Einstein,his theories,and his aesthetic considerations

This article deals with the question whether aesthetic considerations affected Einstein in formulating both his theories of relativity. The opinions of philosophers and historians alike are divided on this matter. Thus, Gerald Holton supports the view that Einstein employed aesthetic considerations in formulating his theory of special relativity whereas Jim Shelton opposes it, one of his reasons being that Einstein did not mention such considerations. The other theory, namely, that of general relativity, is discussed by John D. Norton. He asserts that the successful completion of this theory was due to Einstein's adherence to mathematical simplicity resulting from experience, as Einstein himself stated, and not from an aesthetic drive, to which he did not refer. The present work attempts to overcome this deficiency indirectly by investigating Einstein's aesthetic awareness and its consequences for his work. It is found that this awareness was imbedded in his perception of nature and is linked to the criteria (such as simplicity) that guided him in formulating his theories. The conclusion thus reached is that aesthetic considerations did play a role in Einstein's endeavour, contrary to the assertions of Shelton and Norton.     

论道家学派的音乐审美意识

道家学派理论面对忧患强调“天人合一”和解脱,因而具有浓郁的审美意识倾向。道家学派对“道”的体认也体现在对音乐本质的理解上。审美主体伴随着质态不尽相同的音乐过程,依次连缀形成“有声之乐”、“无怠之声”和“天乐”这三个层面的心理过程流时,这样的音乐才是老子所谓的“大音”,才是道家学派理想中的音乐。     

The renormalisation group and effective field theories

Much apprehension has been expressed by philosophers about the method of renormalisation in quantum field theory, as it apparently requires illegitimate procedure of infinite cancellation. This has lead to various speculations, in particular in Teller (1989). We examine Teller's discussion of perturbative renormalisation of quantum fields, and show why it is inadequate. To really approach the matter one needs to understand the ideas and results of the renormalisation group, so we give a simple but comprehensive account of this topic. With this in hand, we explain how renormalisation can and should be understood. One thing that is revealed is that apparently very successful theories such as quantum electro-dynamics cannot be universally true; resolving the tension between success and falsity leads to a picture in which any theory may be viewed as irreducibly phenomenological. We explain how, and argue that the support for this view is tenuous at best.We are very grateful to Stephen Shenker in his patient efforts to help us understand this material, and to the helpful comments of Paul Teller and two anonymous referees. Some of the ideas presented here are based on material in the Ph.D. thesis of one of us (Huggett) submitted to Rutgers University.     

Quantum perichoresis: Quantum field theory and the Trinity

The main thesis of this article is that the Trinitarian theological doctrine of perichoresis can be metaphorically interpreted as a form of Divine phase entanglement with the world. Such entanglement would entail non-local, relational holism and superposition through which the immanent unity of the Trinity is economically present in creation. Christ kenoticly empties himself of the immanent perichoresis of the Trinity in order to enter the economic perichoresis of the creation. The Spirit is then the continuing perichoretic love of God sanctifying the creation toward life and fulfillment from within. It is the Trinity in ongoing perichoretic entanglement with the creation, affirming Divine ubiquity and panentheism.     

On the field aspect of Quantum fields

In this paper we contrast the idea of a field as a system with an infinite number of degrees of freedom with a recent alternative proposed by Paul Teller in Teller (1990). We show that, although our characterisation lacks the immediate appeal of Teller's, it has more success producing agreement with intuitive categorisations than his does. We go on to extend the distinction to Quantum Mechanics, explaining the important role that it plays there. Finally, we take some time to investigate the way in which strings are to be considered fields, and the important differences with scalar fields. Overall, we aim to show that many types of systems may be viewed as fields, and to point out significant distinctions amongst them, thereby expanding our understanding of what it is to fall in this category.Thanks to our anonymous referees for invaluable comments.     

A model of aesthetic appreciation and aesthetic judgments

Although aesthetic experiences are frequent in modern life, there is as of yet no scientifically comprehensive theory that explains what psychologically constitutes such experiences. These experiences are particularly interesting because of their hedonic properties and the possibility to provide self‐rewarding cognitive operations. We shall explain why modern art's large number of individualized styles, innovativeness and conceptuality offer positive aesthetic experiences. Moreover, the challenge of art is mainly driven by a need for understanding. Cognitive challenges of both abstract art and other conceptual, complex and multidimensional stimuli require an extension of previous approaches to empirical aesthetics. We present an information‐processing stage model of aesthetic processing. According to the model, aesthetic experiences involve five stages: perception, explicit classification, implicit classification, cognitive mastering and evaluation. The model differentiates between aesthetic emotion and aesthetic judgments as two types of output.     

