Dv ě kultury

1. Dvě kultury

2. anotace • Zde se zmíníme o knize C.P. Snowa, reakcích na ni, jakož i o názoru, bohužel dosti rozšířeném, že umění a věda jsou v jakémsi rozporu, že humanitní a přírodovědná vzdělanost mají málo společného, či dokonce že matematické vědy nejsou nic pro skutečného intelektuála.

3. Charles Percy Snow, Baron Snow,CBE (15 October1905 - 1 July1980) A good many times I have been present at gatherings of people who, by the standards of the traditional culture, are thought highly educated and who have with considerable gusto been expressing their incredulity at the illiteracy of scientists. Once or twice I have been provoked and have asked the company how many of them could describe the Second Law of Thermodynamics, law of entropy. The response was cold: it was also negative. Yet I was asking something which is about the scientific equivalent of: 'Have you read a work of Shakespeare's?'

5. C.P. Snow • Author of books:Death under Sail (1932, novel)Strangers and Brothers (1940-70, novels, 11 vols.)The Two Cultures and the Scientific Revolution (1959, nonfiction)Second Look (1964, nonfiction)Public Affairs (1971, essays)In Their Wisdom (1974, novel)Trollope: His Life and Art (1975, biography)Coat of Varnish (1979, novel)Realists: Eight Portraits (1979, criticism)

6. Krása matematiky a matematika krásna All nature is just just Art unknown to thee All Chance, Direction, which you canst not see All Discord, Harmony not understood… Alexander Pope

7. anotace • Nejprve se pokusíme vysvětlit na příkladu zlatého řezu jakou krásu vidí matematik v jeho teorii. Pak ukážeme, jak koncept zlatého řezu ovlivňoval výtvarné umění, zmíníme se o úsilí renesančních mistrů pochopit matematické zákonitosti perspektivy. Uvidíme, že matematické zákonitosti lze vysledovat i v moderním umění. • Trochu naťukneme i téma „matematika a hudba“ (nedoděláno)

8. Zlatý řez  φ= a/b = ½(1+5) Fibonacciho posloupnost: 1,1,2,3,5,8,13….

10. Luca Pacioli Divina Proportione (1509)

11. Fraktály Sierpinského trojúhelník Von Kochova sněhová vločka

12. Mandelbrotova množina Jackson Pollock

13. Albrecht Dürer a umění perspektivy

14. Symetrie ve fyzice • Teorie grup • CPT teorem • Lorenzovská invariance • Supersymetrie Symetrie je něco, co hraje podstatnou roli v estetickém vnímání. Zajímavé symetrie vykazují však i základní fyzikální zákony a jejich existence je jedním ze zdrojů estetického nadšení fyziků nad krásou základních fyzikálních teorií. Souvisí naše vnímání krásna s základními symetriemi zákonů, vládnoucích světu? Je to možná trochu diskuse typu zda byla dříve slepice než vejce či obráceně, ale rozhodně to stoji za povšimnutí.

15. Relativita a kubismus

17. Art Mirrors Physics Mirrors Art • Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc • Arthur I. Miller • Basic Books (Perseus), New York, 2001. $30.00 (357 pp.). ISBN 0-465-01859-X • Reviewed by Stephen G. BrushLes Demoiselles d'Avignon:Arthur Miller addresses an important question: What was the connection, if any, between the simultaneous appearance of modern physics and modern art at the beginning of the 20th century? He has chosen to answer it by investigating in parallel biographies the pioneering works of the leaders of the two fields, Albert Einstein and Pablo Picasso. His brilliant book, Einstein, Picasso, offers the best explanation I have seen for the apparently independent discoveries of cubism and relativity as parts of a larger cultural transformation. He sees both as being focused on the nature of space and on the relation between perception and reality. • The suggestion that some connection exists between cubism and relativity, both of which appeared around 1905, is not new. But it has been made mostly by art critics who saw it as a simple causal connection: Einstein's theory influenced Picasso's painting. This idea failed for lack of plausible evidence. Miller sees the connection as being less direct: both Einstein and Picasso were influenced by the same European culture, in which speculations about four-dimensional geometry and practical problems of synchronizing clocks were widely discussed. • The French mathematician Henri Poincaré provided inspiration for both Einstein and Picasso. Einstein read Poincaré's Science and Hypothesis (French edition 1902, German translation 1904) and discussed it with his friends in Bern. He might also have read Poincaré's 1898 article on the measurement of time, in which the synchronization of clocks was discussed--a topic of professional interest to Einstein as a patent examiner. Picasso learned about Science and Hypothesis indirectly through Maurice Princet, an insurance actuary who explained the new geometry to Picasso and his friends in Paris. At that time there was considerable popular fascination with the idea of a fourth spatial dimension, thought by some to be the home of spirits, conceived by others as an "astral plane" where one can see all sides of an object at once. The British novelist H. G. Wells caused a sensation with his book The Time Machine (1895, French translation in a popular magazine 1898-99), where the fourth dimension was time, not space.

