art theory 101~ Quantum Gravity the book

Quantum Gravity the book

~ merging of Quantum Mechanics with Gravity ~


Copyright© 2008, Reginald Brooks. All rights reserved

Rushing air past their vocal cords shaped by their mouth generated different tones.

Easy whole tones, i.e. a, e, i, o, and u, formed by relaxing the mouth formed the English equivalent of vowels.

Slightly to moderately harder tones were formed by accenting different parts of the mouth, i.e. lips, jaws and tongue, forming the English equivalent of consonants.

Placed in series of small groups, these tones became the rudimentary vocal expression of a language in voice and song.

Drawing simple images, including symbols, onto or into any of a variety of surfaces eventually accommodated the codification of those vocal sounds into symbolic text...the rudimentary written expression of a language.

Of course various patterns and systems...language and dialects...developed, based on those vocal sound patterns that evolved from the particular physiological and environmental subset of conditions under which that "tribe" itself evolved, i.e. large vs. small, cold vs. hot, etc, etc.

The latter occurs only to a degree and is an overlay of the fundamental sound-producing quality of the human anatomy. All babies cry alike, as do most adults.

Because our sound requires breath, and living requires breath, all living sound, including crying, is punctuated by the rhythm of breathing...and so it is with developed sound, language and song.

These small serial groups of expressive sound became translated into a series of symbols...for some in a straight-line pattern (r->l, l->r, u-d, d-u) and for others in a "collage" of symbols...ideogram and pictograph.

Common to all serial representations of thought...initially as sounds and sub sequentially as symbolic this series of elemental symbols, most of which have little inherent informational value (with some exceptions), but gain tremendous expressive and information value by their various groupings. The simplest elemental combinations produce the greatest richness and diversity within a harmonious whole.

Refinements of those elemental symbols lead to the alphabet...common to most languages and dialects in concept and evolution, yet differing enough to form/reflect distinct cultures.

Elemental symbols become "letters" and "letters" are combined in various combinations or groupings under the *constraints of a few certain "rules of engagement" to become "words" (*vowels and consonants).

The coalescence of "letters" (or sounds/symbols) to form a new fundamental base layer of information, understanding and communication...i.e. "words"...greatly increases not only the number and diversity of expressive elements of this rudimentary language. It also increased its potential for specificity..."this is exactly what I mean"...the individual expression is born.

In keeping with the serial linear tradition of thought (time-based, in that the total space revealed requires multiple times...time passed), versus the gestalt of ideograms (space-based, in that the total space is collaged to be seen in one, static time), it was but a short leap for "word" groupings to form, through a collection of grammatical rules, into a sequence...a self-contained expression...that further enriched, empowered and often clarified a complete thought, and the "sentence" became yet another layer...a very sophisticated layer.

"Paragraphs" integrated "sentences" of like thought or expression.

"Chapters" did the same for "paragraphs" when the length, number and focus warranted it.

And, of course, complete stories became, in text form, articles, monologs and "books."

In review, we see that the structural basis of language is built on combinations of simple elemental sounds/symbols ("letters" subdivided into vowels and consonants) that form "words." "Words" arranged into serial, sequential and typically linear arrays form, when subject to rules of order, coherent groupings of distinct declarative thought and/ or expression..."sentences." A yet larger grouping of such thought or expression forms the "paragraph." The "paragraph" typically encompasses one or more "sentences" that work together to more fully elaborate a distinct declarative thought or expression. As in "sentences," the integrity of "paragraphs"...and the beauty of its built on its harmonious content and the efficiency upon which it is realized. "Chapters" and "books" are, of course, even more elaborate group organizations of the subordinate structures below.

How do the mechanics of a written language explain quantum mechanics and general relativity (gravity)...the merging of the very small and the very large.

Could it be that the same evolutionary neural development that allowed us the creation and development of our language...and more than just mimicking the results thereof...actually was developed in the same nursery of elemental space-time physics that form our understanding of the cosmos. Simple elemental combinations produce the greatest richness and diversity within a harmonious whole.

To illustrate this connection, let's pretend an alien race from a distant life system QG makes friendly contact. Their language of communication is strictly mathematics and is built on their mastery of quantum gravity. They plug in an algorithm and can communicate with us directly. In reviewing our cultures and histories, they of course stumble upon our "books," magazines, computers, etc.

