"First, strange attractors look strange: they are not smooth curves or surfaces but have 'non-integer dimension' - or, as Benoit Mandelbrot puts it, they are fractal objects. Next, and more importantly, the motion on a strange attractor has sensitive dependence on initial condition. Finally, while strange attractors have only finite dimension, the time-frequency analysis reveals a continuum of frequencies." (David Ruelle, "Chance and Chaos", 1991)"
"The term chaos is used in a specific sense where it is an inherently random pattern of behaviour generated by fixed inputs into deterministic" (that is fixed) rules" (relationships). The rules take the form of non-linear feedback loops. Although the specific path followed by the behaviour so generated is random and hence unpredictable in the long-term, it always has an underlying pattern to it, a 'hidden' pattern, a global pattern or rhythm. That pattern is self-similarity, that is a constant degree of variation, consistent variability, regular irregularity, or more precisely, a constant fractal dimension. Chaos is therefore order" (a pattern) within disorder" (random behaviour)." (Ralph D Stacey, "The Chaos Frontier: Creative Strategic Control for Business", 1991)"
"First, strange attractors look strange: they are not smooth curves or surfaces but have 'non-integer dimension' - or, as Benoit Mandelbrot puts it, they are fractal objects. Next, and more importantly, the motion on a strange attractor has sensitive dependence on initial condition. Finally, while strange attractors have only finite dimension, the time-frequency analysis reveals a continuum of frequencies." (David Ruelle, "Chance and Chaos", 1991)
"The term chaos is used in a specific sense where it is an inherently random pattern of behaviour generated by fixed inputs into deterministic" (that is fixed) rules" (relationships). The rules take the form of non-linear feedback loops. Although the specific path followed by the behaviour so generated is random and hence unpredictable in the long-term, it always has an underlying pattern to it, a 'hidden' pattern, a global pattern or rhythm. That pattern is self-similarity, that is a constant degree of variation, consistent variability, regular irregularity, or more precisely, a constant fractal dimension. Chaos is therefore order" (a pattern) within disorder" (random behaviour)." (Ralph D Stacey, "The Chaos Frontier: Creative Strategic Control for Business", 1991)
"What is an attractor? It is the set on which the point P, representing the system of interest, is moving at large times" (i.e., after so-called transients have died out). For this definition to make sense it is important that the external forces acting on the system be time independent" (otherwise we could get the point P to move in any way we like). It is also important that we consider dissipative systems" (viscous fluids dissipate energy by self-friction). Dissipation is the reason why transients die out. Dissipation is the reason why, in the infinite-dimensional space representing the system, only a small set" (the attractor) is really interesting." (David Ruelle, "Chance and Chaos", 1991)
"History too has an inertia. In the four dimensions of spacetime, particles" (or events) have directionality; mathematicians, trying to show this, draw what they call 'world lines' on graphs. In human affairs, individual world lines form a thick tangle, curling out of the darkness of prehistory and stretching through time: a cable the size of Earth itself, spiraling round the sun on a long curved course. That cable of tangled world lines is history. Seeing where it has been, it is clear where it is going - it is a matter of simple extrapolation." (Kim S Robinson, "Red Mars", 1992)
"An attractor that consists of an infinite number of curves, surfaces, or higher-dimensional manifolds - generalizations of surfaces to multidimensional space - often occurring in parallel sets, with a gap between any two members of the set, is called a strange attractor." (Edward N Lorenz, "The Essence of Chaos", 1993)
"Time and space are finite in extent, but they don't have any boundary or edge. They would be like the surface of the earth, but with two more dimensions." (Stephen Hawking, "Black Holes and Baby Universes and Other Essays", 1993)
"Topology deals with those properties of curves, surfaces, and more general aggregates of points that are not changed by continuous stretching, squeezing, or bending. To a topologist, a circle and a square are the same, because either one can easily be bent into the shape of the other. In three dimensions, a circle and a closed curve with an overhand knot in it are topologically different, because no amount of bending, squeezing, or stretching will remove the knot." (Edward N Lorenz, "The Essence of Chaos", 1993)
"Minkowski, building on Einstein's work, had now discovered that the Universe is made of a four-dimensional ‘spacetime’ fabric that is absolute, not relative." (Kip S Thorne, "Black Holes and Time Warps: Einstein's Outrageous Legacy" , 1994)
"Every mathematician knows and can give many examples from his scientific work when it appears much more difficult to feel or 'see' a correct hypothesis than later to prove it. Visual images are particularlyo ften used in geometry and topology where one has to work with multidimensional objects which, in principle, do not always admit picturing in a three-dimensional space." (Anatolij Fomenko, "Visual Geometry and Topology", 1994)
