It is shown that the violation of Bell's inequality allowed by quantum mechanics and the related Bell's theorem without inequalities is accounted for by local commutations of operators representing single-particle observables. It is argued that the idea of nonlocal influencing of one particle on another when they are in spacelike separated regions clearly has neither empirical nor theoretical support.

Quantum indistinguishability directly relates to the philosophical debate on the notions of identity and individuality. They are crucial for our understanding of multipartite quantum systems. Furthermore, the correct interpretation of this feature of quantum theory has implications that transcend fundamental science and philosophy, given that quantum indistinguishability is a resource in quantum information theory. Most of the conceptual analysis of quantum indistinguishability is restricted to studying the permutational invariance of quantum states, the concomitant quantum statistics and their entanglement. Here, we (...) analyse the role of indistinguishability and non-individuality in other areas of quantum theory. We start by analysing how a very peculiar use of indistinguishability underlies Feynman’s rules for summing amplitudes in interference phenomena. Next, we study how quantum indistinguishability is underestimated in several topics of debate in the quantum physics literature, such as the Einstein–Podolsky–Rosen argument, Bell’s inequalities and the Bell–Kochen–Specker theorem. Finally, we argue that an ontology of truly indistinguishable entities can serve as a basis for a quantum ontology that can give interesting answers to the interpretational problems of quantum mechanics. We claim that, in addition to superposition, contextuality and entanglement, indistinguishability (understood in a robust ontological sense) is one of the central features of quantum physics. -/- . (shrink)

The Bell–Kochen–Specker contradiction is presented using continuous observables in infinite dimensional Hilbert space. It is shown that the assumption of the existence of putative values for position and momentum observables for one single particle is incompatible with quantum mechanics.

A collaboration between distinguished physicists and philosophers of physics, this important anthology surveys the deep implications of Bell's nonlocality theorem.

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

Résumé Cet article discute de quelques aspects de la créolisation dans le contexte éthique, racial et linguistique qui s’est déployé à partir de certains événements de la révolution haïtienne.

Vaak wordt gesteld dat ongelijkheid een individuele verantwoordelijkheid is. Om sociale ongelijkheid te verkleinen zoekt men dan de oplossingen in het ondersteunen van individuen. Maar daarbij wordt meestal voorbijgegaan aan de morele dimensies van ongelijkheid, en aan het belang van de groep of de netwerken waarin mensen wonen, werken en leven. De essays in dit boek, gebaseerd op de nieuwste wetenschappelijke inzichten, tonen aan dat juist die groepsdimensie een zeer belangrijk perspectief is, waaraan in beleidsoplossingen te vaak voorbij wordt gegaan. (...) 0Als je leven niet loopt zoals je dat voor ogen hebt, is dat dan je eigen schuld of hangt dat wellicht met meer zaken samen? Iedereen weet dat omgevingsfactoren een belangrijke rol spelen: Waar ben je geboren? Welk netwerk heb je tot je beschikking? Toch worden bij pogingen om de ongelijkheid in de wereld te reduceren in de eerste plaats individuele oplossingen aangedragen. Dit boek laat voor de verschillende domeinen in de samenleving als de zorg, het onderwijs, werk, migratie en milieu zien hoe dat (niet) werkt. (shrink)