They also stumble across our writings on physics and specifically on one our top unanswered do you merge quantum mechanics and general relativity (gravity) into a harmonious whole referred to as quantum gravity.

"Well," they say, "You've asked the right folks...but you already have the's in your 'books!'" They went on to elaborate.

"It's in your 'books'...real 'books,' magazines, newspapers, letters, etc...not so much in the digitized versions you see on your computer and television screens. Being that our language is strict mathematics and is communicated telepathically, it took us awhile to see the connection between your vocal and written alphabet-based languages and how they are a metaphor for your deep-seated quest to unite the structure of the very small universe (quantum mechanics) with that of the very large (gravity). It's a conceptual leap...but it is right there in front of you and at your own doing.

"Try to see it our way in looking at your language if for the very first time. We'll do it both ways. First from the very large down to the very small (deconstruction), and then we'll try it again from the small to large (construction). We will use the 'book' format as our example.

"Flipping through the numbered pages bound and covered are a relatively small number of symbols variously combined into linear arrays. These are patterned across the flexible pages in a particular order. What is most notable is that this layout substrate...the pages of paper...can be straight and flat, or they can be curved, coiled, even folded, but the 'rules of engagement' of the symbols is that they will always be attached to these curved space-time pages in a particular linear sequence as if guided by invisible lines of force (although some hand written examples leave something to be desired in this regard). It is as if the sequential pages, built on the sequential lines of 'sentences' and 'paragraphs'... the hidden lines on the pages... are the embodiment of the time and space elements co-joined. Together the physical structure of the 'book' format when combined with the sequential 'rules of engagement' of laying down those elemental symbols of the language are the metaphorical equivalent of the curved space-time continuum of general relativity.

"The energy and particles of quantum mechanics, which individually say nothing about gravity, are nevertheless completely bound to it by virtue of their existence within the curved space-time of general relativity. It is exactly the same for your language. The elemental symbols of your language that can exist in various 'groupings' as 'letters,' 'words,' and simple 'sentences' or 'paragraphs,'can exist without any comment or relationship to a 'book.' And yet once a linear sequencing of these elemental 'groupings' starts to grow into full 'sentences' and 'paragraphs,' the full curved space-time substratum of the 'book' is implied. You have tied quantum mechanics to general relativity (gravity).

"It's a bit redundant now, but as promised, let's work from the small up to the large by looking at your writing.

"Your alphabet-based written language is based on the merging of two pillars of structural for the small and one for the large...and the same for is true for quantum gravity.

"The first pillar, based on the elemental vowel and consonant 'letters' of your alphabet is grouped to form 'words,' and from there 'sentences' and 'paragraphs.'

"In quantum gravity, that same elemental pillar is defined by quantum mechanics...the physics of the very small...where leptons (e, v) and quarks (u, d) form the stable fermionic (spin 1/2, obey Pauli Exclusion Principle) 'alphabet'...forming the stable elementary particles of the electron (e), neutrino (v), proton (p) and neutron (n) [and all their antimatter anti-particles]. (The total number of quarks is actually six at the moment and may eventually be shown to be eight. Like the leptons, they are all true spin 1/2 fermions, but unlike the leptons, they carry fractional charge and are never found outside the nucleus as free individual is only when their fractional 1/3 or 2/3 charge elements are combined to give exactly a charge equal to 1, or some integral addition of, i.e. 2, that they exist as the stable composite baryon particles like the proton and neutron [or momentarily as one of the unstable meson particles like the pion. To note, is that the leptons and quarks also have important, yet unstable, siblings like the muon and tau lepton particles and the s, c, t and b quarks, respectively, a.k.a. second and third generation particles.]).

"These small elemental quantum particles are attracted (or repulsed) to, and from, each other by exchanging another entirely different group of particles called vector gauge bosons.

"Bosons have integral charge (0, 1, 2), and integral spin (0, 1, 2) and some are completely without mass, like the photon and gluon, while others do have mass (W-, W+, Z0). They do not obey the Pauli Exclusion Principle.

"The colored gluon is the exchange particle between the bounded quarks and is responsible for the Strong Nuclear Force that keeps the baryons individually together.

"The W-, W+ and Z0 exchange particles effect the binding stability or lack of (decay) of the clump of baryons known as the nucleus...this is the Weak Nuclear Force.

