The nature of antimatter is examined in the context of algebraic quantum field theory. It is shown that the notion of antimatter is more general than that of antiparticles. Properly speaking, then, antimatter is not matter made up of antiparticles—rather, antiparticles are particles made up of antimatter. We go on to discuss whether the notion of antimatter is itself completely general in quantum field theory. Does the matter–antimatter distinction apply to all field theoretic systems? (...) The answer depends on which of several possible criteria we should impose on the space of physical states. (shrink)

A systematic analysis is made of the relations between the symmetries of a classical field and the symmetries of the one-particle quantum system that results from quantizing that field in regimes where interactions are weak. The results are applied to gain a greater insight into the phenomenon of antimatter.

In this short paper we make a proposal that the second law of thermodynamics holds true for a closed physical system consisting of pure antimatter in the thermodynamical limit, but in a reversed form. We give two plausible arguments in favour to this proposal: one refers to the CPT theorem of relativistic quantum field theories while the other one is based on general thermodynamical arguments. However in our understanding the ultimate validity or invalidity of this idea can be decided (...) only by future physical experiments. As a consequence of the proposal we argue that the dynamical evolution of pure macroscopic antimatter systems can be very different from that of ordinary matter systems in the sense that sufficiently massive antimatter systems could have stronger tendency to form black holes during time evolution than their ordinary counterparts. Taking into account the various uniqueness theorems in black hole physics as well, as a result, antimatter could tracelessly disappear behind black hole event horizons faster in time than ordinary matter. The observed asymmetry of matter and antimatter could then be explained even if their presence in the Universe was symmetric in the beginning. (shrink)

This AV Column is about the Universal Solvent of modern physics which we call antimatter, and about a bottle in which it can be and has been kept. However, before getting to the hardware I want to talk about antimatter as it relates to the fundamental symmetries of the universe.

Pre-existing mathematical formulations are generally used for the treatment of new scientific problems. In this note we show that the construction of mathematical structures from open physical, chemical, and biological problems leads to new intriguing mathematics of increasing complexity called iso-, geno-, and hyper-mathematics for the treatment of matter in reversible, irreversible, and multi-valued conditions, respectively, plus anti-isomorphic images called isodual mathematics for the treatment of antimatter. These novel mathematics are based on the lifting of the multiplicative unit of (...) ordinary fields (with characteristic zero) from its traditional value +1 into: (1) invertible, Hermitean, and single-valued units for isomathematics; (2) invertible, non-Hermitean, and single-valued units for genomathematics; and (3) invertible, non-Hermitean, and multi-valued units for hypermathematics; with corresponding liftings of the conventional associative product and consequential lifting of all branches of mathematics admitting a (left and right) multiplicative unit. An anti-Hermitean conjugation applied to the totality of quantities and their operation of the preceding mathematics characterizes the isodual mathematics. Intriguingly, the emerging formulations preserve the abstract axioms of conventional mathematics (that based on the unit +1). As such, the new formulations result to be new realizations of existing abstract mathematical axioms. We then show that the above mathematical advances permit corresponding liftings of conventional classical and quantum theories with a resolution of basic open problems in physics, chemistry, and biology, numerous experimental verifications, as well as new industrial applications. (shrink)

The Trump Administration's governance of COVID-19 racial health disparities data has become a key front in the viral war against the pandemic and racial health injustice. In this paper, I analyze how the COVID-19 pandemic joins an already ongoing racial spectacle and system of structural gaslighting organized around “racial health disparities” in the United States and globally. The field of racial health disparities has yet to question the domain assumptions that uphold its field of investigation; as a result, the entire (...) reform program called for by racial health disparities science is already featured on the menu of the white supremacist power structure. The societal infrastructure that produces scientific knowledge about patterns of health and disease in the human population needs to confront its structural position as part of the racial spectacle organized around racial health disparities in the United States. This paper offers an interpretation of racial antimatter to explain why the data will not save us in the COVID-19 pandemic, drawing on articulations of racial spectacle and structural gaslighting within critical race theory and Afropessimist thought. By positioning events in the COVID-19 pandemic together within the same racially speculative frame, I show how the collection of racial health disparities data came up against white supremacists’ political ambitions in a time-space where the demand for human life to matter and the iterative regeneration of racial antimatter collided. This paper highlights the need for ongoing analysis of the unfolding and future spectacles organized around racial health disparities. (shrink)