Dieser Band der Husserliana Materialien enthält die Erstveröffentlichung der Dissertation von Winthrop Pickard Bell, dem ersten englischsprachigen Doktoranden Edmund Husserls. In seiner Arbeit untersucht Bell die Erkenntnistheorie seines einstigen Harvard-Professors, dem amerikanischen Pragmatisten und Idealisten Josiah Royce, und entwickelt hierzu eine Kritik vom Standpunkt der Husserl'schen Erkenntnisphänomenologie. Husserl selbst hatte ihn gebeten, über dieses Thema zu forschen. Die Beilagen dieses Bandes beinhalten Husserls Kommentare und Änderungsvorschläge zu der Arbeit sowie die 1922 im "Jahrbuch der philosophischen Fakultät in Göttingen" (...) erschienene Zusammenfassung derselben. Nachdem Winthrop Bell zwei Jahre in Harvard bei Josiah Royce studiert hatte, kam er 1910 nach Leipzig. Hier und später in Göttingen befasste er sich mit Husserls Phänomenologie und schloss sich dem Kreis der Studenten an, der sich um Husserl und Reinach als "Göttinger philosophische Gesellschaft" gebildet hatte. Im Sommer 1914 stellte Bell seine Dissertation schließlich zu einem denkbar ungünstigen Zeitpunkt fertig. Als kanadischer Staatsbürger - und somit Bürger eines Landes der feindlichen Alliierten - wurde er mit Ausbruch des Ersten Weltkriegs im August 1914 inhaftiert und verbrachte fast die gesamte Kriegszeit in einem Gefangenenlager bei Berlin. Das Dissertationsverfahren konnte erst im Jahr 1922 abgeschlossen werden. Im Zuge dieser Turbulenzen erschien 1922 lediglich eine Zusammenfassung von Bells Doktorarbeit im "Jahrbuch der philosophischen Fakultät in Göttingen", die Arbeit selbst blieb bis 2012 in Kanada unter Verschluss. Auf Husserls nachdrückliche Empfehlung trat Bell jedoch 1922 eine Professur in Harvard an und trug maßgeblich zur Verbreitung der Husserl’schen Phänomenologie in Nordamerika bei. Die Kapitel „Die ‚erste Ansicht des Idealismus‘ und die Voraussetzungen der Royce’schen Erkenntnistheorie“ und „Kritik von Royces Voraussetzungen. Der eigentliche Boden einer Erkenntnistheorie. Die reine Wesenslehre des Bewusstseins“ sind auf link.springer.com unter der Creative Commons Namensnennung 4.0 International Lizenz veröffentlicht. This book was produced with the generous funding of the Social Sciences and Humanities Research Council of Canada, KU Leuven, the Harrison McCain Foundation, the University of New Brunswick Busteed Publication Fund, the Department of Philosophy at the University of New Brunswick, and David Mawhinney. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le (...) vite de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

The strange story of the von Neumann impossibility proof is recalled, and the even stranger story of later impossibility proofs, and how the impossible was done by de Broglie and Bohm. Morals are drawn.

The idea of a 'logic of quantum mechanics' or quantum logic was originally suggested by Birkhoff and von Neumann in their pioneering paper [1936]. Since that time there has been much argument about whether, or in what sense, quantum 'logic' can be actually considered a true logic (see, e.g. Bell and Hallett [1982], Dummett [1976], Gardner [1971]) and, if so, how it is to be distinguished from classical logic. In this paper I put forward a simple and natural semantical (...) framework for quantum logic which reveals its difference from classical logic in a strikingly intuitive way, viz. through the fact that quantum logic admits (suitably formulated versions of) the characteristic quantum-mechanical notions of superposition and incompatibility of attributes. That is, precisely the features that distinguish quantum from classical physics also serve, within this framework, to distinguish quantum from classical logic. Some light is shed on the question of whether quantum logic is a genuine logical system by introducing a natural entailment relation for quantum-logical formulas with the implication symbol. The novelty is that, although implication behaves as it should (i.e. the 'deduction theorem' holds), the order of introduction of premises is significant. The fact that a reasonable entailment relation can be formulated for quantum logic supports the view that it is a genuine logical system and not merely an algebraic formalism. (shrink)

then E has a subset which is the domain of a model of Peano's axioms for the natural numbers. (This result is proved explicitly, using classical reasoning, in section 3 of [1].) My purpose in this note is to strengthen this result in two directions: first, the premise will be weakened so as to require only that the map ν be defined on the family of (Kuratowski) finite subsets of the set E, and secondly, the argument will be constructive, i.e., (...) will involve no use of the law of excluded middle. To be precise, we will prove, in constructive (or intuitionistic) set theory3, the following.. (shrink)

IN THEIR WELL-KNOWN PAPER, Kochen and Specker (1967) introduce the concept of partial Boolean algebra (pBa) and show that certain (finitely generated) partial Boolean algebras arising in quantum theory fail to possess morphisms to any Boolean algebra (we call such pBa's intractable in the sequel). In this note we begin by discussing partial..

