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"Modern physics gave the third revolutionary step of the twentieth century thanks to Geoffrey Chew approach with his theory of <> particles, which unifies quantum mechanics and relativity theory. Fritjof Capra broadly describes the approach of Chew in his documentary "Unusual Wisdom", which discusses issues of science, metaphysics, religion, philosophy and health of important contemporary thinkers. "

"The <> is approached from the perspective not just a theory but as an approach, a process and a philosophy: "(...) it is a theory that expresses both the quantum and the relativistic aspects in all its fullness and at the same time, it represents a radical break with the entire Western approach on fundamental science "( CAPRA 1994: 56). "

" The hypothesis of Chew on <> states that: "(...) nature can not be reduced to fundamental entities, such as blocks of matter, but must fully understood through the self-consistency of its elements (...) accepts no fundamental entity at all: no constant, law, or fundamental equation is the universe (...) as a dynamic network of interrelated events, none of the properties of any part of this network is essential, all properties emerge elsewhere and the overall consistency of their interrelations determines the structure of the entire network. "(CAPRA 1994: 56). "

"The premises of philosophy <> proposed by Chew, according to Capra, contrasts sharply with the Western scientific tradition, rather closer to Eastern thought, particularly with the Buddhist. The vision of the universe" relationships and dynamic network of interrelated events "is indicative of a Buddhist whose parallelism is designated by Capra in an article entitled : "(...) the contrast between the "fundamentalists" and supporters of <> in subatomic physics, reflects the contrast between the mainstream in Western and Eastern thinking. (. ..) the unity and mutual interrelation of all things and events has found its clearest expression and larger in Mahayana Buddhism and Buddhist thought that school is in perfect harmony with the physical (cf. CAPRA CAPRA 1994: 58). "

" The parallels between quantum physics and Eastern mysticism is expressed, for example, paradoxical riddles of Zen tradition, called koans, that teachers pose to his disciples to stop the process of thought, experience the reality of a non-verbal and reach a state of enlightenment. Capra says about that: "(...) when you discover the solution, the paradoxical koan and becomes a deep and meaningful statement from the state of consciousness that has helped to awaken. " (1994:32). This "method" used by Zen Buddhists requires a great deal of concentration and attention, similar to that experienced by physicists like Heisenberg and Chew quantum paradoxes in their twenties, where according to "(...) Capra was the only master of nature. " Finally, acknowledge that: "(...) as in the Zen, the solutions of physical problems were hidden in paradoxes. " (1994:33). "

" The Eastern philosophies such as Hinduism, Buddhism, Taoism, Zen, practiced by himself Capra, Heisenberg, Chew and other physical and Western thinkers, definitely contributed to these scientists perceive the physical world differently and have a new vision of reality in a more ecologically and in harmony with spiritual traditions. Cosmic rays, waterfalls energy particles and atoms of the elements collected during the cosmic dance of the universe or dancing Shiva, experienced by Capra, in one evening while watching the movement of the waves are a testament to how their physical investigations came to life: (. ..) I saw cascades of energy coming from outer space, (...) I saw the atoms of the elements and those of my body participating in this cosmic dance of energy (...) I felt its rhythm and I heard the sound "( 1997:17). This shows us that mysticism has been an important philosophical source in the construction of the new paradigm of complexity, and consciousness must be an essential aspect of the universe to be included in a future theory of physical phenomena (1997: 409). "

" The mathematical structure used by Chew for physics <> part of the <> or matrix E, given by Werner Heisenberg, known as matrix mechanics, and mathematical formulation of wave mechanics of Erwin Schrödinger. Additionally, this process was a valuable contribution to the Italian physicist Gabriele Veneziano, who in 1974 applied to the physical topology to define the ordinal categories of the interconnectedness of subatomic processes. (1994:62) "

"This complex mathematical structure allowed Chew and his team go beyond the" fundamental equation "of Heisenberg, formulate and systematize a comprehensive theory of subatomic particles, ie, discard the old notion that the fundamental building blocks of matter were the electrons, protons and neutrons. Under this theory can not accept any fundamental entity at all. According to Capra: "(...) Chew has been deducting the performance characteristics of the models of quarks, not need to postulate the existence of any physical particle, practicing, so to speak, the physics of quarks without quarks (CAPRA 1999:61). "

" The theory <> bears some similarity to the raised by David Bohm, a physicist contemporary Chew and under the influence of the philosopher and sage Krishnamurti: "(... ) both approaches, based on a vision of the world as dynamic network of relationships, attribute a central role to the concept of order matrices used to represent change and transformation and topology to classify the categories of order, which could allow possible merger in the future. " (CAPRA 1994:73). "

" The process research in physics <>, differs in many aspects of orthodox physics: there is no clear point of departure, no well-defined questions, and even, sometimes, do not know what questions to ask, it goes beyond the structure of questions and answers. "

