tell us when to expect a hydraulic jump to occur. The
energy loss in a hydraulic
jump is attributed to losses due to turbulence in the transition region.
Energy loss in a hydraulic jump (ΔE)
The primary purpose of displaying this particular critical state
phenomenon is to make the statement that this is the quintessential model
of change in our universe. I will also suggest that not all of the energy
is dissipated in the turbulent transition region but stored as increased
complexity in the downstream form. Although a subtle change, there is
more information in the upper stream than lower stream by virtue of the
increased cross sectional area containing the water. In reference 3 below
you will find that those at the Santa Fe institute are also searching for
a mathematical treatise of pattern. Hydraulic jump is also a repeatable
experiment to support THEOREM 1.0 above.
THE EMPATHIC FIELD
THEOREM 1.1
GRAVITATIONAL FIELD STRENGTH is INVERSELY proportional to
DEGREE OF COMPLEXITY
The search for truth is never ending because certainty is an ideal
that can never be achieved. We can calculate the the earth will circle
the sun in 365 days but more precisely measured year to year we would find
that it doesn't circle the sun in *exactly* 365 days every time due to a
perihelion shift not accounted for by the gravitational model put forth by
Newton. We are happy to accept a scientific model that describes a
mysterious gravitational field that , in itself, is inexplicable and
riddled with paradox; an almost truth with slight flaws that we accept as
a fundamental guiding principle describing the clockwork of a particular
universe. Gravitational field theory is an exquisite art form conveying
knowledge and created by a brilliant and passionate person with all of its
flaws and inherent paradox. Newton's incredibly beautiful art form is a
construct that was shaped by the empathic field.
Creativity is the manifestation of the empathic field much like motion
is manifestation of gravitational force fields. Much like the observation
of planetary motion was critical to developing the gravitational model;
the observations of creative processes and conveying knowledge must be
made to develop the concept of an empathic field. My observations
below are from musical performance experiences with other artists.
Striking a note on a musical instrument invokes an emotional response not
only for the player but also any listener that happens to hear this note.
This emotional response drives the empathic field as knowledge conveyed
as expression. The knowledge is conveyed by virtue of the change of
expression by the artist based on emotional response invoked by the sound.
In a sense it is a feedback loop response from empathic listening. Much
like many planets will influence each other in a gravitational sense, many
artists participating in a creative process can influence the empathic
field each producing tones and qualities that further invoke varied
emotional responses.
A group of individuals in higher states of empathic performance and
emotional entrancement, I have noticed, can be come locked together in a
particular creative direction during a performance. It is almost as if
you can predict the movements of the other exactly but not following a
preset pattern or style. I have observed this phenomenon during many
performances where I become totally locked with another player and each
note and phrase are perfectly matched yet unrehearsed, unwritten and not
in any particular style. I call this being locked into a creative
performance and when this happens it is almost like an out of body
experience in that I'll start playing things that I never imagined before
and with a heightened emotional response because someone else is following
right along and amplifying the effect with their inputs. It is much like
a resonating effect but more so like synchronicity and it illustrates the
inherent beauty, structure and existence of the empathic field. It would
also seem that the empathic field is not limited to real time
performance and responses. I also observe locking of creative processes ,
particularly in creating music, where many artists will be writing and
creating artwork that convey the same knowledge and form yet completely
unrelated to one another. If you think a creative thought chances are
someone has already thought the exact same creative thought at the same
time.
Connection between Creativity and Gravity
At this point you may be confused about the link between the theoretical empathic field
and the theoretical gravitational field. I will suggest here that the two fields are
possibly one in the same but certainly the gravitational field is primarily responsible for
the distribution of mass in the universe. Consider then, that without gravity there would
be no complexity and thus no higher form of complexity such as the human being. Consider
that within the vast void of space there are complicated agglomerations and configurations
of mass, like earth, that are bound together by and emit gravitational fields. The
gravitational field of earth is an expression or imprint of itself within the void of space.
An expression of information also creates a field of expression of itself in a void of
space.
