Newton and Knowledge of the Universe

2021 ◽  
pp. 50-63
Author(s):  
Steven L. Goldman

Like Bacon, Descartes, and Galileo, Newton identified method as the key to discovering truths about the world, and like theirs, Newton’s method conflated induction and deduction in making claims about reality. Against Robert Hooke, Newton claimed that data spoke for themselves, as in his claim that his prism experiments directly proved that sunlight really was a combination of colors. In his theory of light, Newton claimed that his data allowed him to “deduce” that light was made up of corpuscles, against Christiaan Huygens’ claim that light was composed of spherical waves. In Newton’s mechanics, which became the cornerstone of modern mathematical physics, neither his definitions of space, time, matter, and motion nor his famous three laws of motion were deduced from experimental data. In his dismissal of Descartes’ method of reasoning and in his battles with Leibniz over the nature of reality, Newton was forced to confront the logical weakness of his ontological claims.

2020 ◽  
Vol 9 (71) ◽  

Metaphysics, which deals with concepts such as existence, existentialism, space and god in its general content, is a branch of philosophy. It sought answers to questions related to these concepts through methods and perspectives different from science. The reason for all these questions is the effort to define the universe. Metaphysical philosophy has been the search for a solution to helplessness caused by the uncertainties caused throughout the history by life and death. Perspectives developed in parallel with the perception of the period have also shaped the questions and propositions. All these metaphysical approaches do not contain a definition that is independent of time and space. Time and space, as one of the most fundamental problematics of metaphysics, are accepted as the most important elements in placing and making sense of the human into the universe. In this context, metaphysics, which has a transphysical perspective as well as the accepted scientific expansions of real and reality, was mostly visible in the field of art rather than science. The aim of this article is to analyze the role of metaphysical philosophy in the emergence of metaphysical art in the context of the effects of social events, especially the destructions and disappointments caused by the world wars in the 20th century, on the artists and the reflections of the existential inquiries related to this. Furthermore this study includes definitions and processes of metaphysics. The works of Giorgio de Chirico and Carlo Carra have been interpreted in terms of form and content within the scope of metaphysics by considering the concepts of time-space. Keywords: Metaphysics, Space, Time, Metaphysical Art


2021 ◽  
pp. 200-216
Author(s):  
G. V. Popova

The features of the organization of the artistic world of a fantastic work are considered. The material was the works of O. Gromyko, written in the genre of fantasy. The main parameters of the organization of the artistic world are analyzed: artistic space, artistic time and the picture of the heroes’ world, understood as a system of their value attitudes and rules. The relevance of the study is due not only to the wide popularity of works of science fiction, but also to the ability to analyze the linguistic means of creating a “secondary world” using this material. The scientific novelty of this work is seen in the fact that linguistic nominative means of forming the main categories of the artistic world: space, time and the picture of the world are investigated. It is shown that the understanding of a fantastic work as a special “otherness of reality” is associated in literary science with the problem of artistic convention. Attention is paid to the description of the main scientific approaches to understanding the primary and secondary artistic conventions. It is noted that the idea of creating a special artistic world in fiction correlates with secondary conventions and fiction, which are interpreted as essential features of any work of art. The author concludes that the exceptional plausibility of the universe under consideration is due to the conceptuality, associativity and duality of the created narrative. 


2018 ◽  
pp. 71-74
Author(s):  
B. E. Nosenok

This article is both a culturological and literary-critical work. It is devoted to the world and mythology of Anton Zan’kovskiy’s works. Anton Zan’kovskiy is a writer from St. Petersburg. But he was born in Voronezh in 1988. Thus, his work is the world of these two cities and walks into his memory places. It is a solo of a trot, hiking through the forest. He is the author of the novels "Deucalion" (2015) and "Ragwoman" (2016), which were published in the literary magazine "Neva". Anton Zan’kovskiy often mentions Ukrainian culture in his novels, he also uses sometimes Ukrainian language. When a reader is immersed in the world of Anton Zan’kovskiy's novels, he feels the way of Andrei Bely, Osip Mandelshtam, Vladimir Nabokov, Alexander Blok, Anatoly Mariengof vision. These novels destroy the habitual space-time, bringing our perception closer to the primordial singularity, to the irreducibility of the birth moment of the Universe. It can be said, that these works are nostalgic and melancholic, this is an appeal to the golden age of youth and childhood. Anton Zan’kovskiy writes novels – prose works, but his novels are “werewolves”. In fact, prose novels turn out to be poems. The world in these novel-poems is depicted as unevenness, gluing. Life is represented as rhythm, hesitation, confusion. The imagery of Anton Zan’kovskiy’s works appears to be an ontology on-the-scene, thanks to the special sensuality and almost physical sensibility of the text. The author is a collector of sensations and images, after which, however, emptiness and timelessness appear, and memory is replaced by oblivion and silence. However, Anton Zan’kovskiy's works arise from a fall, from "diving for pearls" into pensive – a deep of the past, from the melancholy, from a desire to return to the past. The author wants to return to the past and to go through a phase – to feel the same emotions. It is believed that the world of these werewolf novels is born from the feelings of decadence, from the emotions of decline. That’s why the reader can see despair, disappointment, and lack of surprise: the author has lost his spontaneity, and the world has ceased to be magical. This is the mythology of perpetual motion, "topographic amnesia", flanking, labyrinth, streets, ornaments, arabesques, lines, allusions, past, childhood, nostalgia, regret, anxiety and dream.


