Mostrar mensagens com a etiqueta Nobel Prize. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta Nobel Prize. Mostrar todas as mensagens

sábado, maio 12, 2018

Lagrangean Systems: "Levels of Infinity - Selected Writings on Mathematics and Philosophy" by Hermann Weyl, Peter Pesic




“It is a well-known anecdote that Hilbert supported her [Emmy Noether] application by declaring at the faculty meeting, ‘I do not see that the sex of the candidate is an argument against her admission as Privatdozent. After all, we are a university and not a bathing establishment.´”


In the memorial address “Emmy Noether (1935)” delivered in Goodheart Hall, Bryn Mawr College, 26 April 1935, and included in “Levels of Infinity - Selected Writings on Mathematics and Philosophy” by Hermann Weyl, Peter Pesic

Mathematics is, in a sense, profoundly anarchistic - you can't use authority to change or control its progress, and nothing is ruled in our out without proof agreed by the collective of practitioners, and Weyl was one of our most distinguished practitioners of the art of doing beautiful mathematics and physics. Sometimes practitioners have a brave and frankly generous stab at letting the layman get a feel for some of the broader concepts, but ultimately this is an intellectual edifice that's been built by thousands of people over the last five centuries or so and there's no reason whatsoever that we should be able to understand it at all without putting in the hard yards - the problem is not with math, it's with us and our arrogance in assuming that's possible. Weyl, as this homage book testifies, was able to put math into language people could understand and it's absolutely essential for a general audience. Language needs to be a vehicle of understanding and not an obstacle to it.

What amused me as an engineer is how engineers are taught many mathematically valid shortcuts that they use to solve many problems, while mathematicians are not taught them. Then again, how engineers and mathematicians interpret the ideas expressed in the mathematics that they use is obviously different, so perhaps although I find it amusing it is not particularly important in the greater scheme of things, (if there is a scheme). Of course, we do get taught be shortcuts, but only in the context of understanding exactly where they break down. We engineers get to live in a world of 'nice' functions where we can do things like differentiate under the integral or assume sin theta equals theta without getting too antsy about it...

I'm glad both Hilbert, Einstein and Weyl made a top shout out to Emmy Noether! She proved one of the most important and foundational results in modern physics - in a just world she'd be as well-known as Einstein, but (a) she was a woman and (b) there's no easy way to explain what she did with a glib pop science metaphor...but after having read Weyl's kind of mathematical eulogy for her, and because today is woman's day (8th March), I'll just have to give my two cents... 

Noether proved it as a theorem specifically about physical systems. It only works because the physics is fully determined by a Lagrangean which is minimised. And if that Lagrangean is covariant under a continuous symmetry (e.g. spatial translation) it leads to a conserved quantity (e.g. momentum). If the system cannot be described by a Lagrangean whose action is minimised then Noether's Theorem does not necessarily hold. Noether showed that physics being the same whatever time it is leads to Conservation of Energy. Being the same regardless of your position leads to Conservation of Momentum and being the same no matter what direction you look at leads to Conservation of Angular Momentum. All of which are examples of a symmetry which results in a conserved quantity. I'm not sure it really requires the usual glib metaphors to explain, most people have heard of Conservation of Energy and Momentum. You can explain Conservation of Angular Momentum by the usual example of a skater rotating faster as they pull their arms in. And the idea that physics is the same at all times and places and whatever direction you look at should be straightforward to understand with a small amount of thought. The extraordinary thing is that it isn't a particularly complicated proof and isn't really about physics particularly. What is surprising is no one discovered it earlier. Even Newton had the mathematical tools to do so. That he and none of the succeeding two centuries of mathematicians did suggests she had a special talent. Maybe because she was really a mathematician where she is famous for solving much more difficult problems. But it is strange nevertheless that Noether's Theorem isn't more famous. Certainly up there with Einstein's Special Theory of Relativity. And of course is widely used in theoretical physics today.

It is still important today because the basis for any theory of physics such as particle physics is also a Lagrangean whose action is minimised. If that Lagrangean is covariant under a continuous group then there is an associated conserved quantity called the Noetherian current. Another conserved quantity which can be explained by Noether's theorem is conservation of electric current as a result of phase symmetry in the wave function of quantum mechanics.

