12/17/2020

the “Magic Number” That Shapes the Universe


Physicists Nail Down the “Magic Number” That Shapes the Universe

Reprinted with permission from Quanta Magazine’s Abstractions blog.

A team in Paris has made the most precise measurement yet of the fine-structure constant, killing hopes for a new force of nature.Computational Physics Inc.

As fundamental constants go, the speed of light, c, enjoys all the fame, yet c’s numerical value says nothing about nature; it differs depending on whether it’s measured in meters per second or miles per hour. The fine-structure constant, by contrast, has no dimensions or units. It’s a pure number that shapes the universe to an astonishing degree—“a magic number that comes to us with no understanding,” as Richard Feynman described it. Paul Dirac considered the origin of the number “the most fundamental unsolved problem of physics.”

Numerically, the fine-structure constant, denoted by the Greek letter α (alpha), comes very close to the ratio 1/137. It commonly appears in formulas governing light and matter. “It’s like in architecture, there’s the golden ratio,” said Eric Cornell, a Nobel Prize-winning physicist at the University of Colorado, Boulder and the National Institute of Standards and Technology. “In the physics of low-energy matter—atoms, molecules, chemistry, biology—there’s always a ratio” of bigger things to smaller things, he said. “Those ratios tend to be powers of the fine-structure constant.”

“A factor of three is a big deal. Let’s not be shy about calling this a big accomplishment.”

The constant is everywhere because it characterizes the strength of the electromagnetic force affecting charged particles such as electrons and protons. “In our everyday world, everything is either gravity or electromagnetism. And that’s why alpha is so important,” said Holger Müller, a physicist at the University of California, Berkeley. Because 1/137 is small, electromagnetism is weak; as a consequence, charged particles form airy atoms whose electrons orbit at a distance and easily hop away, enabling chemical bonds. On the other hand, the constant is also just big enough: Physicists have argued that if it were something like 1/138, stars would not be able to create carbon, and life as we know it wouldn’t exist.

Physicists have more or less given up on a century-old obsession over where alpha’s particular value comes from; they now acknowledge that the fundamental constants could be random, decided in cosmic dice rolls during the universe’s birth. But a new goal has taken over.

Physicists want to measure the fine-structure constant as precisely as possible. Because it’s so ubiquitous, measuring it precisely allows them to test their theory of the interrelationships between elementary particles—the majestic set of equations known as the Standard Model of particle physics. Any discrepancy between ultra-precise measurements of related quantities could point to novel particles or effects not accounted for by the standard equations. Cornell calls these kinds of precision measurements a third way of experimentally discovering the fundamental workings of the universe, along with particle colliders and telescopes.

In a new paper in Nature, a team of four physicists led by Saïda Guellati-Khélifa at the Kastler Brossel Laboratory in Paris reported the most precise measurement yet of the fine-structure constant. The team measured the constant’s value to the 11th decimal place, reporting that α = 1/137.035999206.

With a margin of error of just 81 parts per trillion, the new measurement is nearly three times more precise than the previous best measurement in 2018 by Müller’s group at Berkeley, the main competition. (Guellati-Khélifa made the most precise measurement before Müller’s in 2011.) Müller said of his rival’s new measurement of alpha, “A factor of three is a big deal. Let’s not be shy about calling this a big accomplishment.”

Saïda Guellati-Khélifa in her laboratory in Paris.Jean-François Dars and Anne Papillaut

Guellati-Khélifa has been improving her experiment for the past 22 years. She gauges the fine-structure constant by measuring how strongly rubidium atoms recoil when they absorb a photon. (Müller does the same with cesium atoms.) The recoil velocity reveals how heavy rubidium atoms are—the hardest factor to gauge in a simple formula for the fine-structure constant. “It’s always the least accurate measurement that’s the bottleneck, so any improvement in that leads to an improvement in the fine-structure constant,” Müller explained.