In this paper a simple (i.e. free of fine-tuning, etc.) new mechanism for primordial black hole formation based on the collapse of large antimatter systems in the early Universe is introduced. A peculiarity of this process is that, compared to their material counterparts, the collapse of large antimatter systems takes much less time due to the reversed thermodynamics of antimatter, an idea which has been proposed in our earlier paper Etesi (2021). This model has several testable predictions. (...) The first is that the photon-baryon ratio is roughly computable and is equal to \(3.03\times 10^9\) which is quite close to its experimentally confirmed value. The second is that the mass of black holes arising from this mechanism is at least \(10^5\) - \(10^6M_\odot\) hence they contribute to the super- or hypermassive end of the primordial black hole mass spectrum. The third prediction is that these sort of primordial black holes constitute at least \(20\%\) of dark matter. Last but not least the observed current asymmetry of matter and antimatter, even if their presence in the Universe was symmetric in the beginning, acquires a natural explanation, too. (shrink)

On the one hand, theories of modern physics are very successful in their areas of application. But on the other hand, the irreconcilability of General Relativity (GR) and Quantum Electrodynamics (QED) suggests that these theories of modern physics are not the final answer regarding the fundamental workings of the universe. This monograph takes the position that the key to advances in the foundations of physics lies in the hypothesis that massive systems made up of antimatter are repulsed by the (...) gravitational field of a body of ordinary matter: this hypothesis takes us to an uncharted territory where GR and QED do not hold up. From there the Elementary Process Theory (EPT) is developed: this is a collection of seven generalized process-physical principles that do hold up if the hypothesis is a fact of nature. Using four-dimensionalistic terminology, the EPT abstractly describes an elementary process in the temporal evolution of a massive system that interacts with its environment. The idea is that these elementary processes take place at Planck scale and are essentially all the same, regardless of the type of interaction that takes place: the EPT is thus intended as a candidate for a unifying scheme that applies to all four basic interactions. By mathematical modeling, the relation is explored between the EPT and classical mechanics, quantum mechanics, special relativity and GR. (shrink)

Janet is known almost exclusively for his left-step periodic table (LSPT). A study of his writings shows him to have been a highly creative thinker and a brilliant draftsman. His approach was primarily arithmetic-geometric, but it led him to anticipate the discovery of deuterium, helium-3, transuranian elements, antimatter and energy from nuclear fusion. He recognized the (n + ℓ) rule well before Madelung and correctly placed the actinides. His controversial treatment of helium at the head of the alkaline earth (...) elements might be less provocative if his system were taken in one of its spiral representations. (shrink)

In this paper, 1 examine the role of the delta function in Dirac’s formulation of quantum mechanics (QM), and I discuss, more generally, the role of mathematics in theory construction. It has been argued that mathematical theories play an indispensable role in physics, particularly in QM [Colyvan, M. (2001). The inrlispensability of mathematics. Oxford University Press: Oxford]. As I argue here, at least in the case of the delta function, Dirac was very clear about its rlispensability. I first discuss the (...) significance of the delta function in Dirac’s work, and explore the strategy that he devised to overcome its use. l then argue that even if mathematical theories turned out to be indispensable, this wouidn’t justify the commitment to the existence of mathematical entities. In fact, even in successful uses of mathematics, such as in Dirac’s discovery of antimatter, there’s no need to believe in the existence of the corresponding mathematical entities. An interesting picture about the application of mathematics emerges from a careful examination of Dirac’s work. (shrink)

This book seeks to answer the question "What explains CPT invariance and the spin-statistics connection?" These properties play foundational roles in relativistic quantum field theories, are supported by high-precision experiments, and figure into explanations of a wide range of phenomena, from antimatter, to the periodic table of the elements, to superconductors and superfluids. They can be derived in RQFTs by means of the famous CPT and Spin-Statistics theorems; but, the author argues, these theorems cannot be said to explain these (...) properties, at least under standard philosophical accounts of scientific explanation. This is because there are multiple, in some cases incompatible, ways of deriving these theorems, and, secondly, because the theorems fail for the types of theories that underwrite the empirical evidence: non-relativistic quantum theories, and realistic interacting RQFTs. The goal of this book is to work towards an understanding of CPT invariance and the spin-statistics connection by first providing an analysis of the necessary and sufficient conditions for these properties, and second by advocating a particular account of explanation appropriate for this context. (shrink)