As always the ghost of Emmy Noether, one of the greatest mathematical physicist of the 20th century for her work on symmetry and conservation of quantities (energy, momentum, angular momentum), presides over all. It is a pity she was never awarded a Nobel Prize of her own. I would describe Noether's work as (a) mathematical physics for her work on symmetry and conservation and (b) pure mathematics, for everything else. For her work on symmetry alone she deserves to stand in the pantheon of great mathematical physicists. Both for its insight and subsequent centrality to modern particle physics and quantum mechanics.

Thanks Hermann Weyl for doing what you did at the time.



NB: The essay on Noether, along with the essays “The Mathematical Way of Thinking” (1940), and “Why is the World Four-Dimensional?” (1955, the year Weyl died), on their own, are worth the price of admission.


sexta-feira, dezembro 09, 2016

2016 Pessoa Award: Frederico Lourenço

Follow my blog with Bloglovin



"New Hellenic and German Essays" (above-mentioned picture) was the book with which I first discovered Frederico Lourenço in 2008. At the time I was quite familiar with other distinguished Portuguese Germanists. To wit: José Gomes Monteiro, Paulo Quintela, Vasco Graça Moura, João Barrento, Viriato Soromenho Marques, and others, but I hadn't yet come across Frederico Lourenço as a Germanist. And what a surprise it was. 

What Frederico Lourenço has been doing for the Portuguese culture in the last years is huge. Portugal is the country where Paulo Coelho, Cristina Ferreira (Portuguese TV host) and José Rodrigues dos Santos (Portuguese TV host) are best seller authors!

My native language is Portuguese, and my command of English is nothing to be ashamed of, If I may say so, so I read English authors in the original. When I can get them in English; sometimes I will have to buy (or get gifted) a German or Portuguese  translation - some of which will anger me no end, after I've spotted one or two completely false idiom translations, which make nonsense of a sentence... It's a strange, but proud feeling to be able to recognise the (ghost of the) original English idiom or phrase which has been replaced with a false one - but it does wreck a book for me. That's one of the reasons for reading the works worth reading in the original, be it English or German.

A few years ago I undertook the translation of two slightly obscure poems by two also obscure Portuguese poets (*). This was for a friend who wanted to read them and there were no German translations available. The experience was quite eye-opening. The problem was not that my German was inadequate, but that it was not up to representing the poetry of the poems. After that I did many more translations from Rilke, Celan, and others (from German into English/Portuguese and vice-versa), and my preference is always to read in the original even if I struggle. I also did some writing in German just to see whether I could, as well as writing some book reviews in German, but my first love will always be German poetry. That's why I always feel uneasy reading translated poetry. How much of the musicality and rhythm is lost? That's why I have a crave for bilingual editions. Double the enjoyment. Celan, Schiller, Hölderlin, Rilke must be read in German, Shakespeare in English, and Pessoa in Portuguese. Failing that I hope for a translation that contains the ideas of the poet. Anyway, translations can't be trusted.

Some years ago I stupidly set myself the task of reading at least one book by every Nobel Laureate novelist. The ones writing in English and German I read a few of them. I think it was Jay Rubin (translator of Haruki Murakami - I know, not a Nobel Laureate as yet) who said something like every translation is a new work of art, which I think is very telling. To my knowledge, Murakami has three translators, Rubin, Phillip Gabriel and Alfred Birnbaum. Although I speak not one word of Japanese and consequently have no clue which of these three translators is most 'faithful' (in a kind of word-for-word way) to the original Japanese, I have come to be able to recognise the translator from their own style and to have a definite favourite - Rubin. Does this make Rubin as Murakami's translator of choice? I don't know. Poetry and prose are so much more than just the words. There's the style, the tempo and the meaning behind the words. I would suggest that reading a fiction book in the original is the only thing to do, a translation can give you a snapshot, a taster, but no more than that. The words in every language are so much more than just their surface meaning, they all have a whole baggage of associations spreading behind them which convey so much.

