By Stephon Alexander

Greater than fifty years in the past, John Coltrane drew the twelve musical notes in a circle and hooked up them by way of instantly strains, forming a five-pointed famous person. encouraged by means of Einstein, Coltrane had positioned physics and geometry on the center of his tune. Physicist and jazz musician Stephon Alexander returns the desire, utilizing jazz to reply to physics' so much vexing questions about the earlier and way forward for the universe. Following the good minds that first drew the hyperlinks among track and physics-a record together with Pythagoras, Kepler, Newton, Einstein, and Rakim-The Jazz of Physics revisits the traditional realm the place tune, physics, and the cosmos have been one.

This cosmological trip accompanies Alexander's personal story of suffering to reconcile his ardour for song and physics, from taking tune classes as a boy within the Bronx to learning theoretical physics at Imperial collage, London's internal sanctum of string concept. taking part in the saxophone and improvising with equations, Alexander exposed the relationship among the elemental waves that make up sound and the elemental waves that make up every thing else. As he unearths, the traditional poetic notion of the "music of the spheres," taken heavily, clarifies confounding concerns in physics.

Whether you're extra conversant in Brian Greene or Brian Eno, John Coltrane or John Wheeler, the 5 percentage kingdom or why the universe is lower than 5 percentage seen, there's a new discovery on each web page. masking the full background of the universe from its beginning to its destiny, its constitution at the smallest and biggest scales, The Jazz of Physics will fascinate and encourage someone drawn to the mysteries of our universe, track, and lifestyles itself.

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Extra info for The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe

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L’édifice se conforme, d’une part, à une forme traditionnelle et héritée du continent européen, du bâtiment à caractère administratif mais à vocation de culture et de puissance (grâce à la coupole qui s’apparente aux dômes des cathédrales, des universités ou des Panthéons). D’autre part, par son fronton et ses colonnes, il renvoie à l’image paradigmatique du temple (de justice, de culte, bancaire) comme on peut en voir encore partout à de multiples exemplaires en Europe. À y regarder de plus près, on peut distinguer toutefois par le style des fenêtres qu’il n’est pas situé en France, en Italie ou en Allemagne.

En France, on trouve un style fait de compromis. Il s’agit dans notre exemple Nantes, 2004. du tout récent palais de justice de Nantes qui a été dessiné par l’architecte Jean Nouvel (Fig. 4). Figure 4 Nouveau palais de justice Comme on peut le voir, les colonnes subsistent mais épurées de tout style classique. Elles apparentent le bâtiment plutôt au hall d’une aérogare ou d’un musée d’art moderne.

La figure du Temple de justice rappelle immédiatement son origine religieuse et sacrée qui emprunte au Temple de Salomon, le Juge paradigmatique, et qui évoque l’avènement espéré de la Jérusalem céleste. Au moment où le premier palais est construit, à la fin du XIXe siècle, prévaut partout le paradigme qui détermine la figure du Temple. Il recueille en terre anciennement française tout naturellement le plan en quadrilatère, la symétrie des ailes, l’équilibre des formes, les colonnes qui gardent l’entrée du temple, le fronton triangulaire évoquant la trinité divine, l’escalier monumental qui le relie à la rue publique tout en le maintenant à distance, bref tous les éléments architecturaux et décoratifs qui concourent à imprimer dans les représentations collectives un modèle de stabilité, de solidité et de majesté sacrée.

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