The Paris experimenters begin by cooling the rubidium atoms almost to absolute zero, then dropping them in a vacuum chamber. As the cloud of atoms falls, the researchers use laser pulses to put the atoms in a quantum superposition of two states—kicked by a photon and not kicked. The two possible versions of each atom travel on separate trajectories until more laser pulses bring the halves of the superposition back together. The more an atom recoils when kicked by light, the more out of phase it is with the unkicked version of itself. The researchers measure this difference to reveal the atoms’ recoil velocity. “From the recoil velocity, we extract the mass of the atom, and the mass of the atom is directly involved in the determination of the fine-structure constant,” Guellati-Khélifa said.

In such precise experiments, every detail matters. Table 1 of the new paper is an “error budget” listing 16 sources of error and uncertainty that affect the final measurement. These include gravity and the Coriolis force created by Earth’s rotation—both painstakingly quantified and compensated for. Much of the error budget comes from foibles of the laser, which the researchers have spent years perfecting.

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For Guellati-Khélifa, the hardest part is knowing when to stop and publish. She and her team stopped the week of February 17, 2020, just as the coronavirus was gaining a foothold in France. Asked whether deciding to publish is like an artist deciding that a painting is finished, Guellati-Khélifa said, “Exactly. Exactly. Exactly.”

Surprisingly, her new measurement differs from Müller’s 2018 result in the tenth digit, a bigger discrepancy than the margin of error of either measurement. This means—barring some fundamental difference between rubidium and cesium—that one or both of the measurements has an unaccounted-for error. The Paris group’s measurement is the more precise, so it takes precedence for now, but both groups will improve their setups and try again.

Though the two measurements differ, they closely match the value of alpha inferred from precise measurements of the electron’s g-factor, a constant related to its magnetic moment, or the torque that the electron experiences in a magnetic field. “You can connect the fine-structure constant to the g-factor with a hell of a lot of math,” said Cornell. “If there are any physical effects missing from the equations [of the Standard Model], we would be getting the answer wrong.”

Instead, the measurements match beautifully, largely ruling out some proposals for new particles. The agreement between the best g-factor measurements and Müller’s 2018 measurement was hailed as the Standard Model’s greatest triumph. Guellati-Khélifa’s new result is an even better match. “It’s the most precise agreement between theory and experiment,” she said.

And yet she and Müller have both set about making further improvements. The Berkeley team has switched to a new laser with a broader beam (allowing it to strike their cloud of cesium atoms more evenly), while the Paris team plans to replace their vacuum chamber, among other things.

What kind of person puts such a vast effort into such scant improvements? Guellati-Khélifa named three traits: “You have to be rigorous, passionate and honest with yourself.” Müller said in response to the same question, “I think it’s exciting because I love building shiny nice machines. And I love applying them to something important.” He noted that no one can single-handedly build a high-energy collider like Europe’s Large Hadron Collider. But by constructing an ultra-precise instrument rather than a super-energetic one, Müller said, “you can do measurements relevant to fundamental physics, but with three or four people.”

Natalie Wolchover is a senior writer and editor at Quanta Magazine covering the physical sciences.

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Larry David and the Game Theory of Anonymous Donations

What’s intriguing about anonymous giving, and other behaviors apparently designed to obscure good traits and acts, like modesty, is that it’s “hard to reconcile with standard evolutionary accounts of pro-social behavior.”Photograph by David Hume Kennerly / Getty

In a Curb Your Enthusiasm episode from 2007, Larry David and his wife Cheryl and their friends attend a ceremony to celebrate his public donation to the National Resources Defense Council, a non-profit environmental advocacy group. Little does he know that the actor Ted Danson, his arch-frenemy, also donated money, but anonymously. “Now it looks like I just did mine for the credit as opposed to Mr. Wonderful Anonymous,” David tells Cheryl. David feels upstaged, as if his public donation has been transformed from a generous gesture to an egotistical one. Cheryl says, about Danson, “Isn’t that great? He donated the whole wing. Didn’t want anybody to know.” “I didn’t need the world to know either!” David says. “Nobody told me I could be ‘anonymous’ and tell people!” He would have done it Danson’s way, he says, but, realizing the contradiction, he fumes, “You can’t have it halfway! You’re either anonymous, or you’re not.” What Danson did, David concludes, is “fake philanthropy and faux anonymity!”

