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How High We Go in the Dark

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Sequoia Nagamatsu

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“Let us begin with the fine-structure constant. ... The fine-structure constant is really the ratio of two natural units or atoms of action. ... We obtain action when we multiply energy by time. ... We are challenged to find a unified theory of electric particles and radiation in which the electrostatic type of action and the quantum type of action are traced to their source.”

“Through Jung [Pauli] became very interested in various kinds of mysticism, including Jewish mysticism. This led Pauli to develop a friendship with Gershom Scholem, the world's greatest authority in that field and in the Cabala, .... On one occasion Scholem asked me to tell him about unsolved problems in modern physics. .... When I mentioned this number --137-- to Scholem, .... He told me that in Hebrew .... The number corresponding to the word 'cabala' happens to be 137.”

“The fine-structure constant derives its name from its origin. It first appeared in Sommerfeld's work to explain the fine details of the hydrogen spectrum. ... Since Sommerfeld expressed the energy states of the hydrogen atom in terms of the constant [alpha], it came to be called the fine-structure constant.”

“For [Wolfgang] Pauli the central problem of electrodynamics was the field concept and the existence of an elementary charge which is expressible by the fine-structure constant ... 1/137. This fundamental pure number had greatly fascinated Pauli, .... For Pauli the explanation of the number 137 was the test of a successful field theory, a test which no theory has passed up to now.”

“Since only a narrow range of the allowed values for, say, the fine structure constant will permit observers to exist in the Universe, we must find ourselves in the narrow range of possibilities which permit them, no matter how improbable they are. We must ask for the conditional probability of observing constants to take particular ranges, given that other features of the Universe, like its age, satisfy necessary conditions for life.”

“La rayuela se juega con una piedrita que hay que empujar con la punta del zapato. Ingredientes: una acera, una piedrita, un zapato, y un bello dibujo con tiza, preferentemente de colores. En lo alto está el Cielo, abajo está la Tierra, es muy difícil llegar con la piedrita al Cielo, casi siempre se calcula mal y la piedra sale del dibujo. Poco a poco, sin embargo, se va adquiriendo la habilidad necesaria para salvar las diferentes casillas (rayuela caracol, rayuela rectangular, rayuela de fantasía, poco usada) y un día se aprende a salir de la Tierra y remontar la piedrita hasta el Cielo, hasta entrar en el Cielo, (Et tous nos amours, sollozó Emmanuèle boca abajo), lo malo es que justamente a esa altura, cuando casi nadie ha aprendido a remontar la piedrita hasta el Cielo, se acaba de golpe la infancia y se cae en las novelas, en la angustia al divino cohete, en la especulación de otro Cielo al que también hay que aprender a llegar. Y porque se ha salido de la infancia (Je n'oublierai pas le temps des cérises, pataleó Emmanuèle en el suelo) se olvida que para llegar al Cielo se necesitan, como ingredientes, una piedrita y la punta de un zapato.”