Sci-Ence! Justice Leak!

Quantum Physics and the DCU

Posted in comics, science by Andrew Hickey on October 12, 2008

A revised and improved version of this essay is in my book Sci-Ence! Justice Leak! – hardback, paperback, PDF

Sorry there’ve not been many comics-related posts recently, but with the exception of the last issue of Batman, which I’m waiting to review until the end of the RIP storyline, there’s not actually been a comic worth writing about since All-Star Superman ended. There’ve been plenty of decent comics, in a sort of “this is quite fun, I suppose” way, but nothing that I’ve had anything to say about. I miss 52 and Seven Soldiers

Of course if/when the Final Crisis related things get back on schedule, I’ll have a lot to say…

So I thought I’d talk about the different interpretations of quantum physics, the extent to which each of them appears to apply in the DCU, and why that leaves Hypertime as the only *actually consistent* interpretation of DCU physics.

Incidentally, when I talk about the DCU here and in other posts, I’m not talking about what’s officially ‘canonical’ as much as I’m talking about what comics I personally bother remembering. In ‘my’ DCU, no Batman story told between Alan Grant leaving and Grant Morrison coming on happened, 52 happened but Infinite Crisis didn’t, Morrison’s Doom Patrol happened but Byrne’s didn’t, and so on…

There are three major interpretations of quantum physics, which I shall now grotesquely oversimplify. All these interpretations come from a single fact, which is that the results of some experiments change depending on the results people look for. Richard Feynman once said that all quantum physics can essentially be explained by saying “Remember the double-slit experiment? It’s like that”, so I’ll talk in terms of that experiment (or, more precisely, a variant called the quantum eraser experiment ).

To oversimplify this a lot (the details are all wrong but the ideas are right – look it up if you want precision) – if you shine a light through a piece of card with two very thin slits in it, onto a screen, you get an interference pattern which can only be caused by light acting like a wave. However, if you put equipment in the slits to detect individual particles, then you get a *different pattern* which can only be explained if light is made up of particles, not waves. If you leave the equipment there, but turned off, it acts like waves again. Weirdest of all, though, if you turn the equipment on, *but don’t record the results*, or delete the results before you can look at them, it still acts like waves. In other words, behaviour of the light *in the past* is dependent on the information you know *now*.

This has been interpreted in a number of ways, but there are three interpretations that have received most publicity . The ‘orthodox’ interpretation is called the Copenhagen interpretation, and essentially says that everything exists in a fuzzy state until something observes it, which makes the universe ‘choose’ what has happened. The reason that, say, the Moon is there, according to this interpretation, is because people keep looking at it (or looking at effects it causes, like the tides). If everyone ignored the moon long enough, by this interpretation, it would go away.
More accurately, it says it makes no sense to talk about anything unless we can actually measure it. The advantages of this interpretation are that it’s parsimonious – it doesn’t require any new entities being created – and that it just takes the equations and experimental results absolutely literally. The disadvantages are that it means we can never talk about an objectively existing universe – that it denies even the existence of such a thing – and some argue that it gives an undeserved primacy to consciousness, making the universe depend on the existence of minds (though some, such as Heisenberg, would argue with this). Its detractors have characterised it as nothing more than solipsism, and it is most popular among those who think of themselves as pragmatists, who care more about the results than about what the results mean.

The best-known interpretation among the general public is the many-worlds interpretation of Everett, Wheeler and Graham, which posits that any time anything could happen in two different ways, the universe itself splits into two, with each universe being identical except for the position of one photon (or whatever). The advantages of this interpretation are that it fits all the known facts, that it does not get rid of an objectively-existing universe, that it’s easily comprehensible, and that it doesn’t make the fact of observation especially important. The disadvantage – and it is a substantial disadvantage – is that it means that in the time it took me to write this sentence, a trillion to the power of a trillion new universes were created, all absolutely indistinguishable from each other except that somewhere three galaxies away a photon hit a helium nucleus which in this universe it missed. To say the least, this seems to go against Occam’s razor. This interpretation is most popular among science-fiction fans and those who want the universe to be a more exciting and interesting place.