I thought of this scene after reading a 2018 study in Nature Human Behavior. “People sometimes make their admirable deeds and accomplishments hard to spot, such as by giving anonymously or avoiding bragging,” write the authors—Moshe Hoffman, Christian Hilbe, and Martin A. Nowak, evolutionary biologists from Harvard University and the Institute of Science and Technology Austria. But if “we give to gain reputational benefits, why would we ever wish to hide the fact that we gave?”

Danson’s anonymity seems calculated despite his profession of noble intent.

The answer to this question may seem less mysterious for anyone who’s seen that Curb episode, “The Anonymous Donor.” We “hide” the fact that we gave precisely for the reputational benefits. For example, at the ceremony, when Danson pops over to David, who’s chatting with then-California Senator Barbara Boxer, she calls Danson a “hero” and stands in awe of the altruism of his “anonymous” donation. Danson playfully shushes her—he’s meant to have only told one or two people but everyone seems to know. David can’t believe it, and later resolves to always donate anonymously for the sake of his reputation.

The episode hits on exactly what Hoffman, Hilbe, and Nowak describe in their paper. “Donations are never fully anonymous,” they write. “These donations are often revealed to the recipient, the inner circle of friends or fellow do-gooders,” and these “few privy observers, in turn, do not only learn that the donor is generous” but are “also likely to infer that the generosity was not motivated by immediate fame or the desire for recognition from the masses…”—exactly what everyone seemed to figure was true of David, to his chagrin.

What’s intriguing about anonymous giving, and other behaviors apparently designed to obscure good traits and acts, like modesty, is that it’s “hard to reconcile with standard evolutionary accounts of pro-social behavior,” the researchers write. Donations fall under a form of cooperation called “indirect reciprocity.” “Direct reciprocity is like a barter economy based on the immediate exchange of goods, while indirect reciprocity resembles the invention of money,” Nowak wrote in his highly cited 2006 paper “Five Rules for the Evolution of Cooperation.” “The money that fuels the engines of indirect reciprocity is reputation.” Donation evolved, in other words, because it granted a good reputation, which helped humans in securing mates and cementing alliances. But if that’s true, how did the practice of anonymous giving arise? The title of the new paper suggests a solution: “The signal-burying game can explain why we obscure positive traits and good deeds.”

The signal-burying game is one of the latest examples of scientists gaining insight into human behavior from game theoretic models and signalling theory. These games, the authors write, make sense of “seemingly counterintuitive behaviors by carefully analyzing which information these behaviors convey in a given context.” Geoffrey Miller, an evolutionary psychologist at the University of New Mexico, said on Sam Harris’ podcast, Making Sense, “Signalling theory is probably the part of game theory I use most often. The idea there is: How do you credibly demonstrate what kind of organism you are through the signals you give out? And what makes those signals honest, and hard to fake, rather than easily faked, like cheap talk?”

In the signal-burying game, a sender and a receiver pair up randomly, and are rewarded for the kind of match that is made. There are three types of senders (or donors)—low, medium, and high—and two types of receivers—weakly selecting and strongly selecting, or weak and strong for short. A strong receiver corresponds to one of the donor’s close friends or a fellow altruist, and a weak receiver to a member of the general public. The best payoff results from a strong receiver partnering with a high sender, while the worst payoff results from a weak receiver partnering with a high sender.

However, the players know their own type but not each other’s. So the sender aims for an optimum pairing by choosing the kind of signal to send, and the receiver chooses whether to partner with the sender based on the signal. The sender can choose to reveal their type by the costliness of their signal (the donation amount) and how it’s sent (buried or clear, anonymous or public), or whether they send one at all (for simplicity, the authors assume low senders can’t signal, because the cost is prohibitive). Clear signals are always spotted by strong and weak receivers. Buried signals are more likely to be revealed by receivers, and tagged as buried, if they’re sent by a high sender. The end game is for the players to partner up for “some economic interaction,” the authors write. The payoffs for each player in that interaction depend on the sender-receiver types paired (high sender, strong receiver, for example), not the signals sent and received. Senders always want to partner up, no matter the receiver, since the payoff is always positive, but “strong receivers get a positive payoff only from interacting with high senders, and weak receivers get a positive payoff only from interacting with high or medium senders.”

