Shaking all over, she arrives near the lamp, and her dizziness grants her one last vague reprieve before she goes up in flames. She has fallen into the green tablecloth, and upon that advantageous background she stretches out for a moment (for a unit of her own time which we have no way of measuring) the profusion of her inconceivable splendor. She looks like a miniature lady who is having a heart attack on the way to the theater. She will never arrive. Besides, where is there a theater for such fragile spectators?…. Her wings, with their tiny golden threads, are moving like a double fan in front of no face; and between them is this thin body, a bilboquet onto which two eyes like emerald balls have fallen back….
It is in you, my dear, that God has exhausted himself. He tosses you into the fire so that he can recover a bit of strength. ( Like a little boy breaking into his piggy bank.)
~ Rainer Maria Rilke
From: The Complete French Poems, Poems and Dedications, 1920-26
translation: Stephen Mitchell
The original in French: Farfallettina. Tout agitée elle arrive vers la lampe et son vertige lui donne un dernier répit avant d’être brûlée. Elle s’est abattue sur le tapis vert de la table et sur ce fond avantageux s’étale pour un instant le luxe de son inconcevable splendeur. On dirait, en trop petit, une dame qui avait une panne en se rendant au Théâtre. Elle n’y arrivera point. Et d’ailleurs où est le Théâtre pour de si frêles spectateurs? Ses ailes dont on aperçoit les minuscules baguettes d’or remuent comme un double éventail devant aucune figure; et entre elles ce corps mince, bilboquet où sont retombés deux yeux en boule d’émeraude. C’est en toi, ma chère, que Dieu s’est épuisé. Il te lance à la flamme pour regagner un peu de sa force. (Comme un enfant qui casse sa tire-lire.)
Cairn na Leithre on Flickr.
tree on the pass on Flickr.
Physicists have discovered a jewel-shaped geometric object that challenges the notion that space and time are fundamental constituents of nature.
They have also found a “master amplituhedron” with an infinite number of facets, analogous to a circle in 2-D, which has an infinite number of sides. Its volume represents, in theory, the total amplitude of all physical processes. Lower-dimensional amplituhedra, which correspond to interactions between finite numbers of particles, live on the faces of this master structure.
Beyond making calculations easier or possibly leading the way to quantum gravity, the discovery of the amplituhedron could cause an even more profound shift, Arkani-Hamed said. That is, giving up space and time as fundamental constituents of nature and figuring out how the Big Bang and cosmological evolution of the universe arose out of pure geometry.
“In a sense, we would see that change arises from the structure of the object,” he said. “But it’s not from the object changing. The object is basically timeless.”
Huh. Who’d have thunk it?