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Routledge eBooks

Quantum Duration

Paul Thomas

Published Oct 20, 2025• 0 citations
Publisher

Abstract

The influence of cultural and scientific events on artists’ styles has long intrigued theorists and historians, especially concerning the art movements of the 20th century in Europe. One such connection often discussed is the relationship between Einstein’s theory of relativity and Picasso’s exploration of space and time. Scholars such as Henderson (1983) and Miller (2001) have documented these connections, speculating on whether Picasso drew inspiration from the scientific community of his time or whether his work shaped perceptions of four-dimensional space. While such conjectures are insightful, they also prompt us to consider the broader range of influences affecting artists at any given moment.

DOI
10.4324/9781003683285-6

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The influence of cultural and scientific events on artists’ styles has long intrigued theorists and historians, especially concerning the art movements of the 20th century in Europe. One such connection often discussed is the relationship between Einstein’s theory of relativity and Picasso’s exploration of space and time. Scholars such as Henderson (1983) and Miller (2001) have documented these connections, speculating on whether Picasso drew inspiration from the scientific community of his time or whether his work shaped perceptions of four-dimensional space. While such conjectures are insightful, they also prompt us to consider the broader range of influences affecting artists at any given moment.
Umberto Boccioni was a central figure in the Futurist movement, distinguished by his unique ability to grasp the emergent consciousness of his time—both its promises and perils. His role in shaping the Futurist manifestos, which aimed for a radical overhaul of Italian art, is well documented. However, for Boccioni, this shift was not solely political; it was deeply philosophical, particularly in its engagement with the concept of time. His writings and artworks were influenced by the philosophy of Henri Bergson, and his work fused new conceptualisations of intuition, matter and duration (i.e., dimensional time). While Bergson’s ideas permeated Boccioni’s manifestos and other writings, Boccioni’s work was not directly connected to contemporary physics. Rather, Boccioni and his Futurist peers drew heavily on Bergson’s philosophical theories. As mentioned in a previous chapter, the resulting work anticipated the evolution of quantum mechanics.
During the week of September 15, 1941, Niels Bohr and Wemer Heisenberg met secretly in Copenhagen, Denmark. These Nobel physicists worked together in the 1920s to construct a new quantum physics. The Copenhagen Interpretation consisted of statistical quantum mechanics, the Uncertainty Principle, and Complimentarity, which revolutionized perceptions of atomic phenomena and challenged the scientific community with their conceptions of classical Newtonian causality. At the time of the meeting, Germany occupied Denmark and Heisenberg led the German effort to develop practical applications of nuclear fission. Bohr’s and Heisenberg’s meeting ended with anger and frustration leading to the separation, personally and professionally, of these two men. Owing to a lack of documentation and the varying opinions over the events of 1941, I propose to use the scientific principle of uncertainty, developed by Heisenberg in 1927, as a metaphor to broaden our understanding of the meeting between these men. Instead of using the two pairs of conjugate variables, as defined by the Uncertainty Principle, I will use four-square variables that allows for an alternate interpretation of the 1941 Bohr-Heisenberg meeting. The four-square variables involve aspects of Werner Heisenberg’s life. These are the development of his scientific work, the formation of the scientific community through collaboration, the social, cultural, and political context of Germany, and the personal and professional relationship between other physicists and between Bohr and Heisenberg themselves. My thesis seeks to determine what was said between these men that led to the disruption to their relationship. My conclusions limit the indeterminacy of the event and brings a level of acceptable uncertainties that illustrate above all that Heisenberg was a man of Germany.
According to the thesis presented here, the correct model of reality should be based on two major discoveries of the 20th century: Einstein's discovery that reality is four-dimensional (1905) and de Broglie's wave structure of matter (1924). In 1905, Einstein did not have all the information necessary to construct the proper model of relativity; therefore, by publishing the Theory of Relativity without knowledge of the wave structure of matter, he made a kind of a false start, which resulted in the excessive complexity and unintuitive nature of the Theory of Relativity. Including the wave nature of matter in the basic assumptions of the model of reality allows to greatly simplify the model, expand its capabilities compared to the model currently in force, and remove many problems specific to the Theory of Relativity. In this work, using the trivial example of waves on the surface of water, I derive relativistic relationships and give an unambiguous and precise interpretation of basic concepts like time, space, relativity of motion, and simultaneity of events. The new definition of time- and space dimensions also allows to define the proper time of particles directly as the number of de Broglie’s wave periods for both relativistic physics and Quantum Mechanics.