In their paper, Hoffman, Hilbe, and Nowak show the conditions under which signal-burying can be maintained. “First, high senders need to prefer sending a buried signal to a clear signal,” they write. “In equilibrium, burying allows high senders to gain access to some strong receivers (who would have rejected the clear signal but accept buried signals when they are revealed). However, burying also causes high senders to lose some weak receivers (who would have accepted the clear signal, but now may fail to notice the buried signal).” Second, medium senders need to prefer signalling clearly over burying. Third, medium and high senders need to be willing to pay the signalling cost.

David is a medium sender. He tries to signal his wealth, generosity, and public concern by publicly incurring a substantial cost via donation to an important cause, like protecting the environment. In their paper, the authors suggest that burying this signal—anonymizing the donation—is another way to signal the same thing, but in a way that’s harder to fake, or more difficult for receivers to find dishonest. Their explanation of why someone like Danson would obscure his good deed “is based on the intuition that making a positive signal harder to spot can serve as a signal in itself,” they write. By burying it, Danson may be showing that he doesn’t care about wide public recognition, even if it would come off as impressive; or, “alternatively, burying may also signal confidence that receivers are liable to find out anyway.”

Part of what’s so amusing about the “The Anonymous Donor” is that, to David, Danson’s anonymity seems calculated despite his profession of noble intent. “I kept my name off because it’s the exhibit, it’s the issue, that needs to stand forward, not me,” he tells Senator Boxer. Perhaps it’d be cynical to assume that anonymous donors are all as covertly egotistical as Danson seems. This year, at least 17 donations in the United States of more than $10 million were given anonymously. But these signal buriers aren’t necessarily being shrewd about their reputation, the authors write. Self-effacing strategies are not necessarily consciously chosen, and can become natural and stable in a population if they prove adaptive, “as is arguably the case for our ideologies, tastes and emotions, including our artistic sense or moral intuitions related to anonymous giving.”

Brian Gallagher is an associate editor at Nautilus. Follow him on Twitter @bsgallagher.

This classic Facts So Romantic post was originally published in June 2018.

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Facts So Romantic

The Problem with a New Study on Mentorship in Science

Arguably the best prescription to improve the situation facing women in science is for there to be more women in science.Oleg Golovnev / Shutterstock

The increasing visibility of women in leadership roles is one of the few success stories in the struggle for equality in science. But a new study, which connects how often scientists’ later publications get cited with the gender of their early coauthors, threatens to throw cold water on even that modest success. The authors, computer science and public policy researchers at New York University Abu Dhabi, two of whom are women, claim the evidence is clear that having women as mentors is harmful to their mentees’ long-term citation rates. The paper, published in Nature Communications, goes on to suggest that working with senior women coauthors is perhaps best avoided, especially by junior women scientists, because it could leave a stain that marks a researcher for her academic life and diminishes her overall “scientific impact.” Diversity policies specifically “promoting female-female mentorships, as well-intended as they may be,” the authors write, “could hinder the careers of women who remain in academia in unexpected ways.”

It would take a stronger word than “controversial” to describe this paper adequately, in part because the scientists in its target audience are also its subjects. An open letter with 17,000 likes on Twitter called for it to be retracted “for the good of the global scientific community.” Scientists across disciplines have threatened to stop reviewing for the journal. Many have also pushed back against calls for retraction, recommending that comments on the paper’s alleged flaws be submitted to the journal instead. And this idea has, of course, itself received criticism for being an ineffective half-measure. (The journal’s editors have added a note that they are “investigating the concerns raised” by the paper and planning an editorial response.)

To recap where things stand in the year 2020: For a variety of reasons, including cultural and structural impediments, far more men than women today have careers in science, technology, engineering, and mathematics (STEM). In the United States, only one in three bachelor’s degrees in physical sciences, engineering, and computing go to women, and fewer than one in five doctoral degrees in those fields. This can create a feedback effect: the fewer women there are, the harsher the environment can be for those who remain. Women in male-dominated scientific fields are subject to insults and abuses ranging in severity from subtle verbal cues, like their employers using male pronouns to refer to potential new hires, to outright sexual harassment and employment discrimination. Even once established in their careers, female academics are paid less than their male counterparts, cited less often, and expected to do more time-consuming service work, like participating in committees. Recent research has shown that female mentors may help address some—but certainly not all—of these problems. Contact with a woman in a more advanced role inoculates younger women against threats to their scientific identity and reinforces that perhaps they, too, can thrive in science.