Creative processes define, by virtue of events in space-time that alter the
configuration and distribution of mass, information that is the construct of the unfolding
universe that we observe. There are infinite creative possibilities in so much as there are
infinite parallel universes representing infinite possible configurations of mass in the
universe. A conscious being creates and modifies the universe by presenting choice into the
multiverse of possibility. Creative events or creative presence also create paths that
inevitably influence other creative choice by other conscious beings. Creations have no
choice but to flow and influence other creations much like action-reaction of masses
gravitating towards each other in the gravitational field. Creations are attracted to each
other in the empathic field. The structure of these connected events creations is possibly
cluster like much like the distribution of visible mass in the universe.
CONSCIOUSNESS
THEOREM 2.0
CONSCIOUSNESS = EMERGENT PROPERTY OF SYSTEM ACHIEVING A HIGHER CRITICAL STATE OF
COMPLEXITY
SEEDS
THEOREM 2.1
EMPATHIC FIELD = HIGGS FIELD
This is a conceptual model of "free will"
versus "material" (determinism) paradox that manifests into our
physical universe. This is free form metaphorical
art-hypothesis of the primordial perpetual motion
machine that we call life.
The purpose of artistic metaphor is to deconstruct
and reconstruct, in an abstract sense, from the
perspective of the subjective observer of
information. The application of abstractions are
not limited only to abstract art but are equally
applicable and beneficial to theoretical physics
and science in general.The purpose of this particular
abstraction is to deconstruct and reconstruct a
model of "life". To begin this abstraction lets
propose that all physical dimensions that we
measure are constructs of two fundamental or
primordial dimensions: the information dimension and
the material dimension.
To introduce simple properties to these
dimensions, let us consider that information dimensions
and material dimensions are paradoxical entities
that cannot possibly exist together and repulse
each other. This paradox of the information and
material dimensions represent the primordial
"seed" of everything that we understand.
The primordial seed of repulsion between material
and information resulted in the very first "cell
division" that we call the big bang. This created
a momentum of paradoxical divisions first at the
Planck scale and then at quantized scales as time
progressed after the first cell division event.
The space-time continuum was born as relativity
between material point notions that arise and
separate as momentum of cell divisions between
material and information. Space expands because information
attempts to occupy the "same space" as material
does thus, infinite paradoxical repulsion and
division continues in perpetuity to maintain
balance.
The infinite paradox generates self-similar seeds
on quantized time, size and complexity scales
(conscious planes) in the space-time continuum.
The divisions between information and material continue
and follow a twinning, doubling or bifurcation
that results in ever increasing complex seeds (one
door closes 2 doors open). As space-time expands
in this sense so does the information contained
within space-time.
The information continuum is the spatial
distribution of material in the universe and is
the reflection of the information dimension in the
material dimension. As material and information are
repulsive to each other, one leaves an indelible
imprint on the other by virtue of the repulsion.
This is infinite symmetry.
Seeds exist at quantized scales of both physical
size and complexity and are perpetuated at all
scales as a self-similar reflective result of the
continuing division and infinite symmetrical
paradox between information and material dimensions.
A seed programmatically redistributes mass in the
space-time continuum to reach a complexity level
necessary to produce more seeds. Cell division is
driven by the repulsion between material and
information. Consciousness emerges at increasing
levels of complexity and organization of material
creating seeds in increasing scales of complexity
because complexity is required to maintain balance
between the paradox of material and information. As
space-time expands so must complexity to maintain
the balance.
Conscious entities and complexity exist at all
scales yet at different energy levels. Conscious
entities increase in number and pattern complexity
to create larger conscious entities or
meta-conscious entities. Cells collect to create
organs collect to create mammals collect to create
earth consciousness collect to create solar
consciousness collect to create galactic
consciousness each seed a component of the other.
Infinite symmetry in the universe is maintained
through "cell division" at all scales combined.
Space-time is relativity between point-notions or
material. Information continuum is the
distribution of material in space-time driven by
the infinite paradox and repulsion between
material and information and maintaining infinite
symmetry.
THEOREM 2.2
A proof of the information dimension and information
continuum is in the existence of beings like ourselves.
Life is in great abundance in the universe at all
scales (atomic / microbial / cellular /
multi-cellular / multi-multi cellular / planetary
/ solar / galactic / super galactic ....) Yet
begins at the Planck scale. We are absolutely not
alone yet, rather, we are perhaps at a unique
level of conscious complexity within a chain of
complex conscious beings on multiple planes. Life
is a result of the primordial seed. Humans are
part of a larger seed that is the earth.etc...
