That's not the way our grown - up,
classical world seems to work, and physicists have been scrabbling around for the best part of a century to explain the puzzling mismatch.
Not exact matches
The relationship between subject and object is no longer that relationship of knowing postulated by
classical idealism, wherein the object always
seems the construction of the subject, but a relationship of being in which, paradoxically, the subject is his body, his
world, his situation, by a sort of exchange.
Much stronger, it would
seem to us, is the author's attack on
classical economics as being fundamentally misguided, and lacking in relevance to the real
world.
For those not involved in the field, this
world may
seem trifling, but recently, researchers from the Okinawa Institute of Science and Technology Graduate University (OIST) have theoretically described two quantum states that are extraordinary in both the physics that define them and their visual appeal: a complex quantum system that simulates
classical physics and a spellbinding necklace - like state.
In some ways, the
world seems divided in two: our
classical world, where objects have well - defined locations, and the quantum realm, where particles
seem to be everywhere at once.
But many human experiences, Hameroff says, from dreams to subconscious emotions to fuzzy memory,
seem closer to the Alice in Wonderland rules governing the quantum
world than to the cut - and - dried reality that
classical physics suggests.
What's most surprising about the recent return of
classical portraiture is realizing how utterly absent it was from the art
world for so many years, to such an extent that Andy Warhol — one of the people ostensibly responsible for killing the form — helped found the New York Academy of Art in 1982 in order to salvage the kind of technical fine arts training (most notably figure drawing) that
seemed at the time in danger of becoming extinct.