"And the photon is the exchange particle of the Electromagnetic Force between charged particles, especially that between the electron and the nucleus, or between any other charged particles.

"The fourth and final fundamental force, the Gravitational Force, is mediated by the graviton exchange particle that we will examine shortly.

Dark matter=Dark energy, Table II Elementary Particles, 1st generation

(click to enlarge image)

Table II from the "Dark-Dark-Light" work cited below.
Comparison of first generation
elementary particles with their force
carrying gauge and non-gauge bosons (mesons).

"The second pillar of structural organization is the template substratum upon which the elements of the first pillar are overlaid...and this is critical in the merge. The end product is of course the 'book.' The 'book' with its multiple sequential pages...pages of paper that itself can be curved, flat or even folded while still supporting the first pillar in every way.

"The guiding principle, or force, of the second pillar is the line and its organization onto the pages. A point, having no spatial extension, has a single fixed time...or you may even say it represents t=0. The line, through spatial extension (displacement), not only now also has a time dimension, t>0...the clock has started. It takes time to traverse the line from its start to its finish. Thus the birth of the line corresponds to the birth of space and dimension of each, and already co-joined.

"Alphabet-based written language, begun in 'words' and 'sentences' in the first pillar of organization, but especially manifest in its fullest form in the second pillar, is based on the formation and respect for the line and all its attributes of space and time. 'Sentences,' beyond grammatical 'rules of engagement,' are first and foremost lines...lines of 'words' with spaces between. Such lines have a beginning and end, and to extend their meaning, one must take...i.e. use...time to read the 'words' sequentially in order along the line. In all such writing, whether or not the line (or underline) is explicitly present or not, it is always implied. It is the hidden force of structural organization.

"If we friendly aliens had only experienced your language orally, without the benefit of text, we would nevertheless have to deduce that there existed a hidden force of lines upon which your language was structurally built. When spoken, your language of 'letters' forming 'words,' 'words' forming 'sentences' and 'sentences' forming groups called 'paragraphs' is punctuated by your breath, purposeful pauses and breaks in the meter of your speech and by the emotional/expressive emphasis you give to various parts of your speech and enunciation. All highly individual and variable. The connection to the structure of lines is of course more easily discernible in your written language.

"If we aliens had only been exposed to blank, non-ruled 'books' (and notebooks, etc.), with no exposure to the rest of your culture, including your language (perhaps through an archaeological dig), we would have our work cut out for us. Here are these bound, blank pages of a 'book.' What does it mean? What was it used for? Are there, is there, a front and back, a forward and back?

"If later we stumbled upon a recording of your speech, a whole new area of research would have been ignited. Ultimately, the linear structure would assert itself as the foremost structural element of your vocal speech.

"Clever...yet seemingly inevitable...research would place...translate...your vocal speech onto a two dimensional substrate...equivalent to your paper...and the connection between 1D elements of you language, the 2D means of symbolic representation on a page and finally the grouping of such sequential pages into a 3D format called a 'book.'

"Those blank-page 'books' discovered earlier are the second pillar structural scaffolding of space-time organization which 'hold' your written language in codified form. The 'book' is ordered from front to back, often subdivided into 'chapters.' 'Chapters' hold sequential series of 'paragraphs'...groups of related 'sentences' that are lines of 'letters' aggregated variously...yet strictly by rules...into 'words' sequentially placed. Implicit is the force...the rule...of the lines.

"It is then that we surmise that you have already merged the very small with the very large...quantum mechanics with general relatively (gravity) to form quantum gravity. It's in your 'books.' It's in your language. You only need to write the mathematical equations which describe the overlay of the small onto the scaffolding of the large. We can *help. Simple elemental combinations produce the greatest richness and diversity within a harmonious whole.

"Einstein's General Theory of Relativity relates gravity as the result of the curved space-time continuum that all matter and energy exist within...with the amount of curvature dictated by the mass-energy density present and that curvature information is continuously and pervasively distributed (radiated) out to every other part of the space-time continuum by the graviton...the chargeless, massless, spin=2 vector boson exchange particle of gravity. (*Think of the graviton as the constructive interference of two similar spin=1 photons, or photon-like mass-energy bosons, emanating from all matter, the curvature-node of which traverses the cosmos at the same speed of light...modified or even eliminated upon chance encounters with other similar, or oppositely orientated nodes, formed from other bosons, including the Higgs. The density of such active curvature-nodes...gravitons...act like lines of force. See our alien reference manual below.)

