Different Wavelength Quotes

If you are the type of person who thinks too much about stuff then there is nothing lonelier in the world than being surrounded by a load of people on a different wavelength.

One cliché attached to bookish people is that they are lonely, but for me books were my way out of being lonely. If you are the type of person who thinks too much about stuff then there is nothing lonelier in the world than being surrounded by a load of people on a different wavelength.

It is a well-known established fact throughout the many-dimensional worlds of the multiverse that most really great discoveries are owed to one brief moment of inspiration. There's a lot of spadework first, of course, but what clinches the whole thing is the sight of, say, a falling apple or a boiling kettle or the water slipping over the edge of the bath. Something goes click inside the observer's head and then everything falls into place. The shape of DNA, it is popularly said, owes its discovery to the chance sight of a spiral staircase when the scientist‘s mind was just at the right receptive temperature. Had he used the elevator, the whole science of genetics might have been a good deal different. This is thought of as somehow wonderful. It isn't. It is tragic. Little particles of inspiration sleet through the universe all the time traveling through the densest matter in the same way that a neutrino passes through a candyfloss haystack, and most of them miss. Even worse, most of the ones that hit the exact cerebral target, hit the wrong one. For example, the weird dream about a lead doughnut on a mile-high gantry, which in the right mind would have been the catalyst for the invention of repressed-gravitational electricity generation (a cheap and inexhaustible and totally non-polluting form of power which the world in question had been seeking for centuries, and for the lack of which it was plunged into a terrible and pointless war) was in fact had by a small and bewildered duck. By another stroke of bad luck, the sight of a herd of wild horses galloping through a field of wild hyacinths would have led a struggling composer to write the famous Flying God Suite, bringing succor and balm to the souls of millions, had he not been at home in bed with shingles. The inspiration thereby fell to a nearby frog, who was not in much of a position to make a startling contributing to the field of tone poetry. Many civilizations have recognized this shocking waste and tried various methods to prevent it, most of them involving enjoyable but illegal attempts to tune the mind into the right wavelength by the use of exotic herbage or yeast products. It never works properly.

A surprising fact about the magician Bernard Kornblum, Joe remembered, was that he believed in magic. Not in the so-called magic of candles, pentagrams, and bat wings. Not in the kitchen enchantments of Slavic grandmothers with their herbiaries and parings from the little toe of a blind virgin tied up in a goatskin bag. Not in astrology, theosophy, chiromancy, dowsing rods, séances, weeping statues, werewolves, wonders, or miracles. What bewitched Bernard Kornblum, on the contrary, was the impersonal magic of life, when he read in a magazine about a fish that could disguise itself as any one of seven different varieties of sea bottom, or when he learned from a newsreel that scientists had discovered a dying star that emitted radiation on a wavelength whose value in megacycles approximated π. In the realm of human affairs, this type of enchantment was often, though not always, a sadder business—sometimes beautiful, sometimes cruel. Here its stock-in-trade was ironies, coincidences, and the only true portents: those that revealed themselves, unmistakable and impossible to ignore, in retrospect.

There is no normal anymore,” he heard himself say. “You kind of…just keep going, because that’s all you got. The hardest thing is being with other people—it’s like they’re on a different wavelength, but only you know it. They talk about their lives and what’s wrong with them, and you kind of, like, just let them go. It’s a whole different language, and you’ve got to remember that you can only respond in their mother tongue. It’s really hard to relate.

Seeing anything as waves suggests immediate knobs: wavelength, frequency, amplitude, speed, medium, and a host of other basic notions that define the essence of undularity. Seeing anything as particles suggests totally different knobs: mass, shape, radius, rotation, constituents, and a host of other basic notions that define the essence of corpuscularity.

Our visual field, the entire view of what we can see when we look out into the world, is divided into billions of tiny spots or pixels. Each pixel is filled with atoms and molecules that are in vibration. The retinal cells in the back of our eyes detect the movement of those atomic particles. Atoms vibrating at different frequencies emit different wavelengths of energy, and this information is eventually coded as different colors by the visual cortex in the occipital region of our brain. A visual image is built by our brain's ability to package groups of pixels together in the form of edges. Different edges with different orientations - vertical, horizontal and oblique, combine to form complex images. Different groups of cells in our brain add depth, color and motion to what we see.

Some wild mustard seeds respond to changes in the angle and length of daylight through six feet of snowpack, while many forest species recognize the difference between full sunlight (a good chance to sprout), and the far-red wavelengths that filter through leaves (too shady). Whatever

Different things are different colors because they absorb some wavelengths of the visible light spectrum, while others bounce off. So the tomato’s skin is soaking up most of the short and medium wavelengths—blues and violets, greens, yellows and oranges. The remainder, the reds, hit our eyes and are processed by our brains. So, in a way, the color we perceive an object to be is precisely the color it isn’t: that is, the segment of the spectrum that is being reflected away.