The paper analyzes the philosophical consequences of the recent discovery of direct violations of the time–reversal symmetry of weak interactions. It shows that although we have here an important case of the time asymmetry of one of the fundamental physical forces which could have had a great impact on the form of our world with an excess of matter over antimatter, this asymmetry cannot be treated as the asymmetry of time itself but rather as an asymmetry of some specific (...) physical process in time. The paper also analyzes the consequences of the new discovery for the general problem of the possible connections between direction of time and time-asymmetric laws of nature. These problems are analyzed in the context of Horwich’s Asymmetries in time: problems in the philosophy of science argumentation, trying to show that existence of a time–asymmetric law of nature is a sufficient condition for time to be anisotropic. Instead of Horwich’s sufficient condition for anisotropy of time, it is stressed that for a theory of asymmetry of time to be acceptable it should explain all fundamental time asymmetries: the asymmetry of traces, the asymmetry of causation, and the asymmetry between the fixed past and open future. It is so because the problem of the direction of time has originated from our attempts to understand these asymmetries and every plausible theory of the direction of time should explain them. (shrink)

Special Relativity can be based on the whole proper group of both ortho- and antichronous Lorentz transformations, and a clear physical meaning can be given also to antichronous (i.e., nonorthochronous) Lorentz transformations. From the active point of view, the latter requires existence, for any particle, of its antiparticle within a purely relativistic, classical context. From the passive point of view, they give rise to frames “dual” to the ordinary ones, whose properties—here briefly discussed—are linked with the fact that in relativity (...) it is impossible to teach another, far observer (by transmitting only instructions, and no physical objects) our own conventions about the choices right/left, matter/antimatter, and positive/negative time direction. Interesting considerations follow, in particular, by considering—as it is the case—theCPT operation as an actual (even if antichronous) Lorentz transformation. (shrink)

A monumental work on the flow of time, from the universe's creation to "Now," by the best-selling author of Physics for Future Presidents. "Now" is a simple concept--you're reading this sentence now. Yet a real definition of "now" has eluded even the great Einstein. We know that time stretches and is affected by gravity and velocity. Yet, as eminent physicist Richard A. Muller points out, it is only today that we have all the physics at hand--relativity, entropy, entanglement, antimatter, (...) and the Big Bang--to explain the flow of time. With these building blocks in place, Muller reaches a startling conclusion: our expanding universe is continuously creating not only new space but also new time. The front edge of this new time is what we call "now," and this moment is truly unique--it is the only moment in which we can exercise our free will. Muller's thought-provoking vision is a powerful counter to established theories in science and philosophy, and his arguments will spark major debate about the most fundamental assumptions of our universe. (shrink)

The connection between the infinite nature of Quantum Cosmology and the infinite nature of God is presented here. At the beginning of the creation process, there was a single God/Void that was divided into many Gods/Voids all filled with Dark Energy consisting of photons which were responsible for creating the Multiverses made of matter, antimatter, space, time, charge, and multiple dimensions of space. The one God initially had no material existence which along with the laws of science was a (...) creation of the powers of His infinite mind. Since the process of creation started with the Dark Energy of the Voids, the Conservation of Energy Principle applied to all of them. If the Dark Energy of each Void were to be finite, then its energy would begin to decrease as Multiverses were created, and the only solution for not violating the Conservation of Energy Principle was that the Dark Energy of each of the Voids must be infinite implying that the Voids themselves must be infinite, and with infinite amount of energy be able to create an infinite number of Multiverses. According to Mathematics, all infinite numbers are not equal, some infinities are greater than other infinities. Hence of the many infinite Voids that were initially created, some Voids were greater than others. Each Void has a Supreme Leader that we refer to as God, and therefore there exist many Gods, some Gods more powerful than other Gods. (shrink)

A heuristic comparison is made of relativistic and non-relativistic quantum theory. To this end the Segal approach is described for the non-specialist. The significance of antimatter to the local and microcausal properties of the fields is laid bare. The fundamental difference between relativistic and non-relativistic (complex) fields is traced to the existence of two kinds of complex numbers in the relativistic case. Their relation to covariant and Newton-Wigner locality is formulated.