Life will be discovered in other parts of this
solar system because life is the very fabric of
the universe at all scales.
THEOREM 2.3
ANTIGRAVITY = CREATIVE SPIRIT = "LIFE FORCE"
The reason the incredible scientists today have trouble discovering
antigravity is because antigravity does not exist the way we feel it
should in an elegant quantifiable sense like Newton's laws of gravitation.
All of the great scientists have failed to record the observation that
they themselves are walking upright in the laboratory while carrying out
experimentation on gravitational fields. In a sense they defy gravity by
doing so. All life, at every scale imaginable, defies gravity. Gravity
is the force that draws material together while information is the mirror
image, or "antigravity", that pulls it apart and reorganizes in complex
ways from the smallest scale and in ever increasing self similar scales of
conscious planes. Newton's laws are an excellent tool for predicting
localized mechanics of materials yet fail to predict or describe structure
or "behavior" on grander scales or on very small scales.
THEOREM 2.4
INERTIA IS THE RESULT OF INFORMATION EXPRESSION AND THIS EXPRESSION IS THE
PRIMORDIAL FREE WILL OF MATERIAL = UNCERTAINTY = NEGENTROPY
If there is one thing that is certain; there will always be
uncertainty. As valid as the uncertainty principle applies to the quantum
scale, it equally applies to every scale ranging from our day to day lives
all the way up to the cosmic scale. This site is devoted to the better
understanding of uncertainty and change. In many respects this will be a
re-evalutation of foundations of ideas in classical applied physics and a
sounding board of ideas that I have jotted down over the last decade.
The ideas and principles on this site are postulates. My personal
belief is that there is more room for artistic expression in science than
there exists today. The internet gives a voice to those who are otherwise
silenced. The document below is a perpetual work in process.
The purpose of artistic metaphor is to deconstruct
and reconstruct, in an abstract sense, from the
perspective of the subjective observer of
information. The application of abstractions are
not limited only to abstract art but are equally
applicable and beneficial to theoretical physics
and science in general.
Hydraulic jump is a classical hydrodynamic phenomenon that has been the focus of
detailed analytical studies. The figure below depicts a cross section of water flowing
through a horizontal rectangular channel. given certain conditions of flow rate, height of
water, and channel widths a hydraulic jump will occur where the water level rises
downstream. There are formulas that describe the conditions that exist where a hydraulic
jump occurs (see references below). The area between the two water levels is the transition
or turbulent region. Calculating the overall energy before and after the jump there is an
energy loss. Most references attribute this loss to turbulence or otherwise stating that
energy is dissipated when there is turbulence.
The studies provide formulas to tell us when to expect a hydraulic jump to occur. The
energy loss in a hydraulic
jump is attributed to losses due to turbulence in the transition region.
The search for truth is never ending because certainty is an ideal
that can never be achieved. We can calculate the the earth will circle
the sun in 365 days but more precisely measured year to year we would find
that it doesn't circle the sun in *exactly* 365 days every time due to a
perihelion shift not accounted for by the gravitational model put forth by
Newton. We are happy to accept a scientific model that describes a
mysterious gravitational field that , in itself, is inexplicable and
riddled with paradox; an almost truth with slight flaws that we accept as
a fundamental guiding principle describing the clockwork of a particular
universe. Gravitational field theory is an exquisite art form conveying
knowledge and created by a brilliant and passionate person with all of its
flaws and inherent paradox. Newton's incredibly beautiful art form is a
construct that was shaped by the empathic field.
Creativity is the manifestation of the empathic field much like motion
is manifestation of gravitational force fields. Much like the observation
of planetary motion was critical to developing the gravitational model;
the observations of creative processes and conveying knowledge must be
made to develop the concept of an empathic field. My observations
below are from musical performance experiences with other artists.
Striking a note on a musical instrument invokes an emotional response not
only for the player but also any listener that happens to hear this note.
This emotional response drives the empathic field as knowledge conveyed
as expression. The knowledge is conveyed by virtue of the change of
expression by the artist based on emotional response invoked by the sound.
