In which I string together a series of videos, links and text that use Mario as a base for Science. First is Mario and the Many World Interpretation of Quantum Physics

…So what’s this about quantum physics? Oh, right. Well, I kind of identify the branching-paths effect in the video with the Everett-Wheeler “Many Worlds Interpretation” of quantum physics. Quantum physics does this weird thing where instead of things being in one knowable place or one knowable state, something that is quantum (like, say, an electron) exists in sort of this cloud of potentials, where there’s this mathematical object called a wavefunction that describes the probabilities of the places the electron might be at a given moment. Quantum physics is really all about the way this wavefunction behaves. There’s this thing that happens though where when a quantum thing interacts with something else, the wavefunction “collapses” to a single state vector and the (say) electron suddenly goes from being this potential

Imagine you are falling. But there is no ground.

Many contemporary philosophers have pointed out that the present moment is distinguished by a prevailing condition of groundlessness.1 We cannot assume any stable ground on which to base metaphysical claims or foundational political myths. At best, we are faced with temporary, contingent, and partial attempts at grounding. But if there is no stable ground available for our social lives and philosophical aspirations, the consequence must be a permanent, or at least intermittent state of free fall for subjects and objects alike. But why don’t we notice?

Paradoxically, while you are falling, you will probably feel as if you are floating—or not even moving at all. Falling is relational—if there is nothing to fall toward, you may not even be aware that you’re falling. If there is no ground, gravity might be low and you’ll feel weightless. Objects will stay suspended if you let go of them.

If the earth stood still, the oceans would gradually migrate toward the poles and cause land in the equatorial region to emerge. This would eventually result in a huge equatorial megacontinent and two large polar oceans. The line that delineates the areas that hydrologically contribute to one or the other ocean would follow the equator if the earth was a perfect ellipsoid. However, due to the significant relief of both the continents and the ocean floor, the hypothetical global divide between the areas that hydrologically contribute to one or another ocean deviates from the equator significantly. Analogous to the well-known U.S. Continental Divide, this would be the border separating two giant hemispherical watersheds of the new circumpolar oceans. Interestingly, the highest point on this global divide would not be the highest altitude on the entire globe. The highest elevation of the global divide in the Colombian Andes would be about 12,280 meters, whereas the altitudes of the famous

Simon Faithfull's exhibition Gravity Sucks and his recent talk at the British Film Institute focuses largely around his examination of that most elementary of forces we experience. What Wikipedia calls a "consequence of the curvature of spacetime which governs the motion of inertial objects" and what we call gravity.

In what has come to be sometimes called Gravity Art, there is actually a couple of artists who have chosen to use it as their medium, often in somewhat beautiful yet futile actions, "heroic failures". Among these however, there's different directions of movement, namely down (submission) and up (escape).

The most relevant of the down-camp would probably be the late Dutch-Californian artist Bas Jan Ader whose body of work only contains a few pieces but who has significantly gained in importance as people have been re-discovering him over the last few years. Ader's gravity-related work focuses on the "The artist's body [and the way that] gravity makes itself its master" as