18. Picasso actually incorporated the fourth dimension into his creations before Einstein did. Miller discusses in great detail the history of a single painting, Les Demoiselles d'Avignon--completed and first exhibited in 1907, now in the Museum of Modern Art in New York City. It is generally considered a seminal painting, which led directly to what is now called "modern art." In its final form, "the painting represents five prostitutes in a bordello. Although in close proximity, they do not interact with each other, only with the viewer--the client." From left to right we see: "a partially clothed demoiselle . . . with an Egyptian-Gauguinesque face, whose seemingly disembodied arm is pulling open a curtain; then there are two more attractive demoiselles of Iberian-Oceanic likeness . . . The standing demoiselle on the far right is also parting a curtain, while the squatting demoiselle is in a grotesquely impossible posture, with her back facing the picture plane and her head turned 180 degrees as if on a swivel . . . [with] a face that is shockingly hideous in comparison to the others" (page 89). The "plot" of the painting is the increasing geometrization of the figures as one goes from left to right, ending up with a four-dimensional view of the squatting whore. In striking contrast to Marcel Duchamp's Nude Descending a Staircase (1912) where the figures represent successive points in time, seen as coexisting in the fourth dimension, Picasso's painting culminates with a superimposed set of three-dimensional projections of an object in four spatial dimensions. One is seeing the object simultaneously from (a sampling of) all possible perspectives rather than from only one as in classical painting. Einstein did not appreciate the value of four-dimensional geometry in 1905 but came to it only later, with the help of Hermann Minkowski and Marcel Grossmann. Poincaré's influence was significant here but not so crucial; in fact Einstein rejected the "conventionalist" philosophy that led the Frenchman to the view that no uniquely determined geometry governs the world--you may choose whichever one is most convenient. Poincaré even proposed a "principle of relativity" but failed to grasp the consequences that Einstein drew from it. Miller's point is that both Einstein and Picasso discarded the empiricist view--"what you see is what you get"--in favor of the realist-intellectualist view--thinking, not seeing, leads to the truth. The purpose of science is not to provide the most economical representation of the facts (as Ernst Mach claimed), and the purpose of art is not to provide the most accurate representation of what we can see (Why compete with photography?). The purpose of both science and art is to discover the reality that lies hidden behind the appearances. This reality must, of course, conform to the highest aesthetic standards. Thus, as Einstein pointed out at the beginning of his 1905 relativity paper, the basic defect of classical electromagnetic theory is that it fails to give a symmetrical description of electromagnetic induction, one that is independent of the frame of reference of the observer. In addition to giving detailed accounts of Einstein's discovery of relativity and Picasso's creation of Demoiselles, Miller provides fascinating biographies of both men. Both were isolated from most human concerns by their preoccupation with discovery; for instance, both attracted women whom they felt free to discard at will. Picasso had more lovers than Einstein did, but it was Einstein who "had the kind of male beauty that, especially at the beginning of the century, caused such havoc." (This anonymous quote, on page 50, provides part of the subtitle for the book.) I strongly recommend this book to anyone interested in physics or art: It enhances a reader's understanding of the connection between art and science. It also underscores the breadth and pervasiveness of an epoch's intellectual ferment. Stephen G. Brush is a historian of science at the University of Maryland, and is coauthor with Gerald Holton of Physics, the Human Adventure: From Copernicus to Einstein and Beyond (Rutgers U. Press, 2001). He thanks Elizabeth Alley for information about art history.