A convention with regard to geometry, accepting nonholonomic aether motion and coordinate-dependent units, is always valid as an alternative to Einstein's convention. Choosing flat spacetime, Newtonian gravitation is extended, step by step, until equations closely analogous to those of Einstein's theory are obtained. The first step, demanded by considerations of inertia, is the introduction of a vector potential. Treating the electromagnetic and gravitational fields as real and imaginary components of a complex field (gravitational mass being treated as imaginary charge), the (...) Maxwell stress-momentum-energy tensor for the complex field is then used as the source for both fields. The spherically symmetric solution of these unified field equations describes the electron. Third, effects arising from motion of aether fluid with respect to the artificial reference systems of flat spacetime are included. On the grounds that attraction between likes and repulsion between likes are, a priori, equally possible, it is suggested that gravitational and electromagnetic phenomena should enjoy equal status. This can be achieved on the scale of an infinite cosmos by introducing a hierarchy of isolated systems, each of which is a universe when viewed internally and an elementary particle when viewed externally. A universe (defined by the Hubble radius), an electron, and a neutrino are three consecutive isolated systems of the hierarchy. Implied is the existence of antiuniverses where gravitational mass has opposite sign and antimatter predominates. Remarkable relationships between physical constants emerge. (shrink)

From the discovery of distant galaxies and black holes to the tiny interstices of the atom, here is the very best on physics and astronomy from the New York Times! The newspaper of record has always prided itself on its award-winning science coverage, and these 125 articles from its archives are the very best, covering more than a century of breakthroughs, setbacks, and mysteries. Selected by former science editor Cornelia Dean, they feature such esteemed and Pulitzer Prize-winning writers as Malcolm (...) W. Browne on teleporting, antimatter atoms, and the physics of traffic jams; James Glanz on string theory; George Johnson on quantum physics; William L. Laurence on Bohr and Einstein; Dennis Overbye on the recent discovery of the Higgs Boson; Walter Sullivan on the colliding beam machine; and more. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

We show that the big bang is a coordinate singularity for a large class of \ inflationary FLRW spacetimes which we have dubbed ‘Milne-like.’ By introducing a new set of coordinates, the big bang appears as a past boundary of the universe where the metric is no longer degenerate—a result which has already been investigated in the context of vacuum decay. We generalize their results and approach the problem from a more mathematical perspective. Similar to how investigating the geometrical properties (...) of the \ event horizon in Schwarzschild led to a better understanding of black holes, we believe that investigating the geometrical properties of the big bang coordinate singularity for Milne-like spacetimes could lead to a better understanding of cosmology. We show how the mathematics of these spacetimes may help illuminate certain issues associated with dark energy, dark matter, and the universe’s missing antimatter. (shrink)

Active time reversal in the sense of “object reversal” and passive time reversal in the sense of a frame reversal of time are discussed separately and then together so as to bring out their dual nature. An understanding of that duality makes it unavoidable to contrast symmetry properties of matter with symmetry properties to be assigned to antimatter. Only frame reversal of time can “see” all conceivable active time reversals relevant to physical objects. Only frame reversal of time can (...) be used for a meaningful extension of the Neumann principle to the time domain. (shrink)

Transpersonal psychology: Dean, S. R. The ultraconscious mind. Arasteh, A. R. Final integration in the adult personality.--The nature of madness: First, E. Visions, voyages, and new interpretations of madness. Van Dusen, W. Hallucinations as the world of spirits.--Biofeedback: White, J. The yogi in the lab. Kiefer, D. EEG alpha feedback and subjective states of consciousness.--Meditation research: Griffith, F. F. Meditation research: its personal and social implications. Kiefer, D. Intermeditation notes: reports from inner space.--Psychic research: Honorton, C. Tracing ESP through altered (...) states of consciousness. Johnson, C. W. Unexplored areas of parapsychology.--Paraphysics: White, J. Plants, polygraphs, and paraphysics. Reiser, O. L. Messages to and from the galaxy.--Biotechnology: Beal, J. B. The new biotechnology. Tiller, W. A. Energy fields and the human body.--The neurosciences: Conway, H. Life, death, and antimatter. Floyd, K. Of time and mind: from paradox to paradigm.--Ecological consciousness: Smith, R. A. Our passport to evolutionary awareness. Esser, A. H. Synergy and social pollution in the communal imagery of mankind.--Space travel and extraterrestrial life: Mitchell, E. D. Global consciousness and the view from space. White, J. Exobiology--where science fiction meets science fact.--Death as an altered state of consciousness: Tietze, T. R. Some perspectives on survival. Noyes, R. Dying and mystical consciousness. (shrink)