The third main interpretation is the hidden variable hypothesis, specifically the version advanced by David Bohm. This states that all the quantum results that look like they’re probabilistic are in fact deterministic, but controlled by some factor we don’t yet know. For various reasons that factor would have to be something ‘nonlocal’, which means in effect it would be outside of normal space-time, and it would quite possibly be impossible to measure. The advantage of this hypothesis is that it preserves a single, objectively-existing universe which isn’t dependent on our measurement, and that it suggests there’s an underlying order to the universe (the implicit assumption of most people). The main disadvantage is that it involves invoking something outside the normal universe which we can’t measure yet. It also has the disadvantage, as I’ve linked to a couple of times recently, that John Conway and another mathematician whose name I can’t remember have recently proved that the only way this can be true is if we give up the concept of free will altogether.
This interpretation is most favoured by both ultra-fundamentalist materialists who are very convinced that a totally deterministic, objectively existing measurable universe must exist, and by religious/mystical people who see the implicit order or hidden variable as being a manifestation of the will of God (although the God being talked about is not usually the god of the Abrahamic religions but some more Eastern concept like the Tao, or the Deist Nature’s God). In fact this description is rather like the description in C.S. Lewis’ The Screwtape Letters of the universe as seen by God.

All of these interpretations (plus others such as the transactional and relational interpretations, which are very close to one or more of the above) seem equally valid in our world (I just typoed that as equally valis…) and make the same predictions for every experiment we’ve thought of. So which of these hypotheses appears to be correct within the DCU?

Firstly, we appear to be able to dismiss the Copenhagen interpretation out of hand – there’s never been any mention of it in any DCU story I’ve read. However, there is an ‘out of sight, out of mind’ thing going on in the DCU, where if a character stops appearing in comics, after a while they just stop existing (like all the recent Supergirls). But that’s stretching a metaphor. We’ve never seen any evidence of the DCU behaving in a Copenhagenist manner.

[EDIT - RAB in the comments (and read the comment in question, it's a good'un) has pointed out that Limbo from Animal Man could be interpreted in a Copenhagenist way. He’s also linked to this post, which is a rather good reaction to the reintroduction of the multiverse in 52 and ties in with a lot of this stuff).

So we now turn to the many-worlds interpretation. This *has* been brought up before, in things like Peter Milligan’s rather wonderful ‘Schrodinger’s Pizza’ storyline in Animal Man (which really needs reprinting at some point). But while the DCU does currently have multiple universes, these seem to be strictly limited, and the differences between them are macroscopic rather than microscopic in nature. And also, apart from the Hypertime stories (which I’m removing from consideration here because that would be to presuppose the conclusion) most stories involving alternate realities, such as the recent Booster Gold stories or Rock Of Ages have involved an ‘incorrect’ timeline being created which is then fixed. So there is more evidence of this than there is of the Copenhagen interpretation, but it still seems fundamentally wrong in the DCU, where timelines can be altered.

Finally, there’s the Hidden Variable hypothesis. This is the one used by Grant Morrison in Animal Man, and Matt Sturges has recently used it (very much in passing) in Blue Beetle. It also fits the facts in that there *is* something outside the DC Universe affecting it – namely the various writers, artists and editors who work on the stories (unless you consider the infant universe of Qwewq to be part of the DCU of course). It seems the best-fitting of the various interpretations in many ways, and is also the one (of those three) that would allow the intelligent universe that Grant Morrison seems to be pushing for (with the hidden variable here being the DCU’s own sentience). However, as I’ve explained before, in the context of the DCU this would ultimately mean that Darkseid wins, and we all know that Darkseid doesn’t win.