Frederico Lourenço is not exactly recognised for this formal translations. As far as I know, there aren't any, if I don't account for his translations in his essays. What makes Lourenço stand out when it comes to the German Language is his passion for the German Culture and Literature (that's why he's a Germanist at heart): "Sobre a Ifigénia na Táurida de Goethe" (On Iphigenia in Tauris by Goethe), "Notas sobre o 'amor grego' em Goethe e Schiller" (Notes on Goethe's 'Greek Love'), "Camões em Viena: Um poema de Johann Mayrhofer" (Camoens in Vienna: A Poem by Johann Mayrhofer), "Templo(s) na audição? Problemas no primeiro Soneto a Orfeu de Rainer Maria Rilke" (Temple(s) in the Audition? Problems in the first Sonnet to Orpheus by Rainer Maria Rilke), "A Morte em Veneza de Thomas Mann, novela homérica" (Death in Venice by Thomas Mann, Homeric novel), "Hoffmansthal, Schwarzkopf e a primeira frase de Maschallion no Cavaleiro da Rosa" (Hoffmansthal, Schwarzkopf and Maschallion's first phrase in Der Rosenkavalier), "Beton e Der Untergeher de Thomas Bernhardt: retrospectiva e prospecto" (Beton and Der Untergeher by Thomas Bernhardt: retrospective and prospectus), "Der Cembalist" (original short-story written originally in German by Frederico Lourenço).

I liked his short-story Der Cembalist so much that I'll post here the first page:



(*) 



NB: 2015 Pessoa Award: Rui Chafes

quarta-feira, outubro 19, 2016

Emperor's New Clothes Syndrome: The Nobel Prize 2016



On waking up on the morning of the 13th October, fragments of dreams bubbled up into my consciousness. First, I recalled being captured by aliens who wanted to take me to their home planet for dissection and other despicable things I’ll refrain from mentioning. Then, a news item popped up: Bob Dylan, that paragon of lyricism, had been awarded the Nobel Prize in literature. WTF, I thought, what did I drink last night that made my brain dream up such ridiculous drivel. Then came the absurd idea that I actually had heard or read that Dylan had in fact won the prize the previous day; but, even given the long history of averageness being awarded the Nobel Prize in literature, this seemed too crazy even for a dream. There followed a major struggle between the dream and reality hypotheses, until I was awake enough to realize that, yes, Bob Dylan, who invented lyrics of, as yet, unmatched pseudo-profundity-and-lyricism by using a rhyming dictionary and drugs, got the Nobel Prize in literature, hard to stomach even when Tolstoy, Proust, Joyce, Woolf, Borges, Nabokov, Updike, and Auden, did not (*teeth grinding*). Up to now getting the prize came with a suspicion of mediocrity, now it is a certification of it. Words are the keyword. When you listen to singers (which they are) like Dylan, Cohen, and Waits, it’s the words that resonate because there's the melody that separates the words or phrases, so that it’s not about the whole of the lyrics. It's different to a Sinatra or Nat King Cole, or Simon and Garfunkel, where you follow the whole thing with absolute clarity and as a continuous whole, even country music, perfect lyrics too, much better than Dylan; and there's a category in between too. And sub-categories. But this is a discussion about music; literature doesn't come into it. Was this just a mistake, or a malicious attempt at promoting populism and subverting literature?

The reality is that there oft is no meaning behind the lyrics, they are poorly written, especially his later works and if anybody but Dylan had penned them any Dylan fan would laugh at their nonsensical amateurish nature. Most Dylan fans know this but won't admit it to each other (it's a classic case of the Emperor's new clothes syndrome). Dylan has not been relevant for decades. To award him a Nobel Prize in this year is laughable. It's akin to those meaningless lifetime achievement awards they hand out at the Oscars: populist feel good shite.

He, through no fault of his own, has robbed a worthy winner such as António Lobo Antunes (or many other vastly superior writers than Dylan) of the prize and recognition. I'm sure Dylan feels awful. I know I would.

I love Dylan fans trying to work out the complex meanings behind his simplistic lyrics.

NB: I’m fully prepared to get stick from that multitude of Dylan fans out there… Let them come, baby…

sábado, setembro 24, 2016

The Portuguese Soul: "As Naus" by António Lobo Antunes



Published 1988.


Wenn ich dieses Buch in fünf Minuten zusammenfassen könnte, was könnte ich schreiben? Der Versuch den Inhalt des Romans auf weninge Sätze zu reduzieren, ist es sehr schwer.