A fiber bundle constructed over spacetime is used as the basic underlying framework for a differential geometric description of extended hadrons. The bundle has a Cartan connection and possesses the de Sitter groupSO(4, 1) as structural group, operating as a group of motion in a locally defined space of constant curvature (the fiber) characterized by a radius of curvatureR≈10−13 cm related to the strong interactions. A hadronic matter field ω(x, ζ) is defined on the bundle space, withx the spacetime coordinate (...) and ζ varying in the local fiber. The components of a generalized tensor current ℑ μab (M) (x) are introduced, involving a bilinear expression in the fields ω(x, ζ) and ωΔ(x, ζ) integrated over the local fiber at the pointx. This hadronic matter current is considered as a source current for the underlying fiber geometry by coupling it in a gauge-invariant manner to the curvature expressions derived from the bundle connection coefficients, which are associated here with strong interaction effects, i.e., play the role of meson fields induced in the geometry. Studying discrete symmetry transformations between the 16 differently soldered Cartan bundles, a generalized matter-antimatter conjugation Ĉ is established which leaves the basic current-curvature equations Ĉ-invariant. The discrete symmetry transformation Ĉ turns out to be the direct product of an ordinary charge conjugation for the Dirac point-spinor part of ω(x, ζ) and an internal $\hat P\hat T$ transformation applied globally on the bundle to the fiber (i.e., de Sitter) part of ω(x, ζ). (shrink)

We present a unified vision of human knowledge, the external world and ourselves in the frame of an overall unity of Everything. Two main sources of knowledge are considered to this goal: an admittedly reductionist version of Modern Science and a few key elements of Oriental Philosophy. Our view is based on an analogy between the fundamental unity of Vedic ontology and the Grand Unification scheme of Particle Physics traced along the evolution of the Universe. Our key statement is that (...) these two sources of knowledge describe the same ontological story of separation, from an original One down to the multiplicity of the phenomenological world. We further substantiate this vision by drawing an analogy between the Residue of the Vedic sacrifice and the post-Big-Bang cosmological Matter-Antimatter Asymmetry. We also discuss a Big-Bang analogy between the postulated field of Inflationary Cosmology (the Inflaton) and the Vedic dissolution-decomposition of the cosmic progenitor Prajapati – whose body, according to Brahmanas texts, provides the material substrate of which the Universe is built. (shrink)

It is standardly believed that the generally time-reversal symmetric fundamental laws of physics themselves cannot explain the apparent asymmetry of time. In particular, it is believed that CP violation is of no help. In this paper, I want to push back against a quick dismissal of CP violation as a potential source for the arrow of time and argue that it should be taken more seriously for conceptualising time in physics. I first recall that CP violation is a key feature (...) of our best physical theory which also has large-scale explanatory import regarding the matter-antimatter asymmetry of the universe. I then investigate how CP violation may help to explain the directionality of time. I argue that accounts à la Maudlin that posit an intrinsic fundamental direction of time are not convincing and instead propose to utilise recent results from work on the dynamical approach to relativity theory. (shrink)

An effective formalism is developed to handle decaying two-state systems. Herewith, observables of such systems can be described by a single operator in the Heisenberg picture. This allows for using the usual framework in quantum information theory and, hence, to enlighten the quantum features of such systems compared to non-decaying systems. We apply it to systems in high energy physics, i.e. to oscillating meson–antimeson systems. In particular, we discuss the entropic Heisenberg uncertainty relation for observables measured at different times at (...) accelerator facilities including the effect of \documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$\mathcal{CP}$\end{document} violation, i.e. the imbalance of matter and antimatter. An operator-form of Bell inequalities for systems in high energy physics is presented, i.e. a Bell-witness operator, which allows for simple analysis of unstable systems. (shrink)

This article examines the role of photography in the scientific discovery of cosmic radiation and antimatter, showing how a visual medium designed to react to photons was successfully coopted to detect invisible particles and antiparticles through traces left by their collision, so-called annihilation events. The continuous presence of cosmic radiation means that every photograph is always already a double image, carrying both a visible surface formed by photons and a latent image carrying traces of cosmic rays, the latter ‘image’ (...) continuing in its perpetual state of ‘development’. It is the physical irregularity of the photograph exposed to the continuous and uniform shower of cosmic radiation that leads Doser to speculate on image formation not through an external referent but through the internal manipulation of the material substrate. (shrink)

Alternate View Column AV-97 Keywords: super-lasers space molecules atom lasers 4-wave mixers direct CP violation matter-antimatter asymmetry K0 mesons Published in the October-1999 issue of Analog Science Fiction & Fact Magazine ; This column was written and submitted 03/28/99 and is copyrighted ©1999 by John G. Cramer. All rights reserved. No part may be reproduced in any form without the explicit permission of the author.