So that leaves a combination of elements from the different interpretations – especially the last two – as the only way forward. It is my contention that Hypertime fits the bill, and is thus the only way to actually make sense of the various different, conflicting stories that have taken place in the DCU. More of this later, including how this ties into information theory…

Linkblogging for 09/10/08

Posted in comics, linkblogging, politics by Andrew Hickey on October 9, 2008

Abhay reviews Jonathan Ames and Dean Haspiel’s The Alcoholic. If you’re interested in Care Bear ejaculate and how it relates to the international financial crisis, this is the comic review for you.

This is really interesting – it’s the first part of what appears to be a book-length meditation on the Jon-Benet Ramsay murder, but the thing that interests me about it is its comparison between the mindsets of North Manchester and the USA from a British ex-pat living in the US – living, as I do, in Manchester with a USian ex-pat wife, the parallels are interesting. Plus, it’s just well-written.

Alix at The People’s Republic Of Mortimer sums up my thoughts on the financial problems quite well – “Oh. So massive inflation will adversely affect the savings I don’t have, while a stupendously overdue correction in the credit market will bring crashing down the prices of houses that I currently can’t afford. Right. Gosh, that’s… awful.”
Of course, it is awful for those affected, but for those at the bottom (which until last month included myself and my wife – we’ve been lucky enough to have become marginally *more* secure in the last couple of months, which is a miracle in itself) the current problems might have an upside…

Eddie Campbell’s blog has been quite extraordinarily good recently – here’s a short piece he wrote about David Foster Wallace, and about narrative – “We take part in a greater or lesser story according to our imagination, and our mind’s ability to rise above the daily transactions of survival.”

And Amypoodle over at the Mindless Ones (part two of the interview coming soon, I promise) looks at Batman 680.

A Big Finish A Week 10 – Flip-Flop

Posted in Doctor Who, politics by Andrew Hickey on October 6, 2008

I’m going to keep this one very brief – sometimes when I review one of these I’ll have more to say than other times. This time, I’m looking at a story I actually refuse to listen to a second time, so I won’t be able to go anything like as in-depth as I otherwise would.

Flip-Flop by Jonathan Morris is one of the nastiest things I’ve ever heard, yet somehow is actually considered in some way ‘good’ by many Doctor Who fans. Its high reputation comes entirely from the way it’s structured. It consists of two discs, a white and a black, which can be listened to in either order. Either way, the story is the same – the Doctor arrives on a planet, discovers that the horrible fate that has occured to it is the result of meddling in time, and goes back in time to fix it. Meanwhile, in a parallel timeline, the Doctor arrives on the same planet with a different horrible fate and goes back in time to fix *that*, and they end up in each other’s timestream, with nothing going right either way.

So far so dull – it’s adequately constructed as far as that goes, but it’s hardly the great innovation that some of the online reviews of this story make it out to be. For all that everyone talking about this says it’s incredibly tightly-plotted and cleverly done, the multiple plot-lines would have required no more work to create than the average Choose Your Own Adventure book – and even so the story can only work at all because of the massive cop-out of having both parallel Doctors decide to leave the planet and let the other Doctor sort it out, which is about as far out of character as you could get.

But leaden plotting and bad characterisation are not the world’s worst sins – I could forgive them, for the sake of the story being one that was trying to do something different, but failing. I could also forgive the heavy-handed references to It’s A Wonderful Life and Groundhog Day, Sylvester McCoy’s much-worse-than-usual performance, and even the fact that once again Big Finish have a female leader who is an obvious Thatcher stand-in (I hate Thatcher as much as the next man – if the next man is Arthur Scargill – but even I’m sick of seeing these stereotypes with their whiff of misogyny). These are all faults of 99% of genre fiction, and would merely put Flip-Flop into the category of tired filler.

What makes me actively loathe this story though – to the point where I find it slightly puts me off Big Finish’s other work – is the fact that one of the discs is essentially propaganda for the BNP (or at the very worst, ripped straight from their fellow-travellers at the Daily Express).