It’s taken me a long time to realize it, but Keith and I have absolutely nothing in common. We basically think different. He values things that have zero meaning to me. We don’t even get along. For the longest time I thought I was in love with him when really we’re on completely different wavelengths. Like, I love this person, but do I even like him?

Wavelength … maybe that was the key. Like radio stations on different frequencies, males and females were broadcasting and receiving on different channels. Some people might pick up a little on the others’ broadcasts, but by and large they were separate.

Every week Dr. Stein asked, “What do you see out the window?” Her stylus was never on camera, but Nedda could hear it sliding across a tablet. It was difficult to explain what she saw, harder still to parse its meaning. Space between stars made for easy misery, contemplating how small you were when faced with the universe. Though he was mission commander, Amit Singh looked out as little as possible, preferring star maps, feeds from the telescopes, and data from the probes and terraformers. He remained intent on viewing himself as a person and not a single cell in an organism the size of the universe. Nedda liked feeling small. “Endless space is endless potential,” she’d told Dr. Stein. It was good to sound hopeful. It was trickier to explain that she was looking for light, picking it apart, trying to sense the different wavelengths, searching for the familiar. There was light in the black, on its way to and from distant planets, light from stars crashing into one another, meeting in the space between. Light carried thoughts and hopes, the essence of what made everyone.

[O]ur percept is an elaborate computer model in the brain, constructed on the basis of information coming from [the environment], but transformed in the head into a form in which that information can be used. Wavelength differences in the light out there become coded as 'colour' differences in the computer model in the head. Shape and other attributes are encoded in the same kind of way, encoded into a form that is convenient to handle. The sensation of seeing is, for us, very different from the sensation of hearing, but this cannot be directly due to the physical differences between light and sound. Both light and sound are, after all, translated by the respective sense organs into the same kind of nerve impulses. It is impossible to tell, from the physical attributes of a nerve impulse, whether it is conveying information about light, about sound or about smell. The reason the sensation of seeing is so different from the sensation of hearing and the sensation of smelling is that the brain finds it convenient to use different kinds of internal model of the visual world, the world of sound and the world of smell. It is because we internally use our visual information and our sound information in different ways and for different purposes that the sensations of seeing and hearing are so different. It is not directly because of the physical differences between light and sound.

Why is the world full of color anyway? Sunlight is white, and when it is reflected, it is still white. And so we should be surrounded by a clinical looking, optically pure landscape. That this is not what we see is because every material absorbs light differently or converts it into other kinds of radiation. Only the wavelengths that remain are refracted and reach our eyes. Therefore, the color of organisms and objects is dictated by the color of the reflected light. And in the case of leaves on trees, this color is green. But why don't we see leaves as black? Why don't they absorb all light? Chlorophyll helps leaves process light. If trees processed light super-efficiently, there would be hardly any left over-and the forest would then look as dark during the day as it does at night. Chlorophyll, however, has one disadvantage. It has a so-called green gap, and because it cannot use this part of the color spectrum, it has to reflect it back unused. This weak spot means that we can see this photosynthetic leftover, and that's why almost all plants look deep green to us. What we are really seeing is waste light, the rejected part that trees cannot use. Beautiful for us; useless for the trees. Nature that we find pleasing because it reflects trash? Whether trees feel the same way about this I don't know, but one thing is for certain: hungry beeches and spruce are as happy to see blue sky as I am.

That is no more what it is like to be a bat than the following is a good picture of what it is like to see colour: use an instrument to measure the wavelength of the light that is entering your eye: if it is long, you are seeing red, if it is short you are seeing violet or blue. It happens to be a physical fact that the light that we call red has a longer wavelength than the light that we call blue. Different wavelengths switch on the red-sensitive and the blue-sensitive photocells in our retinas. But there is no trace of the concept of wavelength in our subjective sensation of the colours. Nothing about ‘what it is like’ to see blue or red tells us which light has the longer wavelength.

color is surely the most eye-catching. He noted that we see objects in different hues, depending on the wavelengths of the light they reflect, but that physicists tell us that wavelength is a continuous dimension with nothing delineating red, yellow, green, blue, and so on. Languages differ in their inventory of color words: Latin lacks generic “gray” and “brown”; Navajo collapses blue and green into one word; Russian has distinct words for dark blue and sky blue; Shona speakers use one word for the yellower greens and the greener yellows, and a different one for the bluer greens and the nonpurplish blues

You really don’t mind that I can learn everything about you so easily?” “As I don’t plan to keep secrets from you again, no, I really don’t mind. But I would appreciate it if you promised to come to me, talk to me, if anything you learn about me disturbs you.” A promise like that implied she would be around for a while. Though she knew she shouldn’t, she said, “I promise.” And she meant it. Starting now. “Your psychiatrist believes you are wrong to push people out of your life.” A muscle ticked below his eye and a rosy flush overtook his cheeks. “Every agent has to see a shrink periodically.” “Well, you’re not going to drive me insane with your darkness. I told you, I like it.” “That doesn’t mean—” “Your father was wrong, Sean. Not once have I thought I was losing my mind.” “But it has happened to others,” he insisted harshly. “I’m different. Remember? My brain operates on a different wavelength.” They stared at each other as he considered her words. Then, slowly, a smiled curved his lips, and the clouds cleared from his eyes. “Then I won’t hold anything back from you. I won’t push you away,” he said. “God help you, I’ll only draw you closer. I didn’t have much fight left in my anyway. I want you too damn bad.