Yet normal particle interactions produce matter and antimatter in equal amounts. If matter and antimatter in the early universe had been in perfect balance, they would long since have been annihilated out of existence, leaving behind a universe of photons and a few electrons. We would not be here to study such a universe, since our very existence depends on the gross excess of matter over antimatter now present. Where did the matter come from? What happened in (...) the early stages of the Big Bang that produced the contemporary dominance of matter? (shrink)

We identify new, rather serious, physical and mathematical inconsistencies of the current formulation of noncanonical or nonunitary string theories due to the lack of invariant units necessary for consistent measurements, lack of preservation in time of Hermiticity-observability, and other shortcomings. We propose three novel reformulations of string theories for matter of progressively increasing complexity via the novel iso-, geno-, and hyper-mathematics of hadronic mechanics, which resolve the current inconsistencies, while offering new intriguing possibilities, such as: an axiomatically consistent and invariant (...) inclusion of gravity, the reduction of macroscopic irreversibility to the most primitive level of vibrations of the universal substratum (ether), or the treatment of multi-valued, irreducible, biological structures. We then identify three corresponding classical formulations of string theories for antimatter via the novel anti-isomorphic isodual mathematics. We finally outline the intriguing features of the emerging new cosmologies (including biological structures, as it should be for all cosmologies), such as: universal invariance (rather than covariance) under a symmetry isomorphic to the Poincaré group and its isodual; equal distributions of matter and antimatter in the universe (as a limit case); continuous creation; no need for the missing mass; significantly reduced dimensions; possibility of experimental identification of antimatter in the universe; identically null total characteristics of time, energy, linear and angular momentum, charge, etc.; and other intriguing features. (shrink)

The bases of tenets of the World came from the East; Pythagoras learnt all there up the 26 years. At a home, the east ideas where took in no; then he bound the mathematics with the elements of matter. This was the best way to a blood feud of the all Humanity. The 17th age gave the bases of mathematics and the Greek atomism; this had led to the paranoia in all sciences. The LCE was brought in 19th age with (...) bases no; really it was the box of Pandora in the form of wrong sciences of the Nature. The wise revenge of Pythagoras was in the form of riddle for the best thinkers in the World in all times; us solved one in the 50th years. A base of the World is of the material space (MS) with praatoms (PAs) Ao; they are of the affinity to matter. A density of the MS is of ~ 5.10‐6 kg/m3 close to the Ears. PA Ao is of quant of matter and antimatter; they are of rotate in the different sides. All matter takes up Ao and to grow. In the giant stars to go the bursts giving Ao, or caloric. The matter of being in the World on base of the key law of conservation of heat (caloric) and matter by loss of energy; it is main. Leibniz offered to the conservation of mv2 in the World. But Newton knew that any move is damped, and it need in filled up. This the author proved by tests over the 300 years just. D.Bernoulli given to the model of gas. I. Kant proved that mv2 is the quantity of heat by stop of the body; it is no the energy! A key leitmotiv of thought is blocked the grasp of facts if ones not leaded to an accepted concept. P. Mayer had the blunder in base of the LCE; a work of gas expansion in Torricelli tube is equal nil strong! This is the gross blunder of a sick paranoiac! The 21 age gave up a new philosophy and a way to endless engine. The super skills from ideal quartz with moving jaws to respond to the all new philosophy and sciences. (shrink)

In view of the time-symmetric nature of the laws of physics, time asymmetry in the universe must arise from “initial” conditions. A fully time-symmetric oscillating model is presented which exists in a highly compressed, highly ordered state att=0 and evolves forward, in the thermodynamic sense, as ∣t ∣ increases. This model offers the possibility of accounting for several fundamental and puzzling aspects of our universe, including matter-antimatter asymmetry, the large entropy per baryon, primordial density enhancements sufficient to form galaxies, (...) and large-scale homogeneity. (shrink)