The story, which I presume is meant to be ‘satire’ (though I always understood the purpose of good satire to be telling truth to power, rather than exerting power over the powerless) is – and this is not an exaggeration – that blind slug-like aliens have come to a planet and claimed minority status, overwhelmed the ‘native population’, insisted on special laws for themselves because they ‘feel threatened’ and made all the white people humans their slaves. They’ve also banned Christmas, because it’s offensive to their religion. Saying anything bad about them is a hate crime.

In short, it’s merely a recitation of Express-leader lies about asylum seekers and Muslims, placed in a science-fictional setting. It’s absolutely revolting, and every single person involved should be ashamed of themselves.

The Kingdom Of Hypertime Is Within You

Posted in comics by Andrew Hickey on October 4, 2008

I’m planning a series of posts on what a few of us are calling ‘the Prismatic Age’ of comics, and specifically about the idea of Hypertime, a Grant Morrison concept that to my mind is one of the most innovative ever to be brought into mainstream comics.

Hypertime was introduced in a miniseries called The Kingdom, by Mark Waid and various artists. The Kingdom has a horrible reputation among comic fans, and it doesn’t really deserve it. The main reason for this terrible reputation is that it was promoted as a sequel to Kingdom Come. Kingdom Come was a graphic novel by Waid and Alex Ross that was regarded at the time of its publication in the mid-90s as being something new and exciting and good, but it hasn’t aged at all well. It’s overblown, stodgy, and full of self-importance – it cries out “Look, superheroes are Serious Important Business! Look, I can quote from the Book Of Revelation! Doesn’t Superman look dignified with sideburns?” The best thing about it is that it managed to get in a reference to a Dukes Of Stratosphear song (Brainiac’s Daughter)

The Kingdom, on the other hand, is unabashed fun. In fact, it looks in retrospect very much like a proto-Seven Soldiers – or at least a halfway house between DC’s ‘annual events’ and Morrison’s mega-event – there’s a pair of bookends (plus a #0 story) and five one-shots, each focusing on a different new character (including a ‘son of the Bat’ who bears more than a passing resemblance to Damien Wayne) which don’t really connect up in any way but are all needed in the end. It’s far more about introducing new ideas than it is about rehashing the old. The one-shots are set in the world of Kingdom Come, and so are fairly downbeat in tone, as is the framing story (about someone going back in time and killing Superman over and over again, every day), but the story’s told with a lightness of touch that was missing from the original story. It’s aged a hell of a lot better, but anyone who wanted a second Kingdom Come definitely didn’t get it, while anyone who didn’t want that probably wasn’t reading it in the first place.

But some of the criticism of The Kingdom is fairer, at least in retrospect, because it was not primarily a story as much as it was a way of introducing a single concept into the DC Universe, but that concept has gone almost completely unused ever since.

At the time, DC was very proud for some reason of having a fixed, immutable, timeline with no multiple realities, in which the continuity was invariant – as if this was in some way a good idea for a supposedly fantastical universe. There was even a team of superheroes called the Linear Men (and can you imagine a duller name than that? They were created by Dan Jurgens, as I’m sure no-one is shocked to know) who were dedicated to preserving the timeline and preventing interesting stories from happening by ensuring there was no deviation.

The Kingdom introduced Hypertime, which was an attempt to do away with all that nonsense and also to explain away any inconvenient continuity errors. But it was much more than that. An idea from Grant Morrison, named by Mark Waid, Rip Hunter explains Hypertime in The Kingdom as follows:

Hypertime. The vast, interconnected web of parallel time-lines which comprise all reality… The possibilities of hypertime are infinite and humble the power of any man… The problem with the linear men is that they’re too linear. They’re vested in enforcing an inflexible view of reality… they think orderly, catalogued continuity is preferable to a kingdom of wonder.