" This lack of firm foundation, one of the fundamental aspects of the new paradigm, proposed by the theory <>, and the fact that knowledge can exist about, is what makes a scientific theory. This aspect seems to be the biggest transformation and the most profound shift in science. We wonder Does the new science will no longer need a firm foundation?. Part of the answer we get in approaches such as <>, one of the first scientific theories formulated explicitly "the philosophy of entanglement," where the metaphor of building is replaced by the network and where no part is more fundamental than any other. "

" Paradoxically, the notion that any concept is considered as absolute, has kept the traditional Western science, with his usual questions-asked clearly and unambiguously experimentally verified - not have given the nature of science to focus <>. But what if it is indisputable is that the contribution of Chew, the formulation of the principles of this theory has been a key contributor, not only in the development of quantum physics, but also in the construction of the new paradigm. Making inevitable the idea that the metaphor of knowledge is no longer the "building" or "objective reality" of the Cartesian paradigm, the new metaphor for knowledge is like a network without a firm foundation, is an approximation to reality and not a accurate description as long believed. "

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Bootstrap Theory of Circular Narratives: Pulp Fiction

circular Narratives: Highlights of popular cinema
90's
by Fiona A. Villella

popular cinema of the 90's saw some radical and exciting experiments with conventional notions of narrative time and logic. Beginning to reveal themselves and later are final; narratives that follow circular routes, multiple narrative paths independent of each cross, entwined, and diverted fused, characters that are not developed in any conventional form, appear and go, dying in a scene and live in another.

These narratives are circular, fragmented, insoluble. Two films I'm thinking is "Lost Highway" by David Lynch (1996) and "Pulp Fiction" by Quentin Tarantino (1994). This last shot many clones, established over time as a major cultural event, influencing films, television programs, advertising and music. The first, although with less influence and popularity, remains a deeply fascinating movie in the works of Lynch

account Pulp Fiction three stories, each based on a character. Vincent Vega (John Travolta) and Jules (Samuel L. Jackson), Vincent and Mia (Uma Thurman), Butch (Bruce Willis) and Marsellus Wallace (Ving Rhames). In a maze, each story circulates, and interlaced allude to the other. In his work with narrative time, Pulp Fiction reminds me of a classic film noir and gangster B The Killing (Stanley Kubrick, 1956). In this film, the idea of \u200b\u200ba progressive narrative is also reworked and undermined to allow a more objective and true rotation. However, its effect is a "weird" eco formal, in which the narrative time is in the foreground and palpable.

The formal echo occurs in Pulp Fiction with his narrative that stops and starts, changes and rewind, forcing the viewer to construct the story, the trajectory of each character, their interaction with other characters and fiction, "how "¨ what ¨," when "and" why "of the narrative.

Pulp Fiction has a circular narrative. At certain times when the intersecting narratives, the theme of the supernatural and the destination Excel, for example, where Butch and Vincent spend each bar by Marsellus. They exchange hostile looks and comments no apparent reason. The sequence is as mysterious and hostile reaction and immediate Vincent to Butch happens without explanation.

Of course, later in the story involving Butch and his escape from Los Angeles, he comes to Vincent and kills him. But the work with narrative in Pulp Fiction is just one of their peculiarities, although one definitely enriches the viewing experience. Another is the "color" of each character in the film, and "color" I mean a certain stylization and distinction. Each character has an "attitude" or something to say, that brings me to a central theme of Pulp Fiction

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Rupert Sheldrake's morphic fields of morphic fields

morphogenetic fields of Rupert Sheldrake
http://fusionanomaly.net/morphicresonance.html

"The idea is that there a kind of memory in nature. Each species has a collective memory. So, if we take a squirrel living in New York now. That squirrel is being influenced by all the squirrels in the past.

And this influence moves through time, the collective memory of the squirrel, both for form and for instincts, is given through the process I call morphic resonance. It is a theory of collective memory throughout nature. Memory is expressed through morphic fields, fields that exist within and around each body. Morphic processes are due to morphic resonance. "

Basically, morphic fields are fields of habit, and they have established through habits of thoughts, habits through activity and through speech habits.

Much of our culture is usual, I mean a lot of our personal lives and much of our cultural life is usual. We did not invent the English language. We inherit all the English language with all its habits, phrases, words, structure and grammar.

Occasionally people invent new words, but basically, once we have assimilated, this happens automatically. No I have to think when I'm talking, getting to the next word, just happens, and the same is true about physical abilities, such as bicycling, swimming or skiing.

The idea of \u200b\u200bmorphic resonance is evolutionary but morphic resonance only gives the repetitions. Creativity does not. So evolution must involve an interplay of creativity and repetition.
Creativity gives new shapes, new patterns, new ideas, new ways. Do not know where that creativity comes out. Creativity is a mystery where one is found, in human reality or the reality of biological evolution or cosmic evolution.

know that creativity happens. And then what happens is a kind of Darwinian natural selection. Not every good idea survives. Not all new art form is repeated. Not all new power instinct is successful. Only successful repeat. Natural selection and then through repetition they become probable, more usual.