famous example is the so-called two-slit experiment (Fig. 4.2). Consider a partition with two narrow parallel slits in it. On one side of the partition one places a source of light of a particular color (that is, of a particular wavelength). Most of the light will hit the partition, but a small amount will go through the slits. Now suppose one places a screen on the far side of the partition from the light. Any point on the screen will receive waves from the two slits. However, in general, the distance the light has to travel from the source to the screen via the two slits will be different. This will mean that the waves from the slits will not be in phase with each other when they arrive at the screen: in some places the waves will cancel each other out, and in others they will reinforce each other. The result is a characteristic pattern of light and dark fringes. The remarkable thing is that one gets exactly the same kind of fringes if one replaces the source of light by a source of particles such as electrons with a definite speed (this means that the corresponding waves have a definite length). It seems the more peculiar because if one only has one slit, one does not get any fringes, just a uniform distribution of electrons across the screen. One might therefore think that opening another slit would just increase the number of electrons hitting each point of the screen, but, because of interference, it actually decreases it in some places. If electrons are sent through the slits one at a time, one would expect each to pass through one slit or the other, and so behave just as if the slit it passed through were the only one there – giving a uniform distribution on the screen. In reality, however, even when the electrons are sent one at a time, the fringes still appear. Each electron, therefore, must be passing through both slits at the same time!

When light shines on a leaf, or a daub of paint, or a lump of butter, it actually causes it to rearrange its electrons, in a process called "transition." There the electrons are, floating quietly in clouds within their atoms, and suddenly a ray of light shines on them. Imagine a soprano singing a high C and shattering a wineglass, because she catches its natural vibration. Something similar happens with the electrons, if a portion of the light happens to catch their natural vibration. It shoots them to another energy level and that relevant bit of light, that glass-shattering "note," is used up and absorbed. The rest is reflected out, and our brains read it as "color.".... The best way I've found of understanding this is to think not so much of something "being" a color but of it "doing" a color. The atoms in a ripe tomato are busy shivering - or dancing or singing, the metaphors can be as joyful as the colors they describe - in such a way that when white light falls on them they absorb most of the blue and yellow light and they reject the red - meaning paradoxically that the "red" tomato is actually one that contains every wavelength except red. A week before, those atoms would have been doing a slightly different dance - absorbing the red light and rejecting the rest, to give the appearance of a green tomato instead.

A new field of science called neurocardiology, which studies the human heart, has discovered that our hearts emit a measurable electromagnetic signal that extends up to 10 to 15 feet from the body. Furthermore, the wavelengths of this heart signal vary according to the emotional state of an individual: if a person is appreciative and happy, one signal is emitted; discontent and sad, a different signal is sent. Incredibly, these electromagnetic signals automatically link up with and affect others in our proximity. Thus, when a man or woman enters a room upset, joyful, happy, or sad, other individuals nearby register his or her emotional state and are instantly affected. •

The power of the deductive network produced in physics has been illustrated in a delightful article by Victor F. Weisskopf. He begins by taking the magnitudes of six physical constants known by measurement: the mass of the proton, the mass and electric charge of the electron, the light velocity, Newton's gravitational constant, and the quantum of action of Planck. He adds three of four fundamental laws (e.g., de Broglie's relations connecting particle momentum and particle energy with the wavelength and frequency, and the Pauli exclusion principle), and shows that one can then derive a host of different, apparently quite unconnected, facts that happen to be known to us by observation separately ....

The human eye has three kinds. One type excels at detecting red and associated wavelengths. One is tuned to blue. The other optimally perceives light of two colors: purple and yellow. The human eye is superbly equipped to detect these colors and send a signal pulsing to the brain. This doesn’t explain why I perceive them as beautiful, but it does explain why that combination gets my undivided attention. I asked my artist buddies about the power of purple and gold, and they sent me right to the color wheel: these two are complementary colors, as different in nature as could be. In composing a palette, putting them together makes each more vivid; just a touch of one will bring out the other. In an 1890 treatise on color perception, Goethe, who was both a scientist and a poet, wrote that “the colors diametrically opposed to each other . . . are those which reciprocally evoke each other in the eye.” Purple and yellow are a reciprocal pair.

the boundaries between different categories are often arbitrary, but once some arbitrary boundary exists, we forget that it is arbitrary and get way too impressed with its importance. For example, the visual spectrum is a continuum of wavelengths from violet to red, and it is arbitrary where boundaries are put for different color names (for example, where we see a transition from “blue” to “green”); as proof of this, different languages arbitrarily split up the visual spectrum at different points in coming up with the words for different colors. Show someone two roughly similar colors. If the color-name boundary in that person’s language happens to fall between the two colors, the person will overestimate the difference between the two. If the colors fall in the same category, the opposite happens. In other words, when you think categorically, you have trouble seeing how similar or different two things are. If you pay lots of attention to where boundaries are, you pay less attention to complete pictures.