19. Marcel Duchamp, Nahá žena sestupující ze schodů (1912) Světočára ženy sestupující ze schodů

20. Čtvrtá dimenze • 1884 Edwin Abbot. Lidé v dvourozměrném Plošsku11 • . Pár let předtím, než vyšla Abbotova knížka, vzrušoval Londýn soud se známým psychotronikem Henrym Sladem, který byl nakonec shledán vinným z podvodu. Když prohlašoval, že má kontakt se čtvrtou dimenzí, do které umí vysílat předměty, zastávali se ho i někteří vědci13, 14 • V roce 1877 se provádělo několik kontrolovaných pokusů, které měly testovat Sladeovu schopnost vysílat do čtvrté dimenze předměty a naopak je odtamtud přijímat: • měly se bez narušení propojit dva pevné dřevěné kroužky; • pravotočivá šnečí skořápka se měla změnit v levotočivou; • na uzavřené smyčce z provázku se měl udělat uzel; • do uzavřeného zapečetěného kontejneru se vložil provázek s pravotočivým; uzlem; bez porušení pečeti se měl rozvázat a znovu zavázat jako levotočivý; • ze zapečetěné láhve se měl odstranit obsah.

21. Zajímavý anglický matematik Charles Hinton pracoval na americkém patentním úřadě ve Washingtonu v době, kdy Einstein pracoval na patentním úřadě ve Švýcarsku. Jeho pokrokový otec James byl chirurgem18 a charizmatickým náboženským filozofem, hlásajícím volnou lásku a otevřenou polygamii; to nebylo zrovna to nejpřijatelnější pro viktoriánskou Anglii. Zdálo se však, že mladého Charlese mnohem více než polygamie zajímají polygony. Po skončení studií v Rugby a Oxfordu se stal učitelem matematiky na cheltenhamské dívčí škole a uppinghamské škole. Svou první esej Co je to čtvrtá dimenze vydal v roce 1880. Pak se však jeho život zdramatizoval. Zjevně se řídil otcovským naučením, neboť byl v roce 1885 uvězněn pro bigamii. Oženil se s Mary Booleovou, vdovou po jednom ze zakladatelů matematické logiky a teorie množin Georgii Booleovi, pak si ale vzal ještě Maude Weldonovou! Významným Hintonovým příspěvkem ke studiu vyšších dimenzí byla série jednoduchých obrázků umožňujících získat určitou představu o tom, jak by vypadaly čtyřrozměrné objekty. Vycházel z toho, že v knihách jsou vyobrazeny třírozměrné objekty vždy dvourozměrně. Podobně bychom můžeme zobrazit dvou- či třírozměrně objekty čtyřrozměrné.

22. Marc Chagall Time is a river Heart beat of a lover: non-standard clock Standard clocks: Uniform motion Vibrations of a string Pendulum

23. Krása gotické katedrály

25. fiála Vnější opěrný systém

26. Kompenzuje horizontální tlaky Nevnímat!!

27. Kulturní vlivy Newtona ve věku rozumu

28. anotace • Zde si povšimneme, jak matematika a newtonianismus ovlivňoval ve věku rozumu filosofii, jazykovědu i umění. Je věcí názoru, zda vždy kladně a můžeme uvítat či zatracovat romantickou reakci, která následovala. Ale nemůžeme popřít tento vliv, i záporná reakce je vnímání, ne lhostejnost.

30. James Thomson (1700-1748) A Poem Sacred to the Memory of Sir Isaac Newton 1Shall the great soul of Newton quit this earth,               2To mingle with his stars; and every muse,               3Astonish'd into silence, shun the weight               4Of honours due to his illustrious name?               5But what can man?--Even now the sons of light,               6In strains high-warbled to seraphic lyre,               7Hail his arrival on the coast of bliss.               8Yet am not I deterr'd, though high the theme,               9And sung to harps of angels, for with you,             10Ethereal flames! ambitious, I aspire             11In Nature's general symphony to join.             12     And what new wonders can ye show your guest!             13Who, while on this dim spot, where mortals toil             14Clouded in dust, from motion's simple laws,             15Could trace the secret hand of Providence,             16Wide-working through this universal frame.             17     Have ye not listen'd while he bound the suns             18And planets to their spheres! th' unequal task             19Of humankind till then. Oft had they roll'd             20O'er erring man the year, and oft disgrac'd             21The pride of schools, before their course was known             22Full in its causes and effects to him,             23All-piercing sage! who sat not down and dream'd             24Romantic schemes, defended by the din             25Of specious words, and tyranny of names;             26But, bidding his amazing mind attend,             27And with heroic patience years on years             28Deep-searching, saw at last the system dawn,             29And shine, of all his race, on him alone.             30     What were his raptures then! how pure! how strong!             31And what the triumphs of old Greece and Rome,             32By his diminish'd, but the pride of boys             33In some small fray victorious! when instead             34Of shatter'd parcels of this earth usurp'd             35By violence unmanly, and sore deeds             36Of cruelty and blood, Nature herself             37Stood all subdu'd by him, and open laid             38Her every latent glory to his view.             39     All intellectual eye, our solar-round 40First gazing through, he by the blended power             41Of gravitation and projection saw             42The whole in silent harmony revolve.             43From unassisted vision hid, the moons             44To cheer remoter planets numerous pour'd,             45By him in all their mingled tracts were seen.             46He also fix'd the wandering Queen of Night,             47Whether she wanes into a scanty orb,             48Or, waxing broad, with her pale shadowy light,             49In a soft deluge overflows the sky.             50Her every motion clear-discerning, he             51Adjusted to the mutual main, and taught             52Why now the mighty mass of water swells             53Resistless, heaving on the broken rocks,             54And the full river turning; till again             55The tide revertive, unattracted, leaves             56A yellow waste of idle sands behind.             57     Then breaking hence, he took his ardent flight             58Through the blue infinite; and every star,             59Which the clear concave of a winter's night             60Pours on the eye, or astronomic tube,             61Far-stretching, snatches from the dark abyss,             62Or such as farther in successive skies             63To fancy shine alone, at his approach             64Blaz'd into suns, the living centre each             65Of an harmonious system: all combin'd,

