Charles Percy Snow Baron Snow CBE 15 October

Charles Percy Snow, Baron Snow, CBE (15 October 1905 - 1 July 1980) 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? '

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

Zlatý řez Luca Pacioli: Bez matematiky není umění

Zlatý řez AB/CB = φ

Luca Pacioli Divina Proportione (1509) Bez matematiky není umění

Piet Mondrian 1872 - 1944. 1924 – 26

Le Corbusier

Albrecht Dürer a umění perspektivy

Kružnice jako dokonalá křivka • Now when the Creator had framed the soul according to his will, he formed within her the corporeal universe, and brought the two together, and united them centre to centre. The soul, interfused everywhere from the centre to the circumference of heaven, of which also she is the external envelopment, herself turning in herself, began a divine beginning of never ceasing and rational life enduring throughout all time. The body of heaven is visible, but the soul is invisible, and partakes of reason and harmony, and being made by the best of intellectual and everlasting natures, is the best of things created. And because she is composed of the same and of the other and of the essence, these three, and is divided and united in due proportion, and in her revolutions returns upon herself, the soul, when touching anything which has essence, whether dispersed in parts or undivided, is stirred through all her powers, to declare the sameness or difference of that thing and some other; and to what individuals are related, and by what affected, and in what way and how and when, both in the world of generation and in the world of immutable being. And when reason, which works with equal truth, whether she be in the circle of the diverse or of the same-in voiceless silence holding her onward course in the sphere of the self-movedwhen reason, I say, is hovering around the sensible world and when the circle of the diverse also moving truly imparts the intimations of sense to the whole soul, then arise opinions and beliefs sure and certain. But when reason is concerned with the rational, and the circle of the same moving smoothly declares it, then intelligence and knowledge are necessarily perfected. And if any one affirms that in which these two are found to be other than the soul, he will say the very opposite of the truth. • (Platon, Timaios)

Síla centrálně symetrická, nesymetrické počáteční podmínky Gian Lorenzo Bernini 1656 -1667

Didonina úloha GUÉRIN, Pierre-Narcisse (b. 1774, Paris, d. 1833, Roma) Izoperimetrick problém (Zenodorus 200 -140 př. nl. – kruh větší než každý polygon, plně vyřešen Steiner 1841)

Fraktály Sierpinského trojúhelník Von Kochova sněhová vločka

Jackson Pollock Mandelbrotova množina

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.

Relativita a kubismus

• • 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. Brush Les 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 20 th 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 189899), where the fourth dimension was time, not space.

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

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

Marcel Duchamp/Richard Hamilton The Bride Stripped Bare by her Bachelors, Even [The Large Glass] (1915 -1923; ) Oil, lead, dust and varnish on glass 277. 5 x 175. 9 cm In 1927 Marcel Duchamp married Lydie Fischer Sarazin-Levassor. The wedding was filmed

Čtvrtá dimenze • 1884 Edwin Abbot. Lidé v dvourozměrném Plošsku 11 • . 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 vědci 13, 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.

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 chirurgem 18 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.

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

Kulturní vlivy Newtona ve věku rozumu

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.

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

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

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

Maurice Quentin de la Tour (1704 -1788) Slečna Ferrandová medituje nad Newtonem

Alexander Pope ( 1688 - 1744 ) • • 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.

• 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 Le Bovier de Fontenelle (1657 -1757) Geometrický duch není svázán s geometrií natolik, aby se nedal přenést do jiných oblastí poznání. Práce o etice, politice či kriticismu. . . by byly lepší z pera geometra …

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

Všechny krásy světa aneb vědecký x básnický pohled na svět

Všechny krásy světa aneb vědecký x básnický pohled na svět

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.

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: …

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? ]

Tu es Petrus et super hanc petram aedificabo ecclesiam meam πάντα ρει 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)

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)

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.

Georges Braque Housle a svíčka

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 little star, I don't wonder what you are; For by spectroscopic ken, I know that you're hydrogen; 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 Twinkle, twinkle quasi-star Biggest puzzle from afar How unlike the other ones Brighter than a billion suns. A konečně: Twinkle, twinkle quasi-star How I wonder what you are. G. Gamow

za skřítky a najády, které podle Poea vypudila věda z hájů dali 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 • ….

Fyzika jako krásné umění

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.