In lieu of an abstract, here is a brief excerpt of the content:Comme Elle Respire:Memory of Breath, Breath of MemoryFrédérique Berthet (bio)Translated by David F. Bell (bio)La poésie est un système de respiration, c'est fait pour mieux respirer.[Poetry is a respiration system, it's made for breathing better.]—Erri De Luca- Stop!- What?- I can hear you breathing!...- Stop!- Breathing?- Yes!—Paul Thomas AndersonLittle paper-fish cutouts have been placed on the ground, on the carpet.We're in the reassuring '70s stylishness of a doctor's (...) office. The carpet is soft and glistens like in interior decoration magazines, it's with it, in. We couldn't care less about what Dyson vacuum cleaners and "purifiers" boast they can eliminate several decades later: acarids, those microscopic domestic arthropods, human parasites (notably), and airborne vectors of infectious disease (colds, coughs, respiratory distress). No, in the spring of 1975, innocently and self-satisfyingly, the urbane doctor flaunts the opulent carpet with curly pile in his luxury apartment with its state-of-the-art waiting room.In this grand interior of a medical office, a man in a white coat plies his important trade. For example, that day a little girl is re-learning how to breathe. One might think that exhaling and inhaling is learned for life—je t'aime comme je respire, elle parle comme elle respire, il ment comme il respire1—from the very first cry at birth. But in fact, sometimes in life breathing gets stuck between the nasal cavity and the bronchial tubes, between the respiratory tract and the lungs. Progressively, imperceptibly, the organism is short of air, a malicious infection spreads and impairs [End Page 92] alveolar diffusion to the point of respiratory exhaustion: Is it serious, doctor? We must act quickly, very quickly. How to liquify what stopped up the system one day to the point of blocking it—the doctors know what to do.This doctor undertook long, arduous and learned studies. He knows functionally how a living being breathes, how a child lives organically. He can also re-teach the little girl what she no longer knows how to do: inhale, exhale using the full volume of the thoracic cage, regulating the ventilatory flow, solidifying the invisible membranes. In the child's family, everyone knows (and knows how to do) important things, but no one undertook extensive studies, much less studies of the aerial exchanges in the human body. This special knowledge possessed by the doctor (unless special means something else unspoken that would explain why this specific doctor was chosen rather than any other) surrounds him with a padding of respect that creates (and the little girl feels this) a sort of protective continuum between him and the walls within which he sees her, where he practices his kind of calm and slow urbane medicine. It's far from the formidable hospital she has just left, with its spherical apparatus next to the bed aspirating the red and yellow pleural liquid, the "treatment room" where the surgeon, the "butcher" as the nurses call him among themselves, manipulated the drain without anesthesia, with no regard for the child's suffering. The doctor, and his place in the elevated tower, even though they are not to be confused, make for a cozy reception space in which one is comfortable, even in passing.This doctor—who is, in truth, a massage-physiotherapist—is located in a designer high-rise building with a façade decorated by white, pointed features that manifest a will toward an architectural act. On the ground floor, the entrance hall is finished in dark-veined, clear brown marble, and the entry threshold between the exterior and interior is marked by large transparent glass panes that must be manipulated with care. The entrance hall has an intimidating sonority and a useless cold nudity from which one escapes in an elevator where one is surrounded by mirrors and gold buttons and in which one speeds upward silently toward floors, clouds.The designer high-rise is located at the outskirts, the outskirts of a city of recent Olympic stature, where several years earlier Olympic athletes were welcomed and trained to increase their respiratory capacity and... (shrink)

Während seiner langjährigen Tätigkeit als Facharzt für Psychiatrie am Tavistock and Portman NHS Foundation Trust hat der Autor dieses Beitrags die Entwicklung der Gesundheitsfürsorge von Kindern mit Geschlechtsidentitätsstörung (»gender dysphoria«) aus nächster Nähe beobachtet. Der Beitrag entwickelt einige Hypothesen zu den soziokulturellen Faktoren für den plötzlichen, sprunghaften Anstieg der Zahl minderjähriger Patienten, bei denen Geschlechtsidentitätsstörungen diagnostiziert und die dann zur medikamentösen und operativen Geschlechtsumwandlung an spezialisierte Zentren überwiesen wurden, und schildert charakteristische Denkverbote in diesem Zusammenhang. Die beruflichen Bedingungen, die seinen (...) Text beeinflussten, und die weiteren Entwicklungen in der Tavistock-Klinik wie auch in seinem eigenen Leben erläutert der Autor schließlich in einem nachstehenden Kommentar zu seinem eigenen Text. (shrink)

5.5. Every topos is linguistic: the equivalence theorem.