Thinking like a child # 1

what sustains the sunlight?



This clip is from the film, Plan 9 from out of space produced by Edward Wood. Jr. in 1958. The theory of the Solaronite is explained.

The alien's theory of exploding the sun's rays:

Take a can of your gasoline. Say this can of gasoline is the sun. Now if you spread a thin line of it to a ball representing the earth. Now the gasoline represents the sunlight, sun partials. Here we saturate the ball with the gasoline, the sunlight and put a flame to the ball. The flame would speedily travel around the earth back along the the line of gasoline to the can, or the sun itself. It would explode the source and spread to every place that gasoline, our sunlight touches. Expolode the sunlight here gentlemen, you explode the universe.

In Albert Einstein's theory of relativity, he concluded that if one could travel at the speed of light, time would stand still. A question here is were does light end?

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How Albert Einstein processed thought and language.

In the following, I am trying to answer in brief your question as well as I am able. I am not satisfied myself with those answers and I am willing to answer more questions if you believe this could be of any advantage for the very interesting and difficult work you have undertaken.

1.The words or the language as the are written or spoken, do seem play any role in the mechanism of thought. Psychical entities which seem to serve as elements in thought are certain signs more or less clear images which can voluntarily reproduced and combined.

There is of course, a curtain connection between those elements and relevant logical concepts. It is also clear that the desire to arrive finally at logically connected concepts is the emotional basis of this rather vague play with the above mentioned elements. But from a logical viewpoint, this combinatory play seems to be the essential feature in productive thought before they can be any connection with logical construction in words or any other signs which can be communicated to others.

2. The above mentioned elements are, in my case of visual and some of muscular type. Conventional words or other signs have to be sought for laboriously only in a secondary stage when the mentioned associative play is sufficiently established and can be reproduced at will.

3. According to what has been said, the play with the mentioned elements is aimed to be a analogous to certain logical connections one is searching for

4. Visual and motor. In a stage when words intervene at all, they are, in my case, purely auditive, but they interfere only in a secondary stage as already mentioned.

5. It seems to me that what you call full consciousness is limit case which can never be fully accomplished. This seems to me connected with the fact called the narrowness of consciousness (Enge des Bewusstseins).

A letter to Jacques Hadamard

Azure sky - Leonardo Da Vinci

The blueness we see in the atmosphere is not intrinsic colour, but is caused by warm vapour evaporated in minute and insensible atoms on which the solar rays fall, rendering them luminous against the infinite darkness of the fiery sphere which lies beyond and includes it. And this may be seen, as I saw it by any one going up to the peak of the Alps which divide France from Italy.

The base of this mountain gives birth to the four rivers which flow in four different directions through the whole of Europe. And no mountain has its base at so great a height as this, which lifts itself almost above the clouds; and snow seldom falls there, but only hail in the summer, when the clouds are highest. And this hail lies there, so that if it were not for the absorption of the rising and falling clouds, which does not happen twice in an age, an enormous mass of ice would be piled up there by the hail, and in the middle of July I found it very considerable. There I saw above me the dark sky, and the sun as it fell on the mountain was far brighter here than in the plains below, because a smaller extent of atmosphere lay between the summit of the mountain and the sun.

Again, as an illustration of the colour of the atmosphere I will mention the smoke of old and dry wood, which, as it comes out of a chimney, appears to turn very blue, when seen between the eye and the dark distance. But as it rises, and comes between the eye and the bright atmosphere, it at once shows of an ashy grey colour and this happens because it no longer has darkness beyond it, but this bright and luminous space. If the smoke is from young, green wood, it will not appear blue, because, not being transparent and being full of superabundant moisture, it has the effect of condensed clouds which take distinct lights and shadows like a solid body.

The same occurs with the atmosphere, which, when overcharged with moisture appears white, and the small amount of heated moisture makes it dark, of a dark blue colour; and this will suffice us so far as concerns the colour of the atmosphere; though it might be added that, if this transparent blue were the natural colour of the atmosphere, it would follow that wherever a larger mass air intervened between the eye and the element of fire, the azure colour would be more intense; as we see in blue glass and in sapphires, which are darker in proportion as they are larger.

But the atmosphere in such circumstances behaves in an opposite manner, in as much as where a greater quantity of it lies between the eye and the sphere of fire, it is seen much whiter. This occurs towards the horizon. And the less the extent of atmosphere between the eye and the sphere of fire, the deeper is the blue colour, as may be seen even on low plains. Hence it follows, as I say, that the atmosphere assumes this azure hue by reason of the particles of moisture which catch the rays of the sun.

Again, we may note the difference in particles of dust, or particles of smoke, in the sun beams admitted through holes into a dark chamber, when the former will look ash grey and the thin smoke will appear of a most beautiful blue; and it may be seen again in the dark shadows of distant mountains when the air between the eye and those shadows will look very blue, though the brightest parts of those mountains will not differ much from their true colour. But if any one wishes for a final proof let him paint a board with various colours, among them an intense black; and over all let him lay a very thin and transparent white. He will then see that this transparent white will nowhere show a more beautiful blue than over the black, but it must be very thin and finely ground. Leonardo Da Vinci's notebooks (1452-1519)

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Pertaining to the study of meteorology and atmospheric phenomena, it can be deduced that Leonardo Da Vinci used this method as a colour chart to accurately match the time of day he wished his paintings to be set. In Western Art, no other than the painter William Turner, 1775-1851, expressed the beauty of the elements of nature with his landscapes of water, fire and air. Above, from thebookmann series of classic Gods; Zeus and Venus superimposed over the Caribbean skies.

Albrecht Dürer's perspective

Albrecht Dürer is much known for his copper engraving, but he also devised the means in which the line, geometry and perspective were an essential part of composing. The devisions of the human body could be calculated mathematically and Dürer stressed that with drawing any object, the proportion and weight was needed to give a realistic sense of what was observed.

With these superimposed portraits painted between the period 1493 and 1500, Albrecht Dürer viewed himself as an noble man, equating himself to the deity of the Christian faith. Yet, it is in his work, in the simple life of the peasant, and the representation of his Deutschland that bequeaths his legacy.