Chapter 1: The Quest for Unification

As a theoretical physicist, my goal has been to merge the concepts of quantum theory with Einstein's Theory of General Relativity. Various approaches, like string theory and loop quantum gravity, have emerged, yet significant hurdles remain to achieve a true unification.

Einstein's theory posits that gravity is a direct result of the warping of space and time. Imagine a person lying on a mattress; their weight causes the mattress to sag. Similarly, the sun distorts the fabric of space, guiding the orbits of planets like Earth along these curves. This framework provides valuable insights into the essence of light.

While contemplating an intricate drawing, I felt compelled to rethink the very nature of light itself.

Quantum mechanics, however, presents a fascinating paradox. Although we experience life from a singular location in space, a quantum particle traverses all possible paths simultaneously, as if numerous versions of itself coexist.

For years, I found myself at an impasse in my research, struggling to advance as I had hoped. The role of the observer is intricately woven into the fabric of quantum theory, yet integrating this aspect into a quantum spacetime framework has proven to be a daunting challenge.

In late summer, I experienced an unexpected breakthrough. Beth Jacobs, a member of the Board of Governors for the New York Academy of Sciences, invited me and a few friends to her apartment in New York City to meet the Oakes twins, artists known for their unique and innovative drawing techniques. One of their works, "Irwin Gardens at the Getty in Winter" (2011), showcased on her balcony against a breathtaking New York City sunset, captured my attention and imagination.

Gazing at this meticulous drawing, I sensed a challenge from the artists to reevaluate my understanding of light. I recognized that my theories should encompass not just the physics of light, but also the manner in which light is perceived by observers. This realization aligned with my ongoing exploration of time perception and quantum uncertainty through the works of Sam Heydt, a multimedia artist whose creations evoke the bending of time.

Ryan and Trevor Oakes, now 35, have been examining the relationship between visual perception and light since their youth. After studying at The Cooper Union, they developed a groundbreaking technique for rendering images onto a concave grid using just their eyes.

Lawrence Weschler, who curated a retrospective of their work at the National Museum of Mathematics in 2014, aptly described their innovation: "They have developed one of the most intriguing breakthroughs in the depiction of physical reality since the Renaissance."

Following my introduction to the Oakes brothers, I delved deeper into their artistic methods. Their creative process—characterized by experimentation and intuition—mirrored that of top physicists, illuminating the ways in which art and science can inform one another. Both domains utilize techniques to unveil hidden truths, focusing on what may be overlooked.

Their unique approach to using a concave surface for their drawings sparked my interest. This technique reminded me of Van Gogh's later works, which employed color to create a sense of textural depth. The Oakes' method of incorporating embedded circles further intrigued me, as it expressed a multifaceted understanding of space and perception.

In the video "Math Encounters -- 'Space, Time, and the Fourth Dimension'," viewers can explore concepts that resonate with the ideas presented here.

The Oakes twins also inspired me to think about the concept of thought experiments, a technique favored by Einstein for elucidation. Their extensive experience with visual perception has allowed them to grasp the physicality of visual information.

They explain, "At any moment, our eyes can only collect light rays directed toward them. These rays collectively fan out radially from our pupils, with each ray traveling perpendicularly from an implied sphere."

To capture this geometric aspect of perception, they create their art on a concave surface, harmonizing with the natural trajectory of light rays, which makes more sense than a traditional flat canvas.

But what do the principles of physics reveal about the Oakes brothers' discoveries? A great deal, it turns out. The journey begins with James Clerk Maxwell's unification of electricity and magnetism in the 1860s, establishing that light is an electromagnetic wave traveling through space.

Equipped with this insight, a young Einstein envisioned a thought experiment: "If I chase a beam of light … I should perceive it as an electromagnetic wave at rest." This thought experiment hinged on intuition and a fundamental grasp of physics.

Einstein pondered how the world would appear if he could ride a beam of light, concluding that he would see the electromagnetic wave as stationary, revealing a paradox: according to Maxwell's theory, no light wave could ever be at rest. This paradox became central to the development of relativity theory, which asserts that the speed of light remains constant regardless of one's motion.

At the core of relativity is the understanding that space and time are unified in a four-dimensional continuum. Consequently, neither time nor space is absolute; they depend on one's velocity. Light also transcends the conventional dimensions of space and time, evolving into a four-dimensional entity. Einstein recognized that electric and magnetic fields are merely three-dimensional representations of a four-dimensional light wave.

The twins' work inspired me to visualize this concept further. Imagine dropping stones into a pond, creating circular ripples that radiate outward. A similar phenomenon occurs with light, where a source emits spherical waves. This concept aligns with the four-dimensional description of light.

To comprehend why light propagates as a spherical wave, we must invoke Einstein's theory of special relativity. Light travels through both space and time, with its movement shaped by the structure of spacetime itself.

The video "A Beginner's Guide to the Fourth Dimension" offers additional insights that complement this discussion.

As we continue to explore the implications of the Oakes brothers’ artistic techniques, it becomes apparent that their work reflects a profound understanding of the relationship between quantum mechanics and gravity. I am inspired to consider how the roles of observers—whether conscious or not—should be integrated into the study of quantum gravity.

Witnessing artists like the Oakes twins derive physical insights from their creative processes instills in me a belief that ongoing dialogue between art and science could pave the way for groundbreaking discoveries, perhaps as beautiful as their intricate drawings.