2016 ◽  
Vol 35 ◽  
pp. 79-85
Author(s):  
Shohel Ahmed ◽  
Md Showkat Ali

General relativity is the most beautiful physical theory ever invented. It describes one of the most pervasive features of the world we experience - gravitation. The gravitational field acts on nearby matter defines by the curvature of space-time. The black holes of nature are the most perfect macroscopic objects there are in the universe that constructed our concept of space-time. In this paper we use Einstein’s general relativity to model the motions of massive particles around the two black holes: static and rotating. These equations of motion around black holes will be studied with special focus towards the variation of symmetry by the change of gravitational effect.GANIT J. Bangladesh Math. Soc.Vol. 35 (2015) 79-85


Author(s):  
Robert T. Hanlon

In his Principia (1687), Sir Isaac Newton laid out his discovery of the laws of motions and the law of universal gravitation. His historic journey involved a critical moment when, aided by discussions with Robert Hooke, he conquered the challenge of circular motion, e.g. one body circling another, by introducing the concept of force. The Principia was a tour-de-force demonstration of the intelligibility of the universe and ultimately broke physics away from philosophy. This work led directly to the concept of energy.


Author(s):  
С.С. Бойко

В XXI веке в России активно развивается проза православных писателей. Исследователь И. Леонов предложил определять ее отличительное свойство как теоцентризм. Это означает, что писатель и некоторые герои признают Бога центром мироздания и это отражается на поэтике прозы. Теоцентрическая проза типологически отличается от прозы Нового времени. Она представлена десятками писательских имен, множеством произведений, которые неоднократно переиздаются. Однако отсутствие разработанного терминологического аппарата тормозит изучение этой прозы. Понятие художественного мира в интерпретации В. Е. Хализева позволяет глубоко проанализировать прозу нового типа, показать, в чем состоит ее своеобразие, и ввести ее в широкий историко-литературный контекст. Изучение художественного мира предполагает анализ системы персонажей, особенностей их речи и поведения, художественного времени и пространства, сюжета и его функций. Олеся Николаева назвала мир своей прозы новой реальностью. Мир теоцентричен: пространство, время и человек связаны с вечностью. Обыденное и чудесное показаны в одном сюжетном ряду. Цитаты из Священного Писания и молитв органично входят в текст. Внелитературные задачи ставятся наряду с литературными. События относятся к ситуации «я — здесь — сейчас». Рассказчица вовлечена в жизнь героев. Она одна из тех, кто ошибается, сомневается и вразумляется. Срединное положение рассказчицы и стилевое многоголосье способствуют созданию энциклопедичной системы персонажей. Божия воля влияет на сюжет, как и воля персонажей. Теоцентрическая книга активно развивается в последние десятилетия. В литературу пришел писатель, который изображает мироздание как Божие творение и человека как часть мироздания. In the 21stcentury, Russia sees the zenith of Orthodox writers. A researcher I. Leonov maintains that the main peculiarity of Orthodox prose is its theocentric character. It means that the writer and some of the characters treat God as the center of the universe, which defines the poetics of theocentric prose fiction. Theocentric prose is different from modern prose. There are tens of writers whose books have been numerously republished. However, the absence of an established terminology hampers the investigation of theocentric prose. According to V. E. Khalizev, to fully analyze prose, to see its unique character, to assess it in a wider literary context, one should understand the fictional universe. Investigating fictional universes, one analyzes the system of characters, the peculiarities of their speech and behavior patterns, space and time correlations, the plot in its functions. Olesya Nikolayeva maintains that her prose is a new reality. According to the writer, the world is theocentric: space, time and people are closely related with the eternity. The mundane and the miraculous are intricately connected. Her texts are completed with Scripture quotes and quotations from common prayers. She focuses on literary and extra-literary tasks. All events are related to the I-am-here-and-now situation. The storyteller is involved with the life of other characters. She is one of those who makes mistakes, doubts, and repents. The storyteller is somewhere in between the author and the characters. The stylistic plurality helps create an encyclopedic system of characters. Godʼs will influences the plot as well as the will of characters. Theocentric prose has been actively developing through the recent decades. There are modern writers who depict the world as Godʼs creation and humans as a part of God-created universe.