Currently there are at least four sizeable projects going on to establish the gravitational acceleration of massive antiparticles on earth. While general relativity and modern quantum theories strictly forbid any repulsive gravity, it has not yet been established experimentally that gravity is attraction only. With that in mind, the Elementary Process Theory (EPT) is a rather abstract theory that has been developed from the hypothesis that massive antiparticles are repulsed by the gravitational field of a body of ordinary matter: the (...) EPT essentially describes the elementary processes by which the smallest massive systems have to interact with their environments for repulsive gravity to exist. In this paper we model a nonrelativistic, one-component massive system that evolves in time by the processes as described by the EPT in an environment described by classical fields: the main result is a semi-classical model of a process at Planck scale by which a non-relativistic onecomponent system interacts with its environment, such that the interaction has both gravitational and electromagnetic aspects. Some worked-out examples are provided, among which the repulsion of an antineutron by the gravitational field of the earth. The general conclusion is that the semi-classical model of the EPT corresponds to non-relativistic classical mechanics. Further research is aimed at demonstrating that the EPT has a model that reproduces the successful predictions of general relativity. (shrink)

The operator structures for the constants of the motion of the relativistic hydrogen atom are examined. ThoughJ 3 andJ · J are constants of the motion,J is not. Its replacement, $\tilde {\rm K}$ , is shown to emerge rather naturally in transforming the equation to spherical coordinates. The separation of variables is presented in hypercomplex number form. This leads to some interesting suggestions regarding the matter/antimatter operator for the Dirac equation.

The book Time and Eternity , the English version of Zeit und Ewigkeit , by Antje Jackelén, contains scientific and theological treatments of these two topics, starting with the usage of such ideas in German, Swedish, and English hymns. This essay describes her work and explains how the scientific ideas provide a coherent framework for understanding the place of time.

I point out that conceptions of particles as mathematical, or quasi mathematical, entities have a longer history than Resnik notices. I argue that Resnik's attack on the distinction between mathematical and physical entities is not deep enough. The crucial problem for this distinction finds its locus in the numerical indeterminancy of elementary particles. This problem, traced by Heisenberg, emerges from the discovery of antimatter.

On June 30, 1908, a mysterious explosion erupted in the skies over a vast woodland area of Siberia. Known as the Tunguska Event, it has been a source of wild conjecture over the past century, attributed to causes ranging from meteors to a small black hole to antimatter. In this imaginative book, Michael Hampe sets four fictional men based on real-life scholars—a physicist, a philosopher, a biologist, and a mathematician —adrift on the open ocean, in a dense fog, to (...) discuss what they think happened. The result is a playful and highly illuminating exploration of the definition of nature, mankind’s role within it, and what its end might be. Tunguska, Or the End of Nature uses its four-man setup to tackle some of today’s burning issues—such as climate change, environmental destruction, and resource management—from a diverse range of perspectives. With a kind of foreboding, it asks what the world was like, and will be like, without us, whether we are negligible and the universe random, whether nature can truly be explained, whether it is good or evil, or whether nature is simply a thought we think. This is a profoundly unique work, a thrillingly interdisciplinary piece of scholarly literature that probes the mysteries of nature and humans alike. (shrink)

Abstract In this paper an algebraic method is presented to derive a 4 × 4 Hermitian Schrödinger equation from with and . The latter operator replacement is a common procedure in a quantum description of the total energy. In the derivation we don’t make use of Dirac’s method of four vectors. Moreover, the root operator isn’t squared either. Instead, use is made of the algebra of operators to derive a Hermitian matrix Schrödinger equation. We believe that new physics can be (...) obtained from an alternative quantization of the relativistic total energy. Note e.g. the pion physics behind the Klein–Gordon equation and the antimatter behind the Dirac quantization of the total relativistic energy. In this paper, for the sake of clarity, a time-only dependence of the electromagnetic potential vector is assumed. It is also demonstrated that a “latent” Lorentz invariance exists related to a derived expression for amplitude and phase. (shrink)

A self-consistent relativistic formalism is presented which postulates that mass is the eigenvalue of a fifth momentum operator component. Lorentz covariance is generalized so that a systematic program for covariant wave equations can be formed. The fifth dimension is identified with cosmic time, resulting in a bias toward matter over antimatter for the universe. A distinction between μ ande also seems possible through the space-time extension.

