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This work was prepared especially for A Beautiful Question by He Shuifa,a modern master of traditional Chinese art and calligraphy. He is renownedfor the vigor and subtlety of his brushwork and for the spiritual depth of hisdepictions of flowers, birds, and nature. A simple translation of the inscriptionis this: “Taiji double fish is the essence of Chinese culture. This imagewas painted by He Shuifa on a lake in early winter.” The playful “doublefish” aspect of Taiji comes to life in He Shuifa’s image. The yin and yangresemble two carp playing together, and there are hints of their eyes and fins.In Henan, on the Yellow River, there is a waterfall called Dragon’s Gate.Yulong carp attempt to jump the cataract, although it is very difficult forthem. Those that succeed transform into lucky dragons. With a sense ofhumor, we may associate this event with the transformation of virtual intoreal particles, an essential quantum process that is now thought to underliethe origin of structure in the Universe (see plates XX and AAA). Alternativelywe may identify ourselves with the carp, and their strivings with ourquest for understanding.
I hope you’ve already enjoyed the cover art and the frontispiece, which set the tone for our meditation beautifully.
There’s also a “User’s Manual”—but you knew that.
This book is a long meditation on a single question:
Does the world embody beautiful ideas?
Our Question may seem like a strange thing to ask. Ideas are one thing, physical bodies are quite another. What does it mean to “embody” an “idea”?
Embodying ideas is what artists do. Starting from visionary conceptions, artists produce physical objects (or quasi-physical products, like musical scores that unfold into sound). Our Beautiful Question, then, is close to this one:
Is the world a work of art?
Posed this way, our Question leads us to others. If it makes sense to consider the world as a work of art, is it a successful work of art? Is the physical world, considered as a work of art, beautiful? For knowledge of the physical world we call on the work of scientists, but to do justice to our questions we must also bring in the insights and contributions of sympathetic artists.
Our Question is a most natural one, in the context of spiritual cosmology. If an energetic and powerful Creator made the world, it could be that what moved Him—or Her, or Them, or It—to create was precisely an impulse to make something beautiful. Natural though it may be, this is assuredly not an orthodox idea, according to most religious traditions. Many motivations have been ascribed to the Creator, but artistic ambition is rarely prominent among them.
In Abrahamic religions, conventional doctrine holds that the Creator set out to embody some combination of goodness and righteousness, and to create a monument to His glory. Animistic and polytheistic religions have envisaged beings and gods who create and govern different parts of the world with many kinds of motives, running the gamut from benevolence to lust to carefree exuberance.
On a higher theological plane, the Creator’s motivations are sometimes said to be so awesome that finite human intellects can’t hope to comprehend them. Instead we are given partial revelations, which are to be believed, not analyzed. Or, alternatively, God is Love. None of those contradictory orthodoxies offers compelling reasons to expect that the world embodies beautiful ideas; nor do they suggest that we should strive to find such ideas. Beauty can form part of their cosmic story, but it is generally regarded as a side issue, not the heart of the matter.
Yet many creative spirits have found inspiration in the idea that the Creator might be, among other things, an artist whose esthetic motivations we can appreciate and share—or even, in daring speculation, that the Creator is primarily a creative artist. Such spirits have engaged our Question, in varied and evolving forms, across many centuries. Thus inspired, they have produced deep philosophy, great science, compelling literature, and striking imagery. Some have produced works that combine several, or all, of those features. These works are a vein of gold running back through our civilization.
Galileo Galilei made the beauty of the physical world central to his own deep faith, and recommended it to all:
The greatness and the glory of God shine forth marvelously in all His works, and is to be read above all in the open book of the heavens.
. . . as did Johannes Kepler, Isaac Newton, and James Clerk Maxwell. For all these searchers, finding beauty embodied in the physical world, reflecting God’s glory, was the goal of their search. It inspired their work, and sanctified their curiosity. And with their discoveries, their faith was rewarded.
While our Question finds support in spiritual cosmology, it can also stand on its own. And though its positive answer may inspire a spiritual interpretation, it does not require one.
We will return to these thoughts toward the end of our meditation, by which point we will be much better prepared to appraise them. Between now and then, the world can speak for itself.
