Prerequisite to memory is a past distinct from present. Because wave evolution is both continuous and time-reversible, the undisturbed quantum system lacks a distinct past and therefore the possibility of memory. With the quantum transition, a reversibly evolving superposition of values yields to an irreversible emergence of definite values in a distinct and transient moment of time. The succession of such moments generates an irretrievable past and thus the possibility of memory. Bohm’s notion of implicate and explicate order provides a (...) conceptual basis for memory as a general feature of nature akin to gravity and electromagnetism. I propose that natural memory is an outcome of the continuity of implicate time in the context of discontinuous explicate time. Among the ramifications of natural memory are that laws of nature can propagate through time much like habits and that personal memory does not require neural information storage. (shrink)

By deriving the Lorentz transformation from the absolute speed of light, Einstein demonstrated the relativistic variability of space and time, enabling him to explain length contraction and time dilation without recourse to a "luminiferous ether" or preferred frame of reference. He also showed that clocks synchronized at a distance via light signals are not synchronized in a frame of reference differing from that of the clocks. However, by mislabeling the relativity of synchrony the "relativity of simultaneity," Einstein implied that this (...) effect concerns an actual difference in times from one frame to another rather than merely a failure of clock synchronization across frames. As a theory of length contraction and time dilation on the basis of relative motion in the context of the absolute speed of light, special relativity is the definitive interpretation of the Lorentz transformation and the correct explanation of relativistic phenomena. The relativity of simultaneity, as I demonstrate, plays no role in this explanation but instead provides apparent justification for a view of time in which the present moment is frame-dependent. In contrast to its legitimate application, special relativity fails as a theory of time on the basis of the relativity of simultaneity. (shrink)

The problem of biological memory led Russell to propose the existence of mnemic causation, a mechanism by which past experience influences current thought directly, that is, without the need for a material intermediary in the form of a neural "memory trace." Russell appears to have been inspired by German biologist Richard Semon's concept of mnemic homophony, which conveys memory to consciousness on the basis of similarity between current and past circumstances. Semon, however, in no way denied a role for stable (...) neural structures or "engrams" in the memory process. In contrast to Russell, contemporary biologist Rupert Sheldrake provides a viable theory of memory by remaining true to Semon's original idea and expanding it beyond personal memory to the collective memory of species, encompassing not only mental but developmental memory. (shrink)

This paper investigates the work of Frank Miller, particularly his Batman: The Dark Knight Returns, in light of Nietzschean aesthetics and social commentary. A graphic novelist, and thus nominally an entertainer of the masses, Miller uses the comic medium to challenge, aesthetically and intellectually. Batman: The Dark Knight Returns explores the struggles of an ageing Batman to redefine the relationship between the dictates of the government and his own will and capacity to control his environment. Through text and image, Miller (...) emphasises the personal impotence of those agents of order who are working to restrain Batman, and the essential similarities between Batman and the criminals he fights, both of whom exist outside of that social order. Quintessentially Nietzschean themes – sickness and health, self-created and imposed identities, and irresolvable conflict between the true individual and society – recur throughout the work. Miller's work is triply subversive. First, it subverts generic expectations that the superhero will uphold the social order; second, it both challenges and supports Nietzsche's contention that art was the province of the noble singular artist and a product of ‘high culture', rather than of the masses; thirdly, it repositions Nietzsche within popular culture, subverting his expectations of his reception. This phenomenon of at one appropriating and challenging Nietzsche makes Miller an instructive example of an alternative way in which we can confront Nietzschean ideas about art and life. South African Journal of Philosophy Vol. 26 (1) 2007: pp. 96-108. (shrink)