31.             66And rul'd unerring by that single power,             67Which draws the stone projected to the ground.             68     O unprofuse magnificence divine!             69O wisdom truly perfect! thus to call             70From a few causes such a scheme of things,             71Effects so various, beautiful, and great,             72An universe complete! and O belov'd             73Of Heaven! whose well-purg'd penetrative eye,             74The mystic veil transpiercing, inly scann'd             75The rising, moving, wide-establish'd frame.   76     He, first of men, with awful wing pursu'd             77The comet through the long elliptic curve,             78As round innumerous worlds he wound his way,             79Till, to the forehead of our evening sky             80Return'd, the blazing wonder glares anew,             81And o'er the trembling nations shakes dismay.             82     The heavens are all his own, from the wild rule             83Of whirling vortices and circling spheres             84To their first great simplicity restor'd.             85The schools astonish'd stood; but found it vain             86To keep at odds with demonstration strong,             87And, unawaken'd, dream beneath the blaze             88Of truth. At once their pleasing visions fled,             89With the gay shadows of the morning mix'd,             90When Newton rose, our philosophic sun! 91Th' aërial flow of sound was known to him,             92From whence it first in wavy circles breaks,             93Till the touch'd organ takes the message in.             94Nor could the darting beam of speed immense             95Escape his swift pursuit and measuring eye.             96Ev'n Light itself, which every thing displays,             97Shone undiscover'd, till his brighter mind             98Untwisted all the shining robe of day;             99And, from the whitening undistinguish'd blaze,           100Collecting every ray into his kind, 101To the charm'd eye educ'd the gorgeous train           102Of parent colours. First the flaming red           103Sprung vivid forth; the tawny orange next;           104And next delicious yellow; by whose side           105Fell the kind beams of all-refreshing green.           106Then the pure blue, that swells autumnal skies           107Ethereal played; and then, of sadder hue,           108Emerg'd the deepen'd indigo, as when           109The heavy-skirted evening droops with frost;           110While the last gleamings of refracted light           111Died in the fainting violet away.           112These, when the clouds distil the rosy shower,           113Shine out distinct adown the wat'ry bow;           114While o'er our heads the dewy vision bends           115Delightful, melting on the fields beneath.           116Myriads of mingling dyes from these result,           117And myriads still remain--infinite source           118Of beauty, ever flushing, ever new.           119     Did ever poet image aught so fair,           120Dreaming in whisp'ring groves by the hoarse brook?           121Or prophet, to whose rapture heaven descends?           122Ev'n now the setting sun and shifting clouds,           123Seen, Greenwich, from thy lovely heights, declare           124How just, how beauteous the refractive law.           125     The noiseless tide of time, all bearing down           126To vast eternity's unbounded sea,           127Where the green islands of the happy shine,           128He stemm'd alone; and, to the source (involv'd           129Deep in primeval gloom) ascending, rais'd           130His lights at equal distances, to guide           131Historian wilder'd on his darksome way.           132     But who can number up his labours? who           133His high discoveries sing? When but a few           134Of the deep-studying race can stretch their minds           135To what he knew--in fancy's lighter thought           136How shall the muse then grasp the mighty theme?           137     What wonder thence that his devotion swell'd           138Responsive to his knowledge? For could he,           139Whose piercing mental eye diffusive saw           140The finish'd university of things           141In all its order, magnitude, and parts,           142Forbear incessant to adore that Power           143Who fills, sustains, and actuates the whole?           144     Say, ye who best can tell, ye happy few,           145Who saw him in the softest lights of life,           146All unwithheld, indulging to his friends           147The vast unborrow'd treasures of his mind,           148oh, speak the wondrous man! how mild, how calr           149How greatly humble, how divinely good,           150How firm establish'd on eternal truth;           151Fervent in doing well, with every nerve           152Still pressing on, forgetful of the past,           153And panting for perfection; far above           154Those little cares and visionary joys           155That so perplex the fond impassion'd heart           156Of ever-cheated, ever-trusting man.           157This, Conduitt, from thy rural hours we hope;