I will give technology three definitions that we will use throughout the book. The first and most basic one is that a technology is a means to fulfill a human purpose. For some technologies-oil refining-the purpose is explicit. For others- the computer-the purpose may be hazy, multiple, and changing. As a means, a technology may be a method or process or device: a particular speech recognition algorithm, or a filtration process in chemical engineering, or a diesel engine. it may be simple: a roller bearing. Or it may be complicated: a wavelength division multiplexer. It may be material: an electrical generator. Or it may be nonmaterial: a digital compression algorithm. Whichever it is, it is always a means to carry out a human purpose. The second definition I will allow is a plural one: technology as an assemblage of practices and components. This covers technologies such as electronics or biotechnology that are collections or toolboxes of individual technologies and practices. Strictly speaking, we should call these bodies of technology. But this plural usage is widespread, so I will allow it here. I will also allow a third meaning. This is technology as the entire collection of devices and engineering practices available to a culture. Here we are back to the Oxford's collection of mechanical arts, or as Webster's puts it, "The totality of the means employed by a people to provide itself with the objects of material culture." We use this collective meaning when we blame "technology" for speeding up our lives, or talk of "technology" as a hope for mankind. Sometimes this meaning shades off into technology as a collective activity, as in "technology is what Silicon Valley is all about." I will allow this too as a variant of technology's collective meaning. The technology thinker Kevin Kelly calls this totality the "technium," and I like this word. But in this book I prefer to simply use "technology" for this because that reflects common use. The reason we need three meanings is that each points to technology in a different sense, a different category, from the others. Each category comes into being differently and evolves differently. A technology-singular-the steam engine-originates as a new concept and develops by modifying its internal parts. A technology-plural-electronics-comes into being by building around certain phenomena and components and develops by changing its parts and practices. And technology-general, the whole collection of all technologies that have ever existed past and present, originates from the use of natural phenomena and builds up organically with new elements forming by combination from old ones.

ARTHUR: Ford, I don’t know if this sounds like a silly question, but what am I doing here? FORD: Well, you know that. I rescued you from the Earth. ARTHUR: And what has happened to the Earth? FORD: It’s been disintegrated. ARTHUR: Has it? FORD: Yes, it just boiled away into space. ARTHUR: Look. I’m a bit upset about that. FORD: Yes, I can understand. But there are plenty more Earths just like it. ARTHUR: Are you going to explain that? Or would it save time if I just went mad now? FORD: Keep looking at the book. ARTHUR: What? FORD: “Don’t Panic”. ARTHUR: I’m looking. FORD: Alright. The universe we exist in is just one of a multiplicity of parallel universes which co-exist in the same space but on different matter wavelengths, and in millions of them the Earth is still alive and throbbing much as you remember—or very similar at least—because every possible variation of the Earth also exists. ARTHUR: Variation? I don’t understand. You mean like a world where Hitler won the war? FORD: Yes. Or a world in which Shakespeare wrote pornography, made a lot more money and got a knighthood. They all exist. Some of course with only the minutest variations. For instance, one parallel universe must contain a world which is utterly identical to yours except that one small tree somewhere in the Amazon basin has an extra leaf. ARTHUR: So one could quite happily live on that world without knowing the difference? FORD: Yes, more or less. Of course it wouldn’t be quite like home with that extra leaf… ARTHUR: Well, it’s hardly going to notice. FORD: No, probably not for a while. It would be a few years before you really became strongly aware that something was off balance somewhere. Then you’d start looking for it and you’d probably end up going mad because you’d never be able to find it. ARTHUR: So what do I do? FORD: You come along with me and have a good time. You’ll need to have this fish in your ear. ARTHUR: I beg your pardon? — Pilot radio script.