Just as art has a history, with developing standards, so does the concept of the world as a work of art. In art history, we are accustomed to the idea that old styles are not simply obsolete, but can continue to be enjoyed on their own terms, and also offer important context for later developments. Though that idea is much less familiar in science, and in science it is subject to important limitations, the historical approach to our Question offers many advantages. It allows us—indeed, forces us—to proceed from simpler to more complex ideas. At the same time, by exploring how great thinkers struggled and often went astray, we gain perspective on the initial strangeness of ideas that have become, through familiarity, too “obvious” and comfortable. Last but by no means least, we humans are especially adapted to think in story and narrative, to associate ideas with names and faces, and to find tales of conflicts and their resolution compelling, even when they are conflicts of ideas, and no blood gets spilled. (Actually, a little does . . .)
For these reasons we will sing, to begin, songs of heroes: Pythagoras, Plato, Filippo Brunelleschi, Newton, Maxwell. (Later a major heroine, Emmy Noether, will enter too.) Real people went by those names—very interesting ones! But for us they are not merely people, but also legends and symbols. I’ve portrayed them, as I think of them, in that style, emphasizing clarity and simplicity over scholarly nuance. Here biography is a means, not an end. Each hero advances our meditation several steps:
Pythagoras also discovered, in the laws of stringed instruments, simple and surprising relationships between numbers and musical harmony. That discovery completes a trinity, Mind-Matter-Beauty, with Number as the linking thread. Heady stuff! It led Pythagoras to surmise that All Things Are Number. With these discoveries and speculations, our Question comes to life.
Plato was also a great literary artist. His metaphor of the Cave captures important emotional and philosophical aspects of our relationship, as human inquirers, with reality. At its core is the belief that everyday life offers us a mere shadow of reality, but that through adventures of mind, and sensory expansion, we can get to its essence—and that the essence is clearer and more beautiful than its shadow. He imagined a mediating demiurge, which can be translated as Artisan, who rendered the realm of perfect, eternal Ideas into its imperfect copy, the world we experience. Here the concept of the world as a work of art is explicit.
A common theme pervades Newton’s titanic work on light, the mathematics of calculus, motion, and mechanics. It is the method he called Analysis and Synthesis. The method of Analysis and Synthesis suggests a two-stage strategy to achieve understanding. In the analysis stage, we consider the smallest parts of what we are studying their “atoms,” using the word figuratively. In a successful analysis, we identify small parts that have simple properties that we can summarize in precise laws. For example:
(We’ll discuss these in more depth later.) In the synthesis stage we build up, by logical and mathematical reasoning, from the behavior of individual atoms to the description of systems that contain many atoms.
When thus stated broadly, Analysis and Synthesis may not seem terribly impressive. It is, after all, closely related to common rules of thumb, e.g., “to solve a complex problem, divide and conquer”—hardly an electrifying revelation. But Newton demanded precision and completeness of understanding, saying,
’Tis much better to do a little with certainty & leave the rest for others that come after than to explain all things by conjecture without making sure of any thing.
And in these impressive examples, he achieved his ambitions. Newton showed, convincingly, that Nature herself proceeds by Analysis and Synthesis. There really is simplicity in the “atoms,” and Nature really does operate by letting them do their thing.
Newton also, in his work on motion and mechanics, enriched our concept of what physical laws are. His laws of motion and of gravity are dynamical laws. In other words, they are laws of change. Laws of this kind embody a different concept of beauty than the static perfection beloved of Pythagoras and (especially) Plato.
Dynamical beauty transcends specific objects and phenomena, and invites us to imagine the expanse of possibilities. For example, the sizes and shapes of actual planetary orbits are not simple. They are neither the (compounded) circles of Aristotle, Ptolemy, and Nicolaus Copernicus, nor even the more nearly accurate ellipses of Kepler, but rather curves that must be calculated numerically, as functions of time, evolving in complicated ways that depend on the positions and masses of the Sun and the other planets. There is great beauty and simplicity here, but it is only fully evident when we understand the deep design. The appearance of particular objects does not exhaust the beauty of the laws.
By what is the physicist’s “inspired guesswork” inspired? Logical consistency is necessary, but hardly sufficient. Rather it was beauty and symmetry that guided Maxwell and his followers—that is, all modern physicists—closer to truth, as we shall see.
Maxwell also, in his work on color perception, discovered that Plato’s metaphorical Cave reflects something quite real and specific: the paltriness of our sensory experience, relative to available reality. And his work, by clarifying the limits of perception, allows us to transcend those limits. For the ultimate sense-enhancing device is a searching mind.
The definitive answer “yes” to our Question came only in the twentieth century, with the development of quantum theory.<...
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