32.           159Her every sweet in studious ease you walk,           160The social passions smiling at thy heart           161That glows with all the recollected sage.           162     And you, ye hopeless gloomy-minded tribe,           163You who, unconscious of those nobler flights           164That reach impatient at immortal life,           165Against the prime endearing privilege           166Of being dare contend,--say, can a soul           167Of such extensive, deep, tremendous powers,           168Enlarging still, be but a finer breath           169Of spirits dancing through their tubes awhile,           170And then for ever lost in vacant air?           171     But hark! methinks I hear a warning voice,           172Solemn as when some awful change is come,           173Sound through the world--" 'Tis done!--the measure's full;           174And I resign my charge."--Ye mouldering stones           175That build the towering pyramid, the proud           176Triumphal arch, the monument effac'd           177By ruthless ruin, and whate'er supports           178The worship'd name of hoar antiquity--           179Down to the dust! What grandeur can ye boast           180While Newton lifts his column to the skies,           181Beyond the waste of time. Let no weak drop           182Be shed for him. The virgin in her bloom           183Cut off, the joyous youth, and darling child--           184These are the tombs that claim the tender tear           185And elegiac song. But Newton calls           186For other notes of gratulation high,           187That now he wanders through those endless worlds           188He here so well descried, and wondering talks,           189And hymns their Author with his glad compeers.           190     O Britain's boast! whether with angels thou           191Sittest in dread discourse, or fellow-blest,           192Who joy to see the honour of their kind;           193Or whether, mounted on cherubic wing,           194Thy swift career is with the whirling orbs,           195Comparing things with things, in rapture lost,           196And grateful adoration for that light           197So plenteous ray'd into thy mind below           198From Light Himself; oh, look with pity down           199On humankind, a frail erroneous race!           200Exalt the spirit of a downward world!           201O'er thy dejected country chief preside,           202And be her Genius call'd! her studies raise,           203Correct her manners, and inspire her youth;           204For, though deprav'd and sunk, she brought thee forth,           205And glories in thy name! she points thee out           206To all her sons, and bids them eye thy star:           207While, in expectance of the second life,           208When time shall be no more, thy sacred dust           209Sleeps with her kings, and dignifies the scene. Notes 1] First published in June 1727, three months after Newton's death. "The enthusiasm of the early eighteenth century over Newton's discoveries and ideas was intense and widespread, and this poem of Thomson is a representative expression.

34. Maurice Quentin de la Tour Slečna Ferrandová medituje nad Newtonem

35. A little Learning is a dang’rous Thing; Drink deep, or taste not the Pierian Spring: There shallow Draughts intoxicate the Brain, And drinking largely sobers us again. Fir’d at first Sight with what the Muse imparts, In fearless Youth we tempt the Heights of Arts, While from the bounded Level of our Mind, Short Views we take, nor see the lengths behind, But more advanc’d, behold with strange Surprize New, distant Scenes of endless Science rise! Alexander Pope, An Essay on Criticism Isaacus Newtonus: Quem Immortalem Testantur Tempus, Natura, Coelum: Mortalem Hoc Marmor Fatetur. Nature and Nature’s laws lay hid in night God said, Let Newton be! and all was light. Alexander Pope( 1688 - 1744 )

36. John Dryden 1631-1700 …bringing all things as near the mathematical plaines as they can. Programové prohlášení pro reformu jazyka Kdo chce být dobrým básníkem, musí mít filosofickou a do jisté míry i matematickou hlavu a musí být vzdělán v několika (přírodních) vědách

37. Romantická reakce John Keats (1795-1821): Newton podřízl krk poezii • William Blake (1757-1827): • Věda je ďábel, jehož velekněžími jsou Newton a Locke William Blake: Newton