"Geometrical intuition plays an essential role in contemporary algebro-topological and geometric studies. Many profound scientific mathematical papers devoted to multi-dimensional geometry use intensively the 'visual slang' such as, say, 'cut the surface', 'glue together the strips', 'glue the cylinder', 'evert the sphere' , etc., typical of the studies of two and three-dimensional images. Such a terminology is not a caprice of mathematicians, but rather a 'practical necessity' since its employment and the mathematical thinking in these terms appear to be quite necessary for the proof of technically very sophisticated results.(Anatolij Fomenko, "Visual Geometry and Topology", 1994)
"Geometry and topology most often deal with geometrical figures, objects realized as a set of points in a Euclidean space (maybe of many dimensions). It is useful to view these objects not as rigid" (solid) bodies, but as figures that admit continuous deformation preserving some qualitative properties of the object. Recall that the mapping of one object onto another is called continuous if it can be determined by means of continuous functions in a Cartesian coordinate system in space. The mapping of one figure onto another is called homeomorphism if it is continuous and one-to-one, i.e. establishes a one-to-one correspondence between points of both figures." (Anatolij Fomenko, "Visual Geometry and Topology", 1994)
"Industrial managers faced with a problem in production control invariably expect a solution to be devised that is simple and unidimensional. They seek the variable in the situation whose control will achieve control of the whole system: tons of throughput, for example. Business managers seek to do the same thing in controlling a company; they hope they have found the measure of the entire system when they say 'everything can be reduced to monetary terms'." (Stanford Beer, "Decision and Control", 1994)
"Minkowski, building on Einstein's work, had now discovered that the Universe is made of a four-dimensional ‘spacetime’ fabric that is absolute, not relative." (Kip S Thorne, "Black Holes and Time Warps: Einstein's Outrageous Legacy" , 1994)
"Roughly speaking, manifolds are geometrical objects obtained by glueing open discs" (balls) like a papier-mache is glued of small paper scraps. To this end, one first prepares a clay or plastecine figure which is then covered with several sheets of paper scraps glued onto one another. After the plasticine is removed, there remains a two-dimensional surface." (Anatolij Fomenko, "Visual Geometry and Topology", 1994)
"The acceptance of complex numbers into the realm of algebra had an impact on analysis as well. The great success of the differential and integral calculus raised the possibility of extending it to functions of complex variables. Formally, we can extend Euler's definition of a function to complex variables without changing a single word; we merely allow the constants and variables to assume complex values. But from a geometric point of view, such a function cannot be plotted as a graph in a two-dimensional coordinate system because each of the variables now requires for its representation a two-dimensional coordinate system, that is, a plane. To interpret such a function geometrically, we must think of it as a mapping, or transformation, from one plane to another." (Eli Maor, "e: The Story of a Number", 1994)
"As with subtle bifurcations, catastrophes also involve a control parameter. When the value of that parameter is below a bifurcation point, the system is dominated by one attractor. When the value of that parameter is above the bifurcation point, another attractor dominates. Thus the fundamental characteristic of a catastrophe is the sudden disappearance of one attractor and its basin, combined with the dominant emergence of another attractor. Any type of attractor static, periodic, or chaotic can be involved in this. Elementary catastrophe theory involves static attractors, such as points. Because multidimensional surfaces can also attract" (together with attracting points on these surfaces), we refer to them more generally as attracting hypersurfaces, limit sets, or simply attractors." (Courtney Brown, "Chaos and Catastrophe Theories", 1995)
"In addition to dimensionality requirements, chaos can occur only in nonlinear situations. In multidimensional settings, this means that at least one term in one equation must be nonlinear while also involving several of the variables. With all linear models, solutions can be expressed as combinations of regular and linear periodic processes, but nonlinearities in a model allow for instabilities in such periodic solutions within certain value ranges for some of the parameters." (Courtney Brown, "Chaos and Catastrophe Theories", 1995)
"Maxwell's equations […] originally consisted of eight equations. These equations are not 'beautiful'. They do not possess much symmetry. In their original form, they are ugly. […] However, when rewritten using time as the fourth dimension, this rather awkward set of eight equations collapses into a single tensor equation. This is what a physicist calls 'beauty', because both criteria are now satisfied. " (Michio Kaku, Hyperspace", 1995)
"Riemann concluded that electricity, magnetism, and gravity are caused by the crumpling of our three-dimensional universe in the unseen fourth dimension. Thus a 'force' has no independent life of its own; it is only the apparent effect caused by the distortion of geometry. By introducing the fourth spatial dimension, Riemann accidentally stumbled on what would become one of the dominant themes in modern theoretical physics, that the laws of nature appear simple when expressed in higher-dimensional space. He then set about developing a mathematical language in which this idea could be expressed." (Michio Kaku, "Hyperspace", 1995)