Yatima found verself gazing at a red-tinged cluster of pulsing organic parts, a translucent confusion of fluids and tissue. Sections divided, dissolved, reorganised. It looked like a flesher embryo – though not quite a realist portrait. The imaging technique kept changing, revealing different structures: Yatima saw hints of delicate limbs and organs caught in slices of transmitted dark; a stark silhouette of bones in an X-ray flash; the finely branched network of the nervous system bursting into view as a filigreed shadow, shrinking from myelin to lipids to a scatter of vesicled neurotransmitters against a radio-frequency MRI chirp. There were two bodies now. Twins? One was larger, though – sometimes much larger. The two kept changing places, twisting around each other, shrinking or growing in stroboscopic leaps while the wavelengths of the image stuttered across the spectrum. One flesher child was turning into a creature of glass, nerves and blood vessels vitrifying into optical fibres. A sudden, startling white-light image showed living, breathing Siamese twins, impossibly transected to expose raw pink and grey muscles working side by side with shape-memory alloys and piezoelectric actuators, flesher and gleisner anatomies interpenetrating. The scene spun and morphed into a lone robot child in a flesher's womb; spun again to show a luminous map of a citizen's mind embedded in the same woman's brain; zoomed out to place her, curled, in a cocoon of optical and electronic cables. Then a swarm of nanomachines burst through her skin, and everything scattered into a cloud of grey dust. Two flesher children walked side by side, hand in hand. Or father and son, gleisner and flesher, citizen and gleisner... Yatima gave up trying to pin them down, and let the impressions flow through ver. The figures strode calmly along a city's main street, while towers rose and crumbled around them, jungle and desert advanced and retreated. The artwork, unbidden, sent Yatima's viewpoint wheeling around the figures. Ve saw them exchanging glances, touches, kisses – and blows, awkwardly, their right arms fused at the wrists. Making peace and melting together. The smaller lifting the larger on to vis shoulders – then the passenger's height flowing down to the bearer like an hourglass's sand.

So, if all material objects are made up of particles with wave properties, why don’t we see dogs diffracting around trees? If a beam of electrons can diffract off two rows of atoms, why can’t a dog run around both sides of a tree to trap a bunny on the far side? The answer is the wavelength: as with the sound and light waves discussed earlier, the dramatically different behavior of dogs and electrons encountering obstacles is explained by the difference in their wavelengths. The wavelength is determined by the momentum, and a dog has a lot more momentum than an electron.

When we add these two waves together, we find that there are some places where they are in phase, and add up to give a bigger wave. In other places, they’re out of phase, and cancel each other out. The wavefunction we get from adding them together (the solid line in the figure) has lumps in it—there are places where we see waves, and places where we see nothing. When we square that to get the probability distribution, we get the bottom graph: The dashed curves in the top graph show the wavefunctions for the two different wavelengths (shifted up so you can see them clearly). The solid curve shows the sum of the two wavefunctions. The bottom graph shows the probability distribution resulting from adding them together (the square of the solid curve in the top graph).

What does it mean to add together lots of different waves with different wavelengths in this way? Well, each wave corresponds to a particular momentum—a different velocity for the (single) bunny moving through the yard. When we add them all together, what we’re doing is saying that there’s a chance of finding the bunny in each of those different states

Adding these states together is the origin of the uncertainty principle. If we want a narrow and well-defined wave packet, so that we know the position of the bunny very well, we need to add together a great many waves to do that. Each wave corresponds to a possible momentum for the bunny, though, which gives a large uncertainty in the momentum—it could be moving at any one of a large number of different speeds. On the other hand, if we want to know the momentum very well, we can use a small number of different wavelengths, but this gives us a very broad wave packet, with a large uncertainty in the position. The bunny can only have a few possible speeds, but we can no longer say where it is with much confidence.

How do we get a wave packet by combining many waves? Well, let’s start with two simple waves, one corresponding to a bunny casually hopping across the yard, and another one with a shorter wavelength (the graph below shows 20 full oscillations of one, in the same space as 18 of the other), corresponding to a bunny moving faster, perhaps because it knows there’s a dog nearby. Now let’s add those two wavefunctions together. “Wait a minute—now we have two bunnies?” “No, each wavefunction describes a bunny with a particular momentum, but it’s the same bunny both times.” “But doesn’t adding them together mean that you have two bunnies?” “No, in this case, it just means that there are two different states* you might find the single bunny in. When you look out into the yard, there’s some probability of finding the bunny moving slowly, and some probability of finding it moving a little faster. The way we account for that mathematically is by adding the two waves together.

You can already see how waves are different from particles: they don’t have a position. The wavelength and the frequency describe the pattern as a whole, but there’s no single place you can point to and identify as the position of the wave. The wave itself is a disturbance spread over space, and not a physical thing with a definite position and velocity. You can assign a velocity to the wave pattern, by looking at how long it takes one crest of the wave to move from one position to another, but again, this is a property of the pattern as a whole.

This sessile lifestyle means any given tree must find everything it needs, and must defend itself, while remaining fixed in place. It follows that a highly developed sensory repertoire is required to locate food and identify threats. And so, a tree smells and tastes—they sense and respond to chemicals in the air or on their bodies. A tree sees—they react differently to various wavelengths of light as well as to shadow. A tree touches—a vine or a root knows when it encounters a solid object. And trees hear; the sound of a caterpillar chomping a leaf primes the tree’s genetic machinery to produce defence chemicals. Tree roots seek out the water flowing through buried pipes, which suggests that plants somehow hear the sound of flowing water.

