While quantum mechanics is arguably our most successful theory of nature, it is perhaps best known for its strangeness. Quantum theory—and its key mathematical tool, the wave function—excels at predicting probabilities for the outcomes of experiments. Yet, after nearly a century of debate, physicists and philosophers of science can agree only that there is no real consensus on what quantum theory actually says about the world. This has led to a cottage industry of interpretations of quantum theory, which now number in the hundreds if not the thousands.
At the center of this quagmire is the “wave function.” Using the wave function, better known by its mathematical nickname, ψ (“psi”), physicists can calculate the probability that a quantum measurement will have a particular outcome. The success of this procedure has allowed us to control the subatomic world with unprecedented precision: You can thank (or curse) quantum theory for your iPads, smartphones, and laptops. Yet, unlike classical physics, quantum mechanics can’t deliver a single, definite answer to a simple question about the outcome of a measurements. Instead, it returns a probability distribution representing many different possible outcomes. It’s only after you make a measurement that you observe a stable, predictable, classical outcome. At this point, the wave function is said to have “collapsed.”
How Does The World Really Work? The Universal Truth That Nobody Told You
The world does not work the way we have been led to believe － by our governments, by our mainstream media, by our politicians, by our corporations, by our financial institution, by our military, by our school. We are living with so much misinformation, disinformation, propaganda, half-truths and …(read more)
In his brilliant ‘Assault on Culture’, Stewart Home writes that “it is easy enough to perceive a tradition running from the Free Spirit through the writings of Winstanley, Coppe, Sade, Fourier, Lautreamont, William Morris, Alfred Jarry, and on into Futurism and Dada–then via Surrealism into Lettrism, the various Situationist movements, Fluxus, ‘Mail Art’, Punk Rock, Neoism and contemporary anarchist cults” . He argues: “If the term ‘art’ took on its modern meaning in the eighteenth century, then any opposition to it must date from this period–or later… . Art has taken over the function of religion, not simply as the ultimate–and ultimately unknowable–form of knowledge, but also as the legitimised form of male emotionality.
The ‘male’ artist is treated as a ‘genius’ for expressing feelings that are ‘traditionally’ considered ‘feminine’. ‘He’ constructs a world in which the male is heroicised by displaying ‘female’ traits; and the female is reduced to an insipid subordinate role. ‘Bohemia’ is colonised by bourgeois men–a few of whom are ‘possessed’ by genius, the majority of whom are ‘eccentric’. Bourgeois wimmin whose behaviour resembles that of the ‘male genius’ are dismissed as being ‘hysterical’–while proletarians of either sex who behave in such a manner are simply branded as ‘mental’. Although its apologists claim ‘art is a universal category’, this simply isn’t true. Every survey of attendances at art galleries and museums demonstrates that an ‘appreciation’ of ‘art’ is something restricted almost exclusively to individuals belonging to higher income groups.’ (article)