Content Introduction I. EDWs, the Hypernothing (EW0) and Physics Chapter 1 The principles of “epistemologically different worlds” perspective 1.1 The principles concerning existence and interactions of objects 1.2 Epistemologically Different Worlds (EDWs) 1.3 The chains of EDWs Chapter 2 The “Big Bang” (from actual Physics) versus Hypermetaphysics: the EDWs perspective regarding the accidental appearances of the first EDWs (the EW1a-n) in hypercorrespondences to Hypernothing (the EW0) 2.1 The history of “Universe” in Cosmology today 2.2 Classification of (hyper)correspondences 2.3 The rejection (...) of “antimatter” 2.4 More details about electromagnetic field (the field-EW) 2.5 More details about special theory of relativity 2.6 More details about general theory of relativity Chapter 3 More details about Hypernothing and its hyperontology 3.1 Hypernothing (epistemologically different then “something” and “nothing”) 3.2 The principles of hyperontology of Hypernothing 3.3 More details about the accidental appearances of the EW1a-n in hypercorrespondences to the EW0 Chapter 4 Friedman’s “relativized a priori” and “change of paradigms in science” versus EDWs 4.1 Geometry and Physics: relativized a priori for Newton/Kant, Helmholtz, Poincare and Einstein 4.2 The change of paradigm in scientific knowledge: Cassirer, Carnap versus Meyerson and Kuhn II. “Antireductionism” under the Umbrella of Epistemology/lLanguage within the Unicorn World Chapter 5 Few words about Gell-Mann’s “antireductionism” Chapter 6 Dual aspect theory (Spinoza-Velmans) versus the EDWs perspective 6.1 Velmans’ Understanding consciousness (2000) 6.2 Velmans’ article 2008 (Journal of Consciousness Studies, 15 (2), pp. 5-50) 6.3 My view consciousness in few words Chapter 7 Heil’s “Real tables” or “linguistic disease” in the philosophy/sciences of the 20th century III. Paradigms and Revolutions Chapter 8 Kuhn’s “paradigms” and the EDWs hyper-paradigm Conclusion The EDWs perspective and some truths Bibliography . (shrink)

I call this book Hypermetaphysics just because it is not about the metaphysics of “world”/Universe, it is not even about the metaphysics of EDWs (“epistemologically different worlds”), but mainly about the hypercorrespondences between the EW0 (Hypernothing) and the EW1a-n (these EDWs being the first EDWs which appeared in hypercorrespondences to the EW0). This hypermetaphysics involves the main notion of this book: the EW0 (or the “Hypernothing”) which does not have any ontology but a hyperontology which hypercorresponded to the first EDWs (...) that appeared in the hypercorrespondences to the EW0. In Part I, in Chapter 1, I will introduce the main ideas about the EDWs perspective. (These ideas have been published in my previous works.) In Chapter 2, I will introduce Hypermetaphysics: this chapter containes new ideas about the hypercorrespondences between the EW0 and the first EDWs, the EW1a-n (which appeared in different “places”, in different “periods”). However, I emphasize here that, in this work, I have changed some major ideas from my previous works from my EDWs perspective: for instance, I rejected the idea of “antimatter” (or “the EW-1” from my previous works). In Chapter 3, I introduce some ideas that have been published in my previous works (2022, for instance) regarding the hyperontology of EDWs (but including the major challenge: the rejection of “antimatter”). In Chapter 4, I introduced the main ideas from Friedman’s articles (2009 and 2012) and I applied his “scheme” regarding the “apriori relativized knowledge” for a scientific theory and the change/revolution of paradigm in science to my EDWs perspective. In Part II, I investigate some (more or less) anti-reductionist approaches: Gell-Mann, Spinoza-Velmans, and Heil. I emphasize even here that all anti-reductionist approaches had been created within the unicorn world until I published my article in 2005. In Part III, related to Kuhn’s notion of “paradigm”, I indicate what kind of “paradigmatic revolution” I have realized through discovering the EDWs within the scientific and philosophical revolutions and changes. I emphasize that my EDWs perspective has been the greatest change in the history of human thinking (including the main sciences, physics, cognitive neuroscience and philosophy) and this is the reason I call it the first “hyper-paradigm”. (shrink)