Heightened capacity for visual imagery and fantasy “Was able to move imaginary parts in relation to each other.” “It was the non-specific fantasy that triggered the idea.” “The next insight came as an image of an oyster shell, with the mother-of-pearl shining in different colors. I translated that in the idea of an interferometer—two layers separated by a gap equal to the wavelength it is desired to reflect.” “As soon as I began to visualize the problem, one possibility immediately occurred. A few problems with that concept occurred, which seemed to solve themselves rather quickly…. Visualizing the required cross section was instantaneous.” “Somewhere along in here, I began to see an image of the circuit. The gates themselves were little silver cones linked together by lines. I watched the circuit flipping through its paces….” “I began visualizing all the properties known to me that a photon possesses and attempted to make a model for a photon…. The photon was comprised of an electron and a positron cloud moving together in an intermeshed synchronized helical orbit…. This model was reduced for visualizing purposes to a black-and-white ball propagating in a screwlike fashion through space. I kept putting the model through all sorts of known tests.” 5. Increased ability to concentrate “Was able to shut out virtually all distracting influences.” “I was easily able to follow a train of thought to a conclusion where normally I would have been distracted many times.” “I was impressed with the intensity of concentration, the forcefulness and exuberance with which I could proceed toward the solution.” “I considered the process of photoconductivity…. I kept asking myself, ‘What is light? and subsequently, ‘What is a photon?’ The latter question I repeated to myself several hundred times till it was being said automatically in synchronism with each breath. I probably never in my life pressured myself as intently with a question as I did this one.” “It is hard to estimate how long this problem might have taken without the psychedelic agent, but it was the type of problem that might never have been solved. It would have taken a great deal of effort and racking of the brains to arrive at what seemed to come more easily during the session.” 6. Heightened empathy with external processes and objects “…the sense of the problem as a living thing that is growing toward its inherent solution.” “First I somehow considered being the needle and being bounced around in the groove.” “I spent a productive period …climbing down on my retina, walking around and thinking about certain problems relating to the mechanism of vision.” “Ability to grasp the problem in its entirety, to ‘dive’ into it without reservations, almost like becoming the problem.” “Awareness of the problem itself rather than the ‘I’ that is trying to solve it.” 7. Heightened empathy with people “It was also felt that group performance was affected in …subtle ways. This may be evidence that some sort of group action was going on all the time.” “Only at intervals did I become aware of the music. Sometimes, when I felt the other guys listening to it, it was a physical feeling of them listening to it.” “Sometimes we even had the feeling of having the same thoughts or ideas.” 8. Subconscious data more accessible “…brought about almost total recall of a course that I had had in thermodynamics; something that I had never given any thought about in years.” “I was in my early teens and wandering through the gardens where I actually grew up. I felt all my prior emotions in relation to my surroundings.

When he came out into the yard he stayed on the edge of a group of boys. They were pushing each other and being loud and he was trying to attach himself to them, just sort of walking along a little behind them, trying to find a glue he was just discovering he didn’t have. I didn’t have it either. Go down to any schoolyard at breaktime and look in and you’ll see. You’ll see the ones who have no Human Glue, who run out the first day with this perfect unrumpled optimism and trust, who still think of every boy and girl as their undiscovered friend and believe What Fun We’ll Have. And then, in the schoolyard, day one, there’s someone sprung from evil genes like Michael Mooney or Hen genes like Jane Brouder and they feel something off you, feel that field of difference you don’t even know you’re giving off, and boom you’re out, you can’t stick on. The group runs down the yard and you run too but it’s like the signal was given on a wavelength you didn’t receive in time so you’re a few steps back. Look at the pictures of Aeney’s class. You’ll see. It’s like he’s been photoshopped in and there’s this clean line around him, no Human Glue.

There have been some extensive studies done on meditation and the most noteworthy finding of these studies seemed to show in the EEG measuring of brain wave patterns. During your waking consciousness, brain waves are random and chaotic. The brain usually operates with different wavelengths from the front to the back of the brain, and from hemisphere to hemisphere. Meditation changes this drastically. Subjects in meditation show increased Alpha waves and these waves continue to increase throughout the duration of the meditation.

The Imprismed Self Past women in my life become prisms through which I re-filter my self-image as different wavelengths of light. The purer the light, the greater the radiance, the righter the woman.

Over the twentieth century, as physics developed, Planck's construction took on ever greater significance. Physicists came to understand that each of the quantities c, G, and h plays the role of a conversion factor, one you need to express a profound physical concept: 1) Special relativity postulates symmetry operations (boosts, a.k.a. Lorentz transformations) that mix space and time. Space and time are measured in different units, however, so for this concept to make sense, there must be a conversion factor between them, and c does the job. Multiplying a time by c, one obtains a length. 2) Quantum theory postulates an inverse relation between wave-length and momentum, and a direct proportionality between frequency and energy, as aspects of wave-particle duality; but these pairs of quantities are measured in different units, and h must be brought in as a conversion factor. 3) General relativity postulates that energy-momentum density induces space-time curvature, but curvature and energy density are measured in different units, and G must be brought in as a conversion factor.