"The analogy often given to visually describe general relativity gravity is that of a bowling ball on a rubber mat. Toss in a marble and it will spiral into the ball because the space-time (rubber mat) is curved increasingly as the ball is reached. The marble is simply following the path of least resistance. The curved space-time acts like invisible lines of force pulling an object inwards to a mass-energy object greater than itself (and vice versa to a lesser degree).

"Those lines of force are similar to the guiding invisible lines of force...lines of structure...that the 'book' affords to the 'letters, words, sentences and paragraphs' of the written language.

"That they are implicit in the spoken language as well is testament to the veracity of this merge. Every time you speak you are merging, metaphorically, quantum mechanics and general relativity into quantum gravity. Time to hit the 'books.'"


NOTE: *This alien reference supplement will bring the reader onto the same page by reviewing the earlier works upon which this work is based...especially "Dark-Dark-Light: Dark Matter = Dark Energy (the inverse of)" and "The LUFE Matrix." Works to review include:

  • (a taunting overview to the works below)

"Naughty Physics (a.k.a. The LUFE Matrix )"


  • (an advanced view with a brief, but large overview and simple introduction to The LUFE Matrix)

"Dark-Dark-Light: Dark Matter = Dark Energy (the inverse of): The Conservation of SpaceTime by the Conservation of Force"


  • (an advanced, graphical supplement to "Dark-Dark-Light" above )

"The History of the Universe in Scalar Graphics"


  • (the full introduction)

"The LUFE Matrix: The distillation of SI units into more fundamentally base units of Space-Time (ST) dimensions"


  • (over 200 working examples from easy on up)

"The LUFE Matrix Supplement: Examples and Proofs"


  • (background material)

"The LUFE Matrix Supplement: References"


"The LUFE Matrix: Infinite Dimensions"

This paper and all its contents © 2008, Reginald Brooks. All rights reserved. Permission is hereby granted for single copies to be made for personal, non-commercial use for students and teachers of schools, colleges and universities provided that: either the entire paper, including figures and tables, is kept intact; or, any extracts of the text, or figures or tables (in part or whole), be properly and visibly cited as to authorship and source.




NEXT: On to Page 5a- Dark-Dark-Light: Dark Matter = Dark Energy

Back to Naughty Physics (a.k.a. The LUFE Matrix )


Page 5a- Dark-Dark-Light: Dark Matter = Dark Energy

Page 5b- The History of the Universe in Scalar Graphics

Page 5c- The History of the Universe_update: The Big Void

Page 6a- Geometry- Layout

Page 6b- Geometry- Space Or Time Area (SOTA)

Page 6c- Geometry- Space-Time Interactional Dimensions(STID)

Page 6d- Distillation of SI units into ST dimensions

Page 6e- Distillation of SI quantities into ST dimensions

Page 7- The LUFE Matrix Supplement: Examples and Proofs: Introduction-Layout & Rules

Page 7c- The LUFE Matrix Supplement: References

Page 8a- The LUFE Matrix: Infinite Dimensions

Page 9- The LUFE Matrix:E=mc2

Page 10- Quantum Gravity the book

Page 11-Conservation of SpaceTime

Page 12-LUFE: The Layman's Unified Field Expose`

Copyright©2008-09 Reginald Brooks, BROOKS DESIGN. All Rights Reserved.
The LUFE Matrix | The LUFE Matrix Supplement | The LUFE Matrix: Infinite Dimensions | The LUFE Matrix: E=mc2 | Dark Matter=Dark Energy | The History of the Universe in Scalar Graphics | The History of the Universe_update: The Big Void | Quantum Gravity the book | The Conservation of SpaceTime | LUFE: The Layman's Unified Field Expose` index | netart01: RealSurReal...aClone | netart02: funk'n DNA/Creation GoDNA | netart03: 9-11_remembered | netart04: Naughty Physics (a.k.a. The LUFE Matrix) | netart05: Your sFace or Mine? | netart06: Butterfly Primes | | Art Theory 101 / White Papers Index