Author(s):  
Claus Beisbart

Cosmological questions (e.g., how far the world extends and how it all began) have occupied humans for ages and given rise to numerous conjectures, both within and outside philosophy. To put to rest fruitless speculation, Kant argued that these questions move beyond the limits of human knowledge. This article begins with Kant’s doubts about cosmology and shows that his arguments presuppose unreasonably high standards on knowledge and unwarranted assumptions about space-time. As an analysis of the foundations of twentieth-century cosmology reveals, other worries about the discipline can be avoided too if the universe is modeled using Einstein’s general theory of relativity. There is now strong observational support for one particular model. However, due to underdetermination problems, the big cosmological questions cannot be fully answered using this model either. This opens the space for more speculative proposals again (e.g., that the universe is only part of a huge multiverse).


2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.


2017 ◽  
Vol 9 (3) ◽  
pp. 17-30
Author(s):  
Kelly James Clark

In Branden Thornhill-Miller and Peter Millican’s challenging and provocative essay, we hear a considerably longer, more scholarly and less melodic rendition of John Lennon’s catchy tune—without religion, or at least without first-order supernaturalisms (the kinds of religion we find in the world), there’d be significantly less intra-group violence. First-order supernaturalist beliefs, as defined by Thornhill-Miller and Peter Millican (hereafter M&M), are “beliefs that claim unique authority for some particular religious tradition in preference to all others” (3). According to M&M, first-order supernaturalist beliefs are exclusivist, dogmatic, empirically unsupported, and irrational. Moreover, again according to M&M, we have perfectly natural explanations of the causes that underlie such beliefs (they seem to conceive of such natural explanations as debunking explanations). They then make a case for second-order supernaturalism, “which maintains that the universe in general, and the religious sensitivities of humanity in particular, have been formed by supernatural powers working through natural processes” (3). Second-order supernaturalism is a kind of theism, more closely akin to deism than, say, Christianity or Buddhism. It is, as such, universal (according to contemporary psychology of religion), empirically supported (according to philosophy in the form of the Fine-Tuning Argument), and beneficial (and so justified pragmatically). With respect to its pragmatic value, second-order supernaturalism, according to M&M, gets the good(s) of religion (cooperation, trust, etc) without its bad(s) (conflict and violence). Second-order supernaturalism is thus rational (and possibly true) and inconducive to violence. In this paper, I will examine just one small but important part of M&M’s argument: the claim that (first-order) religion is a primary motivator of violence and that its elimination would eliminate or curtail a great deal of violence in the world. Imagine, they say, no religion, too.Janusz Salamon offers a friendly extension or clarification of M&M’s second-order theism, one that I think, with emendations, has promise. He argues that the core of first-order religions, the belief that Ultimate Reality is the Ultimate Good (agatheism), is rational (agreeing that their particular claims are not) and, if widely conceded and endorsed by adherents of first-order religions, would reduce conflict in the world.While I favor the virtue of intellectual humility endorsed in both papers, I will argue contra M&M that (a) belief in first-order religion is not a primary motivator of conflict and violence (and so eliminating first-order religion won’t reduce violence). Second, partly contra Salamon, who I think is half right (but not half wrong), I will argue that (b) the religious resources for compassion can and should come from within both the particular (often exclusivist) and the universal (agatheistic) aspects of religious beliefs. Finally, I will argue that (c) both are guilty, as I am, of the philosopher’s obsession with belief. 


2016 ◽  
pp. 4058-4069
Author(s):  
Michael A Persinger

                                Translation of four dimensional axes anywhere within the spatial and temporal boundaries of the universe would require quantitative values from convergence between parameters that reflect these limits. The presence of entanglement and volumetric velocities indicates that the initiating energy for displacement and transposition of axes would be within the upper limit of the rest mass of a single photon which is the same order of magnitude as a macroscopic Hamiltonian of the modified Schrödinger wave function. The representative metaphor is that any local 4-D geometry, rather than displaying restricted movement through Minkowskian space, would instead expand to the total universal space-time volume before re-converging into another location where it would be subject to cause-effect. Within this transient context the contributions from the anisotropic features of entropy and the laws of thermodynamics would be minimal.  The central operation of a fundamental unit of 10-20 J, the hydrogen line frequency, and the Bohr orbital time for ground state electrons would be required for the relocalized manifestation. Similar quantified convergence occurs for the ~1012 parallel states within space per Planck’s time which solve for phase-shift increments where Casimir and magnetic forces intersect.  Experimental support for these interpretations and potential applications is considered. The multiple, convergent solutions of basic universal quantities suggest that translations of spatial axes into adjacent spatial states and the transposition of four dimensional configurations any where and any time within the universe may be accessed but would require alternative perspectives and technologies.


Sign in / Sign up

Export Citation Format

Share Document