In crises of this sort the Dyckmanns had usually found it effective to stare into space, encouraging the long pause that might fetch the witty words, 'Well, dear, we must go.' But the Bairds were on an entirely different wavelength, and this was the fault of the Dyckmanns. With the removal of the bottles it had been the mutual impulse of the Bairds to shoot out the door, but their second thought was that they must not... (from "Dinner on the Rocks" (1954) by Dawn Powell)

The point is that there’s something very mathematical about our Universe, and that the more carefully we look, the more math we seem to find. Apropos constants of nature, there are hundreds of thousands of pure numbers that have been measured across all areas of physics, ranging from ratios of masses of elementary particles to ratios of characteristic wavelengths of light emitted by different molecules, and using sufficiently powerful computers to solve the equations describing the laws of nature,

I guess we're on different wavelengths. And that's the thing about wavelengths-they're not waves. You can't ride them alone; you have to ride them together.

Although irises come in different colors (iris = rainbow), they contain only brown pigment. When they have a lot of pigment, the eyes appear brown or black. If the amount of pigment is small and restricted to the posterior surface of the iris, the unpigmented parts simply scatter the shorter wavelengths of light and the eyes appear blue, green, or gray. Most newborn babies’ eyes are slate gray or blue because their iris pigment is not yet developed.

Apparently, a butterfly's wings are actually transparent, but thousands of tiny scales reflect light at different wavelengths. In my stomach now, I can suddenly feel them: glinting and flickering inside me. Every color of the rainbow.

Another commonly encountered wave-like phenomenon is ‘electromagnetic radiation’, exemplified in the radio waves that bring signals to our radios and televisions and in light. These waves have different frequencies and wavelengths: for example, typical FM radio signals have a wavelength of 3 m, whereas the wavelength of light depends on its colour, being about 4 × 10−8 m for blue light and 7 × 10−8 m for red light; other colours have wavelengths between these values.

A straightforward way of defining metaphysics is as the set of assumptions and practices present in the scientist’s mind before he or she begins to do science. There is nothing wrong with making such assumptions, as it is not possible to do science without them. The lepidopterist who records in her notebook that a butterfly is blue may not stop to consider that this is true only because the giant ball of nuclear fuel 93 million miles away happens to maintain a surface temperature just right for shedding certain wavelengths of electromagnetic radiation on the earth; that the eyes of humans have evolved to be sensitive to those wavelengths; that the eye can discriminate slightly different wavelengths as colors; that one of those colors has, by cultural consensus, been defined as “blue,” and so on. Nevertheless, science benefits from the lepidopterist’s note that the butterfly is blue.

The feeling of being in love is so intense that it feels like it will last forever. And when the other person doesn’t feel the same way about us, our dreams are shattered. We can’t believe that this sacred relationship has been betrayed. You may have been sure that you had the same wavelength and that you understood each other. But the truth is that you have been walking parallel to each other and end up taking different paths somewhere during your journey.

you were to change the wavelength of your consciousness and in so doing change all your body patterns to a wavelength different from this universe, you would literally disappear out of this world and reappear in the one to which you were tuned.

Particle theory explains that all matter is made of many small particles that are always moving. There are particles in solids, liquids, and gases, and all of them continually vibrate, in varying directions, speeds, and intensities.17 Particles can only interact with matter by transferring energy. Waves are the counterpart to particles. There are three ways to regard waves: •​A disturbance in a medium through which energy is transferred from one particle within the medium to another, without making a change in the medium. •​A picture of this disturbance over time. •​A single cycle representing this disturbance. Waves have a constructive influence on matter when they superimpose or interact by creating other waves. They have a destructive influence when reflected waves cancel each other out. Scientists used to believe that particles were different from waves, but this is not always true, as you will see in the definition of wave-particle duality in this section. Waves, or particles operating in wave mode, oscillate, or swing between two points in a rhythmic motion. These oscillations create fields, which can in turn create more fields. For instance, oscillating charged electrons form an electrical field, which generates a magnetic field, which in turn creates an electrical field. Superposition in relation to waves means that a field can create effects in other objects, and in turn be affected itself. Imagine that a field stimulates oscillations in an atom. In turn, this atom makes its own waves and fields. This new movement can force a change in the wave that started it all. This principle allows us to combine waves; the result is the superposition. We can also subtract waves from each other. Energy healing often involves the conscious or inadvertent addition or subtraction of waves. In addition, this principle helps explain the influence of music, which often involves combining two or more frequencies to form a chord or another harmonic. A harmonic is an important concept in healing, as each person operates at a unique harmonic or set of frequencies. A harmonic is defined as an integer multiple of a fundamental frequency. This means that a fundamental tone generates higher-frequency tones called overtones. These shorter, faster waves oscillate between two ends of a string or air column. As these reflected waves interact, the frequencies of wavelengths that do not divide into even proportions are suppressed, and the remaining vibrations are called the harmonics. Energy healing is often a matter of suppressing the “bad tones” and lifting the “good tones.” But all healing starts with oscillation, which is the basis of frequency. Frequency is the periodic speed at which something vibrates. It is measured in hertz (Hz), or cycles per second. Vibration occurs when something is moving back and forth. More formally, it is defined as a continuing period oscillation relative to a fixed point—or one full oscillation.