38. Všechny krásy světa aneb vědecký x básnický pohled na svět

39. anotace • Zde chceme konfrontovat „vědecký“ a „umělecký“ pohled na svět. Obraz Newtona od Blakea už neměl tak docela oslavný charakter, vždyť podle Blakea Věda je ďábel, jejímiž velekněžími jsou Newton a Locke a podle Keatse Newton podřízl krk poezii. Po četbě některých rétorických veršů Alexandra Popea jsme možná náchylní dát mu trochu za pravdu. My zde chceme diskutovat s doslova vzatým veršem E. A. Poe Vědo … proč srdce rveš, jímž básník vnímá krásu a ukázat, že poučený pohled na svět neubírá jeho vjemu na emotivní hodnotě. Nechceme samozřejmě tvrdit, že každý vědec má bohatší estetický vjem světa, jen ukázat že poučený pohled nutí více setrvat na detailech a vede k řadě asociací, které mají „uměleckou“ inspirativnost.

40. W. Blake - Africa • Thus the terrible race of Los & Enitharmon • gave Laws & Religions to the sons of Har binding them more • And more to Earth: closing and restraining: • Till a Philosophy of Five Senses was complete • Urizen wept & gave it into the hands of Newton & Locke • Clouds roll heavy upon the Alps round Rousseau & Voltaire: • …

41. SONNET- TO SCIENCE by Edgar Allan Poe 1829 Science! true daughter of Old Time thou art!    Who alterest all things with thy peering eyes. Why preyest thou thus upon the poet's heart,    Vulture, whose wings are dull realities? How should he love thee? or how deem thee wise,    Who wouldst not leave him in his wandering To seek for treasure in the jewelled skies,    Albeit he soared with an undaunted wing? Hast thou not dragged Diana from her car?    And driven the Hamadryad from the wood To seek a shelter in some happier star?    Hast thou not torn the Naiad from her flood, The Elfin from the green grass, and from me The summer dream beneath the tamarind tree? ]

43. Srovnejme různé pohledy a reakce na Suché skály a Malou Skálu: Pohled turisty: „Ó, jaká krásná scenérie!“ (a jde dále) Pohled geologa:Jizera prohlodala vrstvu tvrdých druhohorních křemičitých pískovců, kterou vrásnění otočilo do svislé polohy (má-li turista určité geologické znalosti, vydrží pohled studovat déle a má spustu zajímavých asociací)

44. Analogicky před Kapelníkem na Hruboskalsku Horolezec: hledá očima cestu k vrcholu a „krásná cesta“ pro něj neznamená jen „obtížné cesta“ (totiž pro horolece, pro kterého skála nené jen tělocvičným nářadím - a takových je hodně)

45. Fyzik: Větrná erose zvětšuje malé perturbace Vybaví se mu mnohé analogie: víry, vznik galaxií, krystalizační jádra … Dívá se na útvary mnohem podrobněji a má-li určité výtvarné cítění, je jeho estetický zážitek hlubší – „prožít“ Braqueův obraz také vyžaduje delší zastavení a studium detailů.

46. Georges Braque Housle a svíčka

47. Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky. Twinkle, twinkle, little star, How I wonder what you are! Twinkle Twinkle little star, I don't wonder what you are; For by spectroscopic ken, I know that you're hydrogen; Twinkle Twinkle little star, I don't wonder what you are. I původní dětské říkánce zaznívá touha poznat, co hvězda skutečně je. Astronomové se nedívají na hvězdné nebe s menším estetickým vytržením, než básníci, i když o podstatě hvězd vědí více A konečně: Twinkle, twinkle quasi-starBiggest puzzle from afarHow unlike the other onesBrighter than a billion suns.Twinkle, twinkle quasi-starHow I wonder what you are. G. Gamow

48. za skřítky a najády,které podle Poea vypudila věda z hájůdali fyzikové více jek plnohodnotnou náhradu, co se tajuplnosti týče: • Černé díry, ze kterých nepřichází žádná informace • Zcela nerozlišitelné částice, které umějí procházet neviditellnými tunely stěnou • ….

49. Fyzika jako krásné umění

50. E.A.Poe: The Philosophy of composition • I select "The Raven" as most generally known. It is my design to render it manifest that no one point in its composition is referrible either to accident or intuition — that the work proceeded step by step, to its completion with the precision and rigid consequence of a mathematical problem.