23
" Planck noted that although the Andromedans wouldn't have access to our rulers, scales, or clocks, they would have access to our physical laws, which are the same as theirs. They could measure, in particular, three universal constants:
c: The speed of light.
G: Newton's gravitational constant. In Newton's theory, this is a measure of the strength of gravity. To be precise, in Newton's law of gravity, the gravitational force between the bodies of masses m1, m2 separated by distance r is Gm1m2/r^2.
h: Planck's constant. "
― Frank Wilczek , The Lightness of Being: Mass, Ether, and the Unification of Forces
27
" Music of the Grid:
A Poem in Two Equations
_________________________
The masses of particles sound the frequencies with which space vibrates, when played. This Music of the Grid betters the old mystic mainstay, "Music of the Spheres," both in fantasy and in realism.
LET US COMBINE Einstein's second law
m=E/C^2 (1)
with another fundamental equation, the Planck-Einstein-Schrodinger formula
E = hv
The Planck-Einstein-Schrodinger formula relates the energy E of a quantum-mechanical state to the frequency v at which its wave function vibrates. Here h is Planck's constant. Planck introduced it in his revolutionary hypothesis (1899) that launched quantum theory: that atoms emit or absorb light of frequency v only in packets of energy E = hv. Einstein went a big step further with his photon hypothesis (1905): that light of frequency v is always organized into packets with energy E = hv. Finally Schrodinger made it the basis of his basic equation for wave functions-the Schrodinger equation (1926). This gave birth to the modern, universal interpretation: the wave function of any state with energy E vibrates at a frequency v given by v = E/h.
By combining Einstein with Schrodinger we arrive at a marvelous bit of poetry:
(*) v = mc^2/h (*)
The ancients had a concept called "Music of the Spheres" that inspired many scientists (notably Johannes Kepler) and even more mystics. Because periodic motion (vibration) of musical instruments causes their sustained tones, the idea goes, the periodic motions of the planets, as they fulfill their orbits, must be accompanied by a sort of music. Though picturesque and soundscape-esque, this inspiring anticipation of multimedia never became a very precise or fruitful scientific idea. It was never more than a vague metaphor, so it remains shrouded in equation marks: "Music of the Spheres."
Our equation (*) is a more fantastic yet more realistic embodiment of the same inspiration. Rather than plucking a string, blowing through a reed, banging on a drumhead, or clanging a gong, we play the instrument that is empty space by plunking down different combinations of quarks, gluons, electrons, photons,... (that is, the Bits that represent these Its) and let them settle until they reach equilibrium with the spontaneous activity of Grid. Neither planets nor any material constructions compromise the pure ideality of our instrument. It settles into one of its possible vibratory motions, with different frequencies v, depending on how we do the plunking, and with what. These vibrations represent particles of different mass m, according to (*). The masses of particles sound the Music of the Grid. "
― Frank Wilczek , The Lightness of Being: Mass, Ether, and the Unification of Forces
30
" In the same movie, Emperor Joseph II offers Mozart some musical advice: "Your work is ingenious. It's quality work. And there are simply too many notes, that's all. Just cut a few and it will be perfect." The emperor was put off by the surface complexity of Mozart's music. He didn't see that each note served a purpose-to make a promise or fulfill one, to complete a pattern or vary one.
Similarly, at first encounter people are sometimes put off by the superficial complexity of fundamental physics. Too many gluons!
But each of the eight color gluons is there for a purpose. Together, they fulfill complete symmetry among the color charges. Take one gluon away, or change its properties, and the structure would fall. Specifically, if you make such a change, then the theory formerly known as QCD begins to predict gibberish; some particles are produced with negative probabilities, and others with probability greater than 1. Such a perfectly rigid theory, one that doesn't allow consistent modification, is extremely vulnerable. If any of its predictions are wrong, there's nowhere to hide. No fudge factors or tweaks are available. On the other hand, a perfectly rigid theory, once it shows significant success, becomes very powerful indeed. Because if it's approximately right and can't be changed, then it must be exactly right!
Salieri's criteria explain why symmetry is such an appealing principle for theory building. Systems with symmetry are well on the path to Salieri's perfection. The equations governing different objects and different situations must be strictly related, or the symmetry is diminished. With enough violations all pattern is lost, and the symmetry falls. Symmetry helps us make perfect theories.
So the crux of the matter is not the number of notes or the number of particles or equations. It is the perfection of the designs they embody. If removing any one would spoil the design, then the number is exactly what it should be. Mozart's answer to the emperor was superb: "Which few did you have in mind, Majesty? "
― Frank Wilczek , The Lightness of Being: Mass, Ether, and the Unification of Forces
31
" 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. "
― Frank Wilczek , A Beautiful Question: Finding Nature's Deep Design
38
" Different kinds of gases (e.g., gases based on different chemical elements) absorb different spectral colors. So if one has a gas of unknown composition, one can deduce what it's made of by seeing what light it absorbs! In the language of our generalized chemistry, the message of Fraunhofer's dark lines, as interpreted by Bunsen and Kirchhoff, is that a given atom of substance will combine with-that is, absorb-only specific elements of light-that is, spectral colors-while ignoring others. There is also a converse effect, that heated gas will emit light in preferential colors, creating bright lines in the spectrum. Altogether, these dark and bright lines are like fingerprints identifying the responsible substances. "
― Frank Wilczek , A Beautiful Question: Finding Nature's Deep Design