Magic and the aesthetic illusion

The aesthetic illusion is the subjective experience that the content of a work of art is reality. It has an intrinsic relation to magic, an intrapsychic maneuver oriented toward modification and control of the extraspyschic world, principally through ego functioning. Magic is ontogenetically and culturally archaic, expresses the omnipotence inherent in primary narcissism, and operates according to the logic of the primary process. Magic is a constituent of all ego functioning, usually latent in later development. It may persist as an archaic feature or may be evoked regressively in global or circumscribed ways. It causes a general disinhibition of instincts and impulses attended by a sense of confidence, exhiliration, and exuberance. The aesthetic illusion is a combination of illusions: (1) that the daydream embodied by the work of art is the beholder's own, the artist being ignored, and (2) that the artistically described protagonist is a real person with a real "world." The first illusion arises through the beholder's emotional-instinctual gratification from his or her own fantasy-memory constellations; the second comes about because the beholder, by taking the protagonist as proxy, mobilizes the subjective experience of the imaginary protagonist's "reality." The first illusion is necessary for the second to take place; the second establishes the aesthetic illusion proper. Both illusions are instances of magic. Accordingly, the aesthetic illusion is accompanied by a heady experience of excitement and euphoria. The relation among the aesthetic illusion, magic, and enthusiasm is illustrated by an analytic case, J. D. Salinger's "The Laughing Man," Woody Allen's Play It Again, Sam, Don Quixote, and the medieval Cult of the Saints.     

Cultural appropriation and aesthetic normativity

Philosophical Studies - Is it ever aesthetically permissible to engage in acts of cultural appropriation? This paper shows how recent work on aesthetic normativity can help answer this question....     

Asymmetries and errors in perception of depth from disparity suggest a multicomponent model of disparity processing

In three experiments, asymmetries between the processing of crossed and uncrossed disparities were investigated. The target was a luminance-defined circle concentric to a fixation mark, viewed stereoscopically on a computer monitor for 105 msec. Fifteen disparities were presented according to the method of constant stimuli. Observers indicated the apparent direction of target depth relative to fixation. All experiments measured both the accuracy and latency of this response. Experiment 1 showed fewer errors and shorter reaction times for identifying crossed disparities. Experiments 2 and 3 replicated Experiment 1 and also showed that observers may often perceive a target in the direction opposite that prescribed by the disparity information. We propose that the asymmetries and reversals result from differences in computation of sign, not of magnitude. This notion is consistent with a scheme of continuous disparity tuning and accounts for such asymmetries and errors without positing disparity pooling mechanisms.     

Orientation of stimuli and binocular disparity coding

An experiment is described which attempts to relate physiological work on disparity coding in the cat to a psychophysical situation using human subjects and Julesz stereograms composed of small line elements. It was found that depth perception occurred only if matching disparate lines in each stereogram shared a similar orientation. Depth began to deteriorate if an orientation difference exceeded 10° and it was extinguished at about 60°. The results are interpreted as supporting the hypothesis that shape-sensitive disparity detectors of the kind found in the cat exist also in man.     

Binocular unmasking with vertical disparity

We recently found (Schneider, Moraglia, & Jepson, 1989) that the contrast threshold for the detection of a visual signal in a noisy background can be considerably lower when binocular cues are available then when monocular cues only are present. Here, we investigated the occurrence of binocular unmasking with vertical interocular disparities. Subjects reported about the presence of Gabor signals in fields of two-dimensional broadband Gaussian noise surrounded by a frame of uniform noise. They saw these stimuli through a stereoscope; in all cases, the right-eye noise field was vertically displaced relative to the left one in either an upward or a downward direction, by up to 67.6'. In one condition, the right-eye signal was displaced by an amount equal to that of the noise, so that no opportunities for binocular unmasking existed; in the other, it appeared in exactly corresponding locations in the two fields--here, binocular disparities could be used to unmask the signal. Enhanced signal detectability, by up to 12.7 dB, was observed in the latter case for both directions of displacement, but only for displacements of 13.52' and only when the signal's orientation was horizontal. We argue that these effects result from the summation of monocular inputs carried out by linear binocular mechanisms.     

Stereovision: beyond disparity computations

One of the most powerful sources of information about three-dimensional (3-D) structure is provided by stereovision (or stereopsis). For over a century, theoretical and empirical investigations into this ability have focused on the role of binocular disparity in generating percepts of 3-D structure. Recent work in image segmentation demonstrates that stereovision can cause large changes in perceptual organization that cannot be understood on the basis of binocular disparity alone. It is argued that these phenomena reveal the need for theoretical tools beyond those that have dominated the study of visual perception over the past three decades.