In a sense it is a feedback loop response from empathic listening. Much
like many planets will influence each other in a gravitational sense, many
artists participating in a creative process can influence the empathic
field each producing tones and qualities that further invoke varied
emotional responses.
A group of individuals in higher states of empathic performance and
emotional entrancement, I have noticed, can be come locked together in a
particular creative direction during a performance. It is almost as if
you can predict the movements of the other exactly but not following a
preset pattern or style. I have observed this phenomenon during many
performances where I become totally locked with another player and each
note and phrase are perfectly matched yet unrehearsed, unwritten and not
in any particular style. I call this being locked into a creative
performance and when this happens it is almost like an out of body
experience in that I'll start playing things that I never imagined before
and with a heightened emotional response because someone else is following
right along and amplifying the effect with their inputs. It is much like
a resonating effect but more so like synchronicity and it illustrates the
inherent beauty, structure and existence of the empathic field. It would
also seem that the empathic field is not limited to real time
performance and responses. I also observe locking of creative processes ,
particularly in creating music, where many artists will be writing and
creating artwork that convey the same knowledge and form yet completely
unrelated to one another. If you think a creative thought chances are
someone has already thought the exact same creative thought at the same
time.
This is a conceptual model of "free will"
versus "material" (determinism) paradox that manifests into our
physical universe. This is free form metaphorical
art-hypothesis of the primordial perpetual motion
machine that we call life.
The purpose of artistic metaphor is to deconstruct
and reconstruct, in an abstract sense, from the
perspective of the subjective observer of
information. The application of abstractions are
not limited only to abstract art but are equally
applicable and beneficial to theoretical physics
and science in general.The purpose of this particular
abstraction is to deconstruct and reconstruct a
model of "life". To begin this abstraction lets
propose that all physical dimensions that we
measure are constructs of two fundamental or
primordial dimensions: the information dimension and
the material dimension.
To introduce simple properties to these
dimensions, let us consider that information dimensions
and material dimensions are paradoxical entities
that cannot possibly exist together and repulse
each other. This paradox of the information and
material dimensions represent the primordial
"seed" of everything that we understand.
The primordial seed of repulsion between material
and information resulted in the very first "cell
division" that we call the big bang. This created
a momentum of paradoxical divisions first at the
Planck scale and then at quantized scales as time
progressed after the first cell division event.
The space-time continuum was born as relativity
between material point notions that arise and
separate as momentum of cell divisions between
material and information. Space expands because information
attempts to occupy the "same space" as material
does thus, infinite paradoxical repulsion and
division continues in perpetuity to maintain
balance.
The infinite paradox generates self-similar seeds
on quantized time, size and complexity scales
(conscious planes) in the space-time continuum.
The divisions between information and material continue
and follow a twinning, doubling or bifurcation
that results in ever increasing complex seeds (one
door closes 2 doors open). As space-time expands
in this sense so does the information contained
within space-time.
The information continuum is the spatial
distribution of material in the universe and is
the reflection of the information dimension in the
material dimension. As material and information are
repulsive to each other, one leaves an indelible
imprint on the other by virtue of the repulsion.
This is infinite symmetry.
Seeds exist at quantized scales of both physical
size and complexity and are perpetuated at all
scales as a self-similar reflective result of the
continuing division and infinite symmetrical
paradox between information and material dimensions.
A seed programmatically redistributes mass in the
space-time continuum to reach a complexity level
necessary to produce more seeds. Cell division is
driven by the repulsion between material and
information. Consciousness emerges at increasing
levels of complexity and organization of material
creating seeds in increasing scales of complexity
because complexity is required to maintain balance
between the paradox of material and information. As
space-time expands so must complexity to maintain
the balance.
Conscious entities and complexity exist at all
scales yet at different energy levels. Conscious
entities increase in number and pattern complexity
to create larger conscious entities or
meta-conscious entities. Cells collect to create
organs collect to create mammals collect to create
earth consciousness collect to create solar
consciousness collect to create galactic
consciousness each seed a component of the other.
Infinite symmetry in the universe is maintained
through "cell division" at all scales combined.
Space-time is relativity between point-notions or
material. Information continuum is the
distribution of material in space-time driven by
the infinite paradox and repulsion between
material and information and maintaining infinite
symmetry.