Events of importance often cause divergent ‘tributaries’ to branch off the main timestream… on occasion, those tributaries return — sometimes feeding back into the central timeline, other times overlapping it briefly before charting an entirely new course

Now one thing I dislike about this description is that it still refers to one central timeline – it still gives one view of reality primacy – which is not something I’ve got from the Morrison interviews where he talks about this. In fact, without the idea of a central timeline Hypertime can be quite a neat way of reconciling two of the different interpretations of quantum physics – the Copenhagen interpretation (which suggests that there is no objective reality, just the reality that we measure) and the Everett-Wheeler-Graham many-worlds interpretation (in which there are an infinite, infinitely-replicating, number of nearly-identical parallel universes). If you assume that each individual’s perception is a separate hypertimeline, which is in turn a parallel universe in the EWG model, you get a universe where measuring reality becomes the act of splitting or merging hypertimelines. This actually is as consistent with the data as either of those two – Wigner’s Friend exists in a separate hypertimeline from Wigner, but the two timelines overlap whenever the two are in contact.

(Of course we know now that in the DCU the hidden variable interpretation is true, but that could probably be brought in too with a bit of fudging…)

I’m not explaining this very well, but I’m planning to do several more posts on this, and how this idea has fed into 52, Seven Soldiers and Final Crisis. I think Hypertime has been misunderstood to a great extent by most comic fans, who see it as ‘confusing’ or an excuse for continuity errors. I think though it is the most perfect representation of a set of ideas Grant Morrison has been working with at least since Animal Man I’ve got a lot more to say about this, and shall probably continue tomorrow…

Albums You Should Own: Candypants by Candypants

Posted in music by Andrew Hickey on October 3, 2008

Before I begin, to those who’ve come here looking for comics content, I’m currently in the middle of a big post about Batman, RIP, and another one on The Kingdom, but I’m afraid the probably won’t get finished for a day or two. It’s been a more-than-usually busy week for me, but I’ve got a long weekend off and I’m hoping to get a lot posted. In the meantime, here’s a music post.

I generally loathe ‘social networking’ sites, being as I am a grumpy curmudgeon who prizes content over form and has few real friends. But my band, The National Pep (currently on an extended hiatus, but you really should listen to our music – or, preferably, buy it) did set up a MySpace account a few years ago, and that had one unanticipated benefit – I discovered tons of new music through one single page on MySpace (which appears now to be defunct), the “Brian Wilson’s Band’s Colleagues” page.

Some of my favourite music of the late 90s/early 2000s came from a very small, interconnected, group of bands all based in LA. The Wondermints made wonderful powerpop records that sound like an imaginary Elvis Costello/Burt Bacharach collaboration (rather than like the rather underwhelming actual collaboration that those two had when they were both significantly past their prime). The Negro Problem (and, solo, their lead singer Stew) recorded baroque pop masterpieces with hilarious and touching lyrics, while Baby Lemonade made Cheap Trick/Queen style guitar pop.

However, that musical scene seems to have peaked around 2002, partly because they came to the attention of their musical heroes – the Wondermints have been the core of Brian Wilson’s band for ten years now, and consequently haven’t made much music of their own, while Baby Lemonade toured as Arthur Lee’s backing band until Lee’s death, and now rather sadly tour as a tribute band. (Stew, on the other hand, who was/is the strongest songwriter of the bunch by a long way, has gone on to write and perform in the Tony award winning musical Passing Strange).

But those three bands were just the most prominent members of a huge, thriving scene around the same time. There must have been something in the water in LA about ten years ago, because there were/are a *huge* number of good bands, often featuring many of the same people (multi-instrumentalist Probyn Gregory and percussionist Nelson Bragg must be in thirty bands between them). The Now People, The Mello Cads, Cosmo Topper, Chewy Marble… I’d heard *of* many of these bands, but until they were linked on one MySpace page with easily accessible sound files, I had no idea how good they were. I also subscribed to eMusic at that time, so I was able to actually get hold of many of the albums. At least three of the best albums I’ve listened to in the last year (Kristian Hoffman’s &, the Now People’s Last Great Twentieth Century Love Affair and Candypants by Candypants) were ones I discovered through that site, along with a lot of merely ‘very good’ music. Of those three, & is probably the best, but Candypants is my favourite.