Camões wander durch die Strassen von Lissabon und schleppt den Sarg mit dem Leichnam seines Vaters mit sich – für mich ein Symbol für das portugiesiche Weltreich. Ich könnte hinzufügen: stellen Sie sich einen Camões vor, der durch “Lixboa” streift und in einem Sarg seinen verwesenden Vater mitbringt, einen Pedro Álvaro Cabral, der nach seiner Verflucht aus “Loanda” nun von dem “Milizen der UNITA” verfolgt wird und sich von seiner Frau, einer dunkelhäutigen Prostituierten, aushalten lässt, einen Heiligen Francisco Xavier, der als Zuhälter arbeitet, einen Pater António Vieira, der in betrunkenem Zustand Predigten halt, einen pensionerten Vasco da Gama, der dem Kartenspiel verfallen ist und mit einem König D. Manuel, der eine Blechkronte trägt, in einem rostigen Ford Cabrio durch die Stadt fährt, der wahnsinnige D. Sebastião ist ein Drogenanhängiger, der in Tanger von Oskcar Wilde in seinem Streit um eine Beutel Gras niedergestochen wird und stirbt usw.

Die Handlung des Romans entwickelt sich auf zwei Ebenen: einer realer als Ausgangspunkt, welche die Geschichte der zahllosen Heimkehrer erzählt, deren Habseligkeiten am Ufer des Tejo verstreut herumliegen und einer fiktiv-historischen Ebene, die unablässig um die Symbole aus dem glorreichen Zeitalter der Entdeckungen kreist und ebenso wirkliche wie barocke Bilder aus fünfhundert Jahren portugiesischer Geschichte kreiert. Ein Aspekt der ersten Ebene, dem besondere Aufmerksamkeit gezollt wurde, ist die implizite Kritik an der überstürzten und chaotischen Art und Weise, in der sich der Rückzug aus den Kolonien nach der Nelkenrevolution abgespielt hat.

Es Geht in dem Roman umm eine Karnevalisierung der poretugiesichen Geschichte. Lobo Antunes verknüpft in seinem Roma Figuren, Orte und Gegenstätande aus verschiedenen zeitlichen Zusammenhängen und lässt einen fragmentarischen Diskurz entstehen, der von einem, nicht selten durch Alkohol bei den Erzählerfiguren ausgelösten, stream-of-consciousness gekennzeichnet ist. So erzeugt der Autor seine Halluzinatorischne Atmosphäre. Immer wieder wurde zudem auf Parallen zu Faulkner in Lobo Antunes’ Erzähltechnik hingewiesen. Ich hebe dioe besondere ästetische Qualität der Prosa von Antunes hervor, die aus dem “Chaos” in Grammatik, Erzählperspektive udn Chronologie entstehe.

Die Schlussszene. Mit der Lobo Antunes "As Naus" ausklingen lässt, ist von entscheidender Bedeutung für das Verständins der ideologischen Vorstellungen, die dem Roman zugrunde liegen. Faulkner hat die Weissheit mit Löffeln gefressen: “The past is never dead, it's not even past“(Die Vergangenheit ist nicht tot, sie ist nicht einmal vergangen”)

NB: Ich musste dieses Buch noch einmal lessen, diesmal auf Portugiesisch…Nächstes Mal vielleicht auf Deutsch…oder auf Englisch…
.
E tinha de escrever algo em Português: querem perceber o que significa ser português? Um livro intenso, poético e original. A alma portuguesa, embalada pela glória do passado, arreigada no presente inesperado, imerecido, esquivo. Uma nação, um povo, prisioneiro nos meandros da saudade, regressado a si mesmo, de si mesmo desconhecido, rejeitado. Soberbo.
(And I had also to write something in Portuguese: do you want to glimpse what it means to be Portuguese? An Intense, poetic, and original book. The Portuguese soul, lulled by the glory of the past, rooted in the unexpected, unmerited, and elusive present. A nation, a people, prisoner in the intricacies of nostalgia, left to its own devices, unknown even to itself, rejected. Superb.)
If anyone out there wishes to buy it, can find here a superb English translation by none other than the also superb Gregory Rabassa (one the greatest living translators of Portuguese literature into English).

In my view, António Lobo Antunes is the most German of the Portuguese authors. Every time I read him, I get the feeling I'm reading a translation from German into Portuguese...I think it was Harold Bloom who said Lobo Antunes is one of the living writers who will matter most in the long run. Now that we come again to that particular time of the year, it always surprises me why José Saramago won the Nobel Preis in Literature and Lobo Antunes didn't. Alas, the ways of the Nobel Prize committee are inescrutable...