A holograph of itself All [physical properties of matter] derive from the different patterns of the interaction of electrons and photons within the fields of the positively charged atomic nuclei, stabilized in a particular morphology by the interaction of the levels themselves. Matter is a holograph of itself in its own internal radiation. Matter versus Materials: A Historical View physics
Reality just seems to go on crunching I once met a fellow who thought that if you used General Relativity to compute a low-velocity problem, like an artillery shell, General Relativity would give you the wrong answer—not just a slow answer, but an experimentally wrong answer—because at low velocities, artillery shells are governed by Newtonian mechanics, not General Relativity. This is exactly how physics does not work. Reality just seems to go on crunching through General Relativity, even when it only makes a difference at the fourteenth decimal place, which a human would regard as a huge waste of computing power. Physics does it with brute force. No one has ever caught physics simplifying its calculations—or if someone did catch it, the Matrix Lords erased the memory afterward. Eliezer Yudkowsky, Rationality: From AI to Zombies physics
Corpuscles of nothing and atoms of something The structure of matter devolved ultimately into the intimate coexistence of something like corpuscles of nothing and atoms of something, segregating through the accidents of history to yield regions differing in density intimately interwoven on different scales. The experience of the world as well as human perception and analysis of any part of it is a matter of the angular scale of resolution and of the time necessary for making comparison between the different parts. Without such variations and without time to compare remembrances of them, nothing can be experiences. Cyril Stanley Smith, The Tiling Patterns of Sebastien Truchet and the Topology of Structural Hierarchy physicsperception
I know all about entropy Adell: I know as much as you do. Lupov: Then you know everything's got to run down someday. Isaac Asimov, The Last Question timedeathphysics
The Iridium System Several Low-Earth-Orbit (LEO) networks were proposed, but only one got off the ground: the Iridium system. The original Iridium proposal called for a "constellation" of 77 satellites, which gave the plan its name: the element iridium has atomic number 77, meaning that an iridium atom has 77 orbiting electrons. Before the satellites were launched, the constellation was scaled back to 66 active satellites, but no one wanted to change the name to Dysprosium. Brian Hayes, Infrastructure: A Guide to the Industrial Landscape physicscommunicationaerospacecosmos
Fermi Estimates and Dyson Designs An Article by Venkatesh Rao www.ribbonfarm.com A Fermi estimate is a quick-and-dirty solution to an arbitrary scientific or engineering analysis problem. Fermi estimation uses widely known numbers, readily observable phenomenology, basic physics equations, and a bunch of approximation techniques to arrive at rough answers that tend to be correct within an order of magnitude or so. The term is named for Enrico Fermi, who was famously good at this sort of thing. …It struck me that there is counterpart to this kind of thinking on the synthesis side, where you use similar techniques to arrive at a very rough design for a complex engineered artifact. I call such a design approach Dyson design, after the physicist Freeman Dyson, who was one of the best practitioners of it (not to be confused with inventor James Dyson, whose designs, ironically, are not Dyson designs). designphysics
The Eyes of the Skin: Architecture and the Senses A Book by Juhani Pallasmaa Thin iceExtensions of the tactile senseThe computer creates a distanceThe quality of an architectural realityA hierarchical system of sense+14 More 125 Best Architecture BooksTo see, to caressHis ear in his toesA set of potential photographsThe deeper unconscious intentionsThe body imageThermal Delight in ArchitectureThey can smell the wood
Extensions of the tactile sense "Touch is the parent of our eyes, ears, nose, and mouth. It is the sense which became differentiated into the others." — Ashley Montagu All the senses, including vision, are extensions of the tactile sense; the senses are specializations of skin tissue, and all sensory experiences are modes of touching, and thus related to tactility. senses
The computer creates a distance Computer imaging tends to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive visual manipulation, a retinal journey. The computer creates a distance between the maker and the object, whereas drawing by hand as well as working with models put the designer in a haptic contact with the object, or space. toolsdesigndrawing
The quality of an architectural reality The quality of an architectural reality seems to depend fundamentally on peripheral vision, which enfolds the subject in the space...neurological investigations suggest that our processes of perception and cognition advance from the instantaneous grasp of entities towards the identification of details, rather than the other way around. vision