The first track I heard by Candypants is a non-album single, Nerdy Boys, which is still one of my very favourite singles of all time. Over a sixties-sounding hammond riff, the lead singer, Lisa Jenio (also the flautist in The Negro Problem and lead singer of The Stool Pigeons, who made two excellent albums of punked-up Merseybeat covers), sings the chorus:

Just four little eyes and I’m weak in the knees
I wanna live his junior high fantasies
Just one giant brain, I’m his collectible toy
I’m just a sucker for a nerdy boy

The funniest thing on the record is the ‘sexy’ spoken outro, with lines like “No, I don’t think your butt is pasty… it reminds me of the sands of … Tattooine”; but what made me fall in love with the record was one verse:

He thinks DNA is pretty
CGI makes him giddy
He’ll only listen to the mono version of Surf City

Which is not only a rather acutely observed line (rather than just using lazy ‘nerd’ cliches) but also contains a reference that practically nobody would get (the chorus to Proto-Pretty, the Wondermints’ debut single, starts “The DNA is pretty”) but that works well in context. That alone was enough to make me download (legally, it’s on eMusic) the band’s eponymous album (which I just noticed clicking through was released eight years ago today).

Musically, the album is mostly bubblegum pop by way of punk – there’s a lot of guitar stompers and hammond organ – but there’s quite a lot of variation, with songs like Cherry Picker sounding more like Roger Nichols style soft pop. Most of it’s insanely catchy, equal parts Blondie, the Zombies and the Monkees, but the real attraction is Jenio’s lyrics and vocals.

A lot of the songs are, in one way or another, about sex (as one might imagine from someone who is, or claims to be, an ex-editor of Barely Legal (not a periodical with which I am familiar – I imagine it is to do with interesting loopholes that have arisen in recent litigation? )) but Jenio is one of the very few female singer/songwriters who sing about sex as something fun, rather than as a means of titillating male listeners. Songs like Beat Head, Mandelay and Dishy are far sexier than almost any other music I’ve heard, because they’re clearly sung by someone who is ‘sex-positive’ (horrible term but I can’t think of a better one), but intelligent, in control, and witty as hell.

Jenio’s lyrics cover a lot of different styles, from fairly typical love songs (Fake It and Slayer, actually probably the two strongest songs on the album) to pure fun like the guitar stomper I Want A Pony:

Mom I wanna be an astronaut, buy me a rocket ship so I can sail to Mars
I don’t wanna fly an Apollo, buy me the Enterprise or I don’t wanna go
Mom I wanna be the president, buy me votes, pay my rent
Or maybe writing novels would be fun, mommy hire a novelist to write me one

Mom I wanna be a movie queen, buy me the cover of Premiere magazine
I’m way funnier than Jay Leno, buy me a motorcycle and a TV show
Can a model win a Nobel Prize? Buy me brains, liposuck my thighs
Hurry hurry I don’t have all day, if you love me mommy you’ll do what I say
Pony up!

I want a pony
I want a pony
I want a pony
I want a pony
Now!

Other than this one album, Candypants have only released two singles, the aforementioned Nerdy Boys (on a compilation called All Right, Let’s Hear It For The Girls which is also on eMusic) and a Christmas single The Happiest Time Of The Year produced by the Wondermints’ Darian Sahanaja (which they usually put up for download from their myspace page around Xmas every year). But this small output (so far – the band are still active and I’ve had some brief email conversations with Lisa which suggest she’s planning to record more soon) doesn’t have a single duff track in the lot.

(Quick warning if you plan to download the album from eMusic though – the CD had 14 very short silent tracks before the last hidden track. All 14 of those are on the version on eMusic, which means unless you download the tracks separately you’ll be paying a lot for silence…)

Linkblogging Special

Posted in comics, linkblogging by Andrew Hickey on October 1, 2008

Interblog Circle Jerk: The Andrew Hickey Interview is now up at Mindless Ones… There might be a second half over here next week…

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