The paper’s advice could even make matters worse.

According to the new mentorship study, though, this may come at a cost to their careers. The authors considered a database of over 200 million scientific publications from which they identified 3 million mentor-mentee relationships, defined by one coauthor being within the first seven years of their career and another being outside that period. Then they measured the subsequent publication impact of the mentees according to how often their papers were cited on average. Using a matching algorithm, they found (among other things) that, all else being equal, a scientist’s impact was smaller the more women they had as mentors. (Using similar methods, two of the three authors, in a 2018 study, found that ethnic diversity among research collaborators positively affected their scientific impact.)

Critics have highlighted many potential issues with the mentorship study. There is a definitional problem: Equating mentorship with coauthorship gives an incomplete picture that ignores the mentoring work not involving publications done by women in academia. There are data issues: The database encompasses over 200 years of publications, so it likely reflects gender bias that’s (hopefully) less strong than it once was. More notably, it doesn’t actually include gender identity, so the study used a machine-learning approach to discern gender based on authors’ first names; (as someone whose name comes up as 53 percent likely to be male, according to the algorithm, I may be especially sensitive to this point.) The paper also suggests a causal link between citation rates and mentors’ gender, meaning an individual can improve their expected impact by choosing a male mentor over a roughly equivalent female one. But the data are purely observational, allowing for many other possible explanations for the observed association.

The study controls for several possibly confounding variables: mentors’ citation impact (female mentors themselves would historically be associated with lower citation rates), number of mentors for a given mentee, year of first publication, rank of the mentee’s degree-granting institution, scientific discipline, and others. So, while not being a randomized controlled trial, it perhaps comes about as close as possible to establishing that causal link from the historical record.

What’s upset many scientists about the study is not so much its methodological flaws, nor the finding that the above causal link exists, but rather the hinted-at conclusion for what should be done about it. It’s plausible that coauthoring with female mentors could put a dent in a scientist’s citation numbers for the same reason that being a woman puts a dent in them—bias against women within the academic community. So, it may seem pragmatic to avoid coauthoring too much with women. But this represents a surrender to sexism and a cynical acceptance that such bias should be taken as a given.

It’s also not a conclusion that follows immediately from the data analysis of the paper. Instead, it’s a policy-minded interpretation and recommendation that reflects a particular worldview. As I argued recently in Nautilus, there is an illusion that’s long plagued science—linked to the eugenics movement and the ideas of Francis Galton, the founder of Nature—that objectivity in statistical analysis confers objectivity in interpretation. What’s being measured may be a fact of the world, but what it implies for our decision making depends heavily on our perspective. 

For example, if you cut out the abstract and conclusion, the Nature Communications paper could have easily been titled, “Evidence for gender bias in citation rates for senior and junior coauthors in science publications.” That is to say, the paper’s findings are as consistent with a different recommendation than the authors offered—that citation bias extends further than we might previously have thought, and we should work to root out this bias against women mentors and their mentees.

By making it more difficult for women to recruit any coauthors—a crucial ingredient for their career success—the paper’s advice could even make matters worse. As a biologist at McGill University put it, “Imagine if there was a study that found evidence of bias against women in grant review and concluded that, based on that, universities shouldn’t hire female faculty. That’s what this Nature Comms paper does.”

What’s more, by including only the women in science who successfully published papers, the study elides the fact that too few women make it that far because many find academic science inhospitable. Strategically choosing a male coauthor instead of a female one might never have been an option. It’s the equivalent of studying whether milk pasteurization harms the immune systems of children without mentioning the many children before pasteurization was invented who didn’t live long enough to be studied.

When toxic work environments, implicit bias, and a host of other obstacles no longer cause so many women to leave science, we should revisit the question of how best to divvy up mentoring responsibilities. In the meantime, arguably the best prescription to improve the situation facing women in science is for there to be more women in science.

Aubrey Clayton is a mathematician living in Boston and the author of the forthcoming book Bernoulli’s Fallacy.