A hierarchical system of sense During the Renaissance, the five senses were understood to form a hierarchical system from the highest sense of vision down to touch. Vision was correlated to fire and light, hearing to air, smell to vapour, taste to water, and touch to earth. Avatar: The Last AirbenderPrometheusBlessed by the four elements fireelementssenses
The inhumanity of contemporary architecture The inhumanity of contemporary architecture and cities can be understood as the consequence of the neglect of the body and the senses, and an imbalance in our sensory system. The art of the eye has certainly produced imposing and thought-provoking structures, but it has not facilitated human rootedness in the world. Modernist design at large has housed the intellect and the eye, but it has left the body and the other senses, as well as our memories, imagination and dreams, homeless. 1º2º3º4º architecturesensesmodernism
Estrangement and detachment, hospitals and airports It is thought-provoking that this sense of estrangement and detachment is often evoked by the technologically most advanced settings, such as hospitals and airports. technologyloneliness
Sonorisms IV 'an unending rainfall of images' (Calvino) a cancerous growth of vision we are unable to see or imagine life behind these walls the patina of wear to carve a volume into the void of darkness time turned into shape euphony
The tacit wisdom of the body It is evident that the architecture of traditional cultures is also essentially connected with the tacit wisdom of the body, instead of being visually and conceptually dominated. Construction in traditional cultures is guided by the body in the same way that a bird shapes its nest by movements of its body. Architecture Without Architects bodytraditionhistory
Mere retinal art Instead of an existentially grounded plastic and spatial experience, architecture has adopted the psychological strategy of advertising and instant persuasion; buildings have turned into image products detached from existential depth and sincerity. Architecture of our time often appears as mere retinal art. A set of potential photographs architectureimagesadvertisingpsychology
Stage sets for the eye With the loss of tactility, measures and details crafted for the human body – and particularly for the hand – architectural structures become repulsively flat, sharp-edged, immaterial and unreal. The detachment of construction from the realities of matter and craft further turns architecture into stage sets for the eye, into a scenography devoid of the authenticity of matter and construction. The sense of 'aura', the authority of presence, that Walter Benjamin regards as a necessary quality for an authentic piece of art, has been lost. craftconstruction
Deep shadows and darkness are essential During overpowering emotional experiences, we tend to close off the distancing sense of vision; we close the eyes when dreaming, listening to music, or caressing our beloved ones. Deep shadows and darkness are essential, because they dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy. In Praise of Shadows emotiondarkness
The street of an old town How much more mysterious and inviting is the street of an old town with its alternating realms of darkness and light than are the brightly and evenly lit streets of today! Homogenous bright light paralyzes the imagination in the same way that homogenization of space weakens the experience of being, and wipes away the sense of place. The human eye is most perfectly tuned for twilight rather than bright daylight. lightstreets
To carve a volume into the void of darkness The nocturnal sound is a reminder of human solitude and mortality, and it makes one conscious of the entire slumbering city. Anyone who has become entranced by the sound of dripping water in the darkness of a ruin can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness. The space traced by the ear in the darkness becomes a cavity sculpted directly in the interior of the mind. sounddarknesssleepsolitude
The door handle is the handshake of a building What is this static modernism? metaphordoorsinteraction
Time turned into shape A pebble polished by waves is pleasurable to the hand, not only because of its soothing shape, but because it expresses the slow process of its formation; a perfect pebble on the palm materializes duration, it is time turned into shape. timetouchform
Authentic architectural experiences Authentic architectural experiences consist of approaching or confronting a building, rather than the formal apprehension of a facade; of the act of entering, and not simply the visual design of the door; of looking in or out through a window, rather than the window itself as a material object; or of occupying the sphere of warmth, rather than the fireplace as an object of visual design. Architectural space is lived space rather than physical space, and lived space always transcends geometry and measurability. architecturegeometry
From body to body During the design process, the architect gradually internalizes the landscape, the entire context, and the functional requirements as well as his/her conceived building: movement, balance and scale are felt unconsciously through the body of the observer, the experience mirrors the bodily sensations of the maker. Consequently, architecture is communication from the body of the architect directly to the body of the person who encounters the work, perhaps centuries later. In the walls and mosses makingdesigntimecommunication