"Since geometry is the mathematical idealization of space, a natural way to organize its study is by dimension. First we have points, objects of dimension O. Then come lines and curves, which are one-dimensional objects, followed by two-dimensional surfaces, and so on. A collection of such objects from a given dimension forms what mathematicians call a 'space'. And if there is some notion enabling us to say when two objects are 'nearby' in such a space, then it's called a topological space." (John L Casti, "Five Golden Rules", 1995)
"Since geometry is the mathematical idealization of space, a natural way to organize its study is by dimension." (John L Casti, "Five Golden Rules", 1995)
"The dimensionality and nonlinearity requirements of chaos do not guarantee its appearance. At best, these conditions allow it to occur, and even then under limited conditions relating to particular parameter values. But this does not imply that chaos is rare in the real world. Indeed, discoveries are being made constantly of either the clearly identifiable or arguably persuasive appearance of chaos. Most of these discoveries are being made with regard to physical systems, but the lack of similar discoveries involving human behavior is almost certainly due to the still developing nature of nonlinear analyses in the social sciences rather than the absence of chaos in the human setting. " (Courtney Brown, "Chaos and Catastrophe Theories", 1995)
"And of course the space the wave function live in, and" (therefore) the space we live in, the space in which any realistic understanding of quantum mechanics is necessarily going to depict the history of the world as playing itself out […] is configuration-space. And whatever impression we have to the contrary" (whatever impression we have, say, of living in a three-dimensional space, or in a four dimensional spacetime) is somehow flatly illusory." (David Albert, "Elementary Quantum Metaphysics", 1996)
"Traditional geometry is the study of the properties of spaces or objects that have integral dimensions. This can be generalized to allow effective fractional dimensions of objects, called fractals, that are embedded in an integral dimension space. […] Fractals are often defined as geometric objects whose spatial structure is self-similar. This means that by magnifying one part of the object, we find the same structure as of the original object. The object is characteristically formed out of a collection of elements: points, line segments, planar sections or volume elements. These elements exist in a space of the same or higher dimension to the elements themselves." (Yaneer Bar-Yamm, "Dynamics of Complexity", 1997)
"Traditional geometry is the study of the properties of spaces or objects that have integral dimensions." (Yaneer Bar-Yamm, "Dynamics of Complexity", 1997)
"For string theory to make sense, the universe should have nine spatial dimensions and one time dimension, for a total of ten dimensions." (Brian Greene, "The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory", 1999)
"If string theory is right, the microscopic fabric of our universe is a richly intertwined multidimensional labyrinth within which the strings of the universe endlessly twist and vibrate, rhythmically beating out the laws of the cosmos." (Brian Greene, "The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory", 1999)
"Mathematicians are more like classical composers, typically working within a much tighter framework, reluctant to go to the next step until all previous ones have been established with due rigor." (Brian Greene, "The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory", 1999)
"Physicists are more like avant-garde composers, willing to bend traditional rules and brush the edge of acceptability in the search for solutions. Mathematicians are more like classical composers, typically working within a much tighter framework, reluctant to go to the next step until all previous ones have been established with due rigor. Each approach has its advantages as well as drawbacks; each provides a unique outlet for creative discovery. Like modern and classical music, it’s not that one approach is right and the other wrong – the methods one chooses to use are largely a matter of taste and training." (Brian Greene, "The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory", 1999))
"The abstractions of science are stereotypes, as two-dimensional and as potentially misleading as everyday stereotypes. And yet they are as necessary to the process of understanding as filtering is to the process of perception." (K C Cole, "First You Build a Cloud and Other Reflections on Physics as a Way of Life", 1999)
"Two figures which can be transformed into one other by continuous deformations without cutting and pasting are called homeomorphic. […] The definition of a homeomorphism includes two conditions: continuous and one- to-one correspondence between the points of two figures. The relation between the two properties has fundamental significance for defining such a paramount concept as the dimension of space." (Michael I Monastyrsky, "Riemann, Topology, and Physics", 1999)
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