Edgar Alan Poe, Havran • Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. "'Tis some visitor, " I muttered, "tapping at my chamber door- Only this, and nothing more. " • Jednou o půlnoci, maje horečku a rozjímaje nad divnými svazky vědy prastaré a záslužné - když jsem klímal v polospaní, ozvalo se znenadání velmi jemné zaťukání na dveře - a pak už ne. "Je to návštěva, či zdání, bylo to tak nezvučné - jednou jen a pak už ne. "

• "Prophet, " said I, "thing of evil! prophet still if bird or devil! By that heaven that bends above us — by that God we both adore, Tell this soul with sorrow laden, if within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore — Clasp a rare and radiant maiden whom the angels name Lenore. " Quoth the raven — "Nevermore. " • "Proroku, " dím, "mene tekel, ať jsi pták anebo z pekel, při nebi, jež nad námi je, při Bohu, jenž leká mne, rci té duši, jež žal tají, zdali aspoň jednou v ráji tu, již svatí nazývají Lenora, kdy přivine, jasnou dívku Lenoru, kdy v náruči své přivine" - havran dí: "Už víckrát ne. "

I řešení matematického či fyzikálního problému vyžaduje intuici • Fyzikální teorie jsou „volným výtvorem lidské mysli“ v tom smyslu, že neexistuje přímočará cesta od empirie k teorii » A. Einstein

Volnost ve vyjádření tématu A HYMN TO VENUS AND CUPID Sea-born goddess, let me be By thy son thus graced, and thee, Lucas Cranach (1472 -1553) A. W. Bouguereau (1825 -1905)

• « Nous devons envisager l’état de l’Univers comme l’effet de son état antérieur et la cause de ce qui va suivre. Une intelligence qui pour un instant donné connaîtrait toutes les forces dont la nature est animée et la situation respective des êtres qui la composent, si d’ailleurs elle était assez vaste pour soumettre ces données à l’analyse, embrasserait dans la même formule le mouvement des plus grands corps de l’Univers et ceux du plus léger atome : rien ne serait incertain pour elle, l’avenir comme le passé serait présent à ses yeux. » (P. S. Laplace 1814) • Současný stav vesmíru můžeme pokládat za důsledek jeho minulosti a příčinu jeho budoucnosti. Intelekt, který by v každém okamžiku znal všechny síly oživující přírodu a vzájemnou polohy všech existujících věcí a byl by dostatečně hluboký, aby uměl data podrobit analýze by uměl shrnout do jedné formule pohyb nevětších těles i nejmenších atomů; pro takový intelekt by neexistovala žádná nejistota a před jeho očima by se rozprostírala budoucnost stejně jako minulost.

Pierre-Louis MOREAU de MAUPERTUIS (1698 -1759) • P. L. M. de Maupertuis, Le lois de mouvement et du repos, déduites d'un principe de métaphysique. (1746) Mém. Ac. Berlin, p. 267.

Variational principles Leonard Euler 1707 -1783 Da nämlich die Einrichtung der ganzen Welt die vorzüglichste ist und da sie von dem weisesten Schopfer herstammt, wird nichts in der Welt angetroffen, woraus nicht irgendeine Maximum- oder Minimumeigenschaft hervorleuchtete. Deshalb kann kein Zweifel bestehen, dass alle Wirkungen der Welt ebensowohl durch die Methode der Maxima oder Minima wie aus den wirkenden Ursachen selbst abgeleitet werden konnen.

Eulerova formmulace principu nejmenší akce • "Sit massa corporis projecti =M, ejusque, dum spatiolum = ds emetitur, celeritas debita altitudini = v; erit quantitas motus corporis in hoc loco =M√v ; quae per ipsum spatiolum multiplicata, dabit M√v ds motum corporis collectivum per spatiolum ds. Iam dico lineam a corpore descriptam ita fore comparatam, ut, inter omnes alias lineas iisdem terminis contentas, sit ∫M√v ds, seu, ob M constans, ∫√v ds minimum. "

Hamiltonův princip δ∫L dt=0 W. R. Hamilton (1805 -1865)

Zde, procházeje kolem, dne 16. 10. 1843 Sir William Rowen Hamilton v záblesku genia objevil základní formuli kvaternionového násobení i 2= j 2= k 2=ijk = -1, jež se nacházela na kameni tohoto mostu