loto6 as autopoiesis

＊数の位相での自己（素粒子、モナド）維持
/エントロピー増加への逆らい
＊数の差異共振性/(+)or(－)
＊シンメトリーなど
＊位相肉ォ食　・ス
＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿
Loop quantum gravity (LQG), also known as loop gravity and quantum geometry, is a proposed quantum theory of spacetime which attempts to reconcile the theories of quantum mechanics and general relativity. It preserves many of the important features of general relativity, while at the same time employing quantization of both space and time at the Planck scale in the tradition of quantum mechanics. The technique of loop quantization was developed for the nonperturbative quantization of diffeomorphism-invariant gauge theory. Roughly, LQG tries to establish a quantum theory of gravity in which the very space, where all other physical phenomena occurs, becomes quantized.

LQG is one of a family of theories called canonical quantum gravity. A list of quantum gravity theories can be found on the quantum gravity page. The LQG theory includes also matter and forces, but the theory does not address the problem of the unification of all physical forces, as other tentative quantum gravity theories do (for instance string theory).


In general relativity, an event horizon is a boundary in spacetime, an area surrounding a black hole, inside which events cannot affect an outside observer. Light emitted from inside the horizon can never reach the observer, and anything that passes through the horizon from the observer's side appears to freeze in place, with its image becoming more redshifted as time proceeds.

More specific types of horizon include the related but distinct absolute and apparent horizons found around a black hole. Still other distinct notions include the Cauchy and Killing horizon; the photon spheres and ergospheres of the Reissner-Nordström solution; particle and cosmological horizons relevant to cosmology; and isolated and dynamical horizons important in current black hole research.

piirabu-tye

Extending over 5,000 miles, the routes enabled people to transport goods, especially luxuries such as slaves, silk, satin and other fine fabrics, musk, other perfumes, spices and medicines, jewels, glassware and even rhubarb, as well as serving as a conduit for the spread of knowledge, ideas, cultures and diseases[2] between different parts of the world (China, South Asia, Asia Minor and the Mediterranean). Trade on the Silk Road was a significant factor in the development of the great civilizations of China, South Asia, Egypt, Persia, Arabia, and Rome, and in several respects helped lay the foundations for the modern world. Although the term the Silk Road implies a continuous journey, very few who traveled the route traversed it from end to end. For the most part, goods were transported by a series of agents on varying routes and were traded in the bustling mercantile markets of the oasis towns.[2]
The ruins of a Han Dynasty (206 BC - 220 AD) Chinese watchtower made of rammed earth at Dunhuang, Gansu province

The central Asian sections of the trade routes were expanded around 114 BCE by the Han Dynasty,[3] largely through the missions and explorations of Zhang Qian,[4] but earlier trade routes across the continents already existed. In the late Middle Ages, transcontinental trade over the land routes of the Silk Road declined as sea trade increased.[5]

Though silk was certainly the major trade item from China, many other products were traded, and various technologies, religions and philosophies as well as the bubonic plague (the so-called 'Black Death') also traveled along the Silk Routes.

Gabor Bachman n (d. i. Ralf Winkler) Penck

A. R. (d. i. Ralf Winkler) Penck
Penck

1939 Dresden
- lebt und arbeitet in Irland

During his artistic period in the former German Democratic Republic (GDR) the artist, originally named Ralf Winkler, adopted several pseudonyms, among which finally 'A.R.Penck' gained widespread acceptance. This chameleon-like change of names was a sly response to the dogmatic cultural and educational policy of the GDR, because works of arts could be easier transferred to the west with various camouflage signatures. Furthermore, the pseudonym Penck refers to the geomorphologist of the same name, whom the artist appreciates and puts in context with his oeuvre. Having finished his apprenticeship as a commercial artist at an advertising agency in Dresden, while teaching himself the fundamentals of painting at the same time, he earned his living as a postman, stoker and night watchman, repeatedly harassed by the cultural authorities of the GDR. In the early 1960s the first pictures were created with those extremely reduced figures reminding of prehistoric symbols, which have marked his style since then. His preoccupation with mathematics, cybernetics and information theory resulted in his 'System und Weltbildern' in the midst of the 1960s. Whereas these pictures and also the 'Standartbilder', which followed from 1968, are characterised by a diagrammatic pattern, his visual range was enlarged in the 1970s by striking colour accents and extensive picture formats filled in a complex way. Penck transfered his symbolic repertoire of personal characters to the three dimensional space in form of wooden sculptures, which are also casted in bronze since 1982. In 1980, Penck was expatriated to the Federal Republic of Germany (FRG), which had already acknowledged him as an important artist for a long time. From 1972 Penck was represented at the documenta for several times and in 1984 also at the Biennial in Venice. The artist obtained a professorship at the Akademie der Bildenden Künste in Düsseldorf in 1988, which he holds until now.

Gabor Bachman
Who has heard of the “Herman Finsterlin” of the early 21st century? If you don’t, have a look at Gabor Bachman’s site dedicated to his wonderful projects, paintings, drawings and architectural models. Bachman, born in 1952 in Pécs (Marcel Breuer’s birth place), contributed as a founding member of the Na-Ne collective to the Hungarian Revolution of 1989. On his website Bachman presents “Museum Russia”– his newest project – which combines post-modern deconstructivism with socialist realism. The heroes of the working class are no longer to be found painted on the outside walls but integrated in the architectural structure itself! Poetic, provocative and never nostalgic, “Museum Russia” offers a new perspective on the official architecture of the socialist “Eastern-Europe” and invites us to reformulate our views.