Any possible vibration of a quantum field can be thought of as a combination of vibrations with different specific wavelengths—just as any particular sound can be decomposed into a combination of various notes with specific frequencies.

Musicologists say that these intervals sound pleasant to us because the ratios at which the notes vibrate, 4:3 for a perfect fourth and 3:2 for a perfect fifth, create regular intersections between their different wavelengths.

Wavelength: What wavelengths does the device offer? Do these have health benefits? Are they in the proven ranges of 600-700nm and 780-1070nm, or better, the most researched ranges of 630-680nm and 800-880nm? Power Density: How much irradiance/power does the device deliver—what is the power density in mW/cm2? (To calculate this, you need to know the total wattage and the treatment area of the light.) Size of the light and treatment area: This is critically important—how big of an area will it treat? Is it a small light of less than 12” or a big light that can treat half of your body or your whole body all at once? Think about it: Do you want to hold one of these small devices by hand for 30-60 minutes to do a treatment? Probably not. You’ll get tired of using it pretty quickly. So it has to be convenient, and ideally, has to be something that is not only fast, but something that you do while doing other things (if you wish), so you’re not sitting there holding a device in different positions for 30-60 minutes. Warranty: How long does the warranty last? Will you have time to find out if it works? (Hint: look for at least one year or longer.) What do you want it for? Depending on your specific purpose, there are a few different devices you may want to consider. (If you have specialty needs like brain health, or skin health, it will affect the wavelengths you want, the power of the device, and even the type of device.) I cannot emphasize enough: When choosing a red light or near-infrared light device, you want to be extremely careful to choose wisely, based on the wavelength and power density levels of the device. Wavelength and intensity makes all the difference between incredible benefits and no benefits.

While we’ve talked about how the overall amount of that radiation has to balance the warming sunlight, the radiation is actually spread over a spectrum of different wavelengths. Think of those like “colors,” although not visible to our eyes. Water vapor, the most significant greenhouse gas, intercepts only some colors, but because it blocks almost 100 percent of those it does, adding more water vapor to the atmosphere won’t make the insulation much thicker—it would be like putting another layer of black paint on an already black window. But that’s not true for carbon dioxide. That molecule intercepts some colors that water vapor misses, meaning a few molecules of CO2 can have a much bigger effect (like the first layer of black paint on a clear window). So the greater potency of a CO2 molecule depends upon relatively obscure aspects of how it, and water vapor, intercept heat radiation—another example of why the details are important when attempting to understand human influences on the climate.

It now appears that birds may visualize the earth’s magnetic field through a form of quantum entanglement, which is just as bizarre as it sounds. Quantum mechanics dictates that two particles, created at the same instant, are linked at the most profound level—that they are, in essence, one thing, and remain “entangled” with each other so that regardless of distance, what affects one instantly affects the other. No wonder the technical term in physics for this effect is “spooky action.” Even Einstein was unsettled by the implications. Theoretically, entanglement occurs even across millions of light-years of space, but what happens within the much smaller scale of a bird’s eye may produce that mysterious ability to use the planetary magnetic field. Scientists now believe that wavelengths of blue light strike a migratory bird’s eye, exciting the entangled electrons in a chemical called cryptochrome. The energy from an incoming photon splits an entangled pair of electrons, knocking one into an adjacent cryptochrome molecule—yet the two particles remain entangled. However minute, the distance between them means the electrons react to the planet’s magnetic field in subtly different ways, creating slightly different chemical reactions in the molecules. Microsecond by microsecond, this palette of varying chemical signals, spread across countless entangled pairs of electrons, apparently builds a map in the bird’s eye of the geomagnetic fields through which it is traveling.

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The apparent bending of sound waves around corners is an example of diffraction, which is a characteristic behavior of waves encountering an obstacle. When a wave reaches a barrier with an opening in it, like the wall containing an open door from the kitchen into the dining room, the waves passing through the opening don’t just keep going straight, but fan out over a range of different directions. How quickly they spread depends on the wavelength of the wave and the size of the opening through

The apparent bending of sound waves around corners is an example of diffraction, which is a characteristic behavior of waves encountering an obstacle. When a wave reaches a barrier with an opening in it, like the wall containing an open door from the kitchen into the dining room, the waves passing through the opening don’t just keep going straight, but fan out over a range of different directions. How quickly they spread depends on the wavelength of the wave and the size of the opening through On the left, a wave with a short wavelength encounters an opening much larger than the wavelength, and the waves continue more or less straight through. On the right, a wave with a long wavelength encounters an opening comparable to the wavelength, and the waves diffract through a large range of directions. which they travel. If the opening is much larger than the wavelength, there will be very little bending, but if the opening is comparable to the wavelength, the waves will fan out over the full available range.

Underwater, sound is different. It travels faster and farther, attenuates slower than in air. Depending on its wavelength, it can move differently in shallow water and deep water, and over long distances it can veer and bend, forming silent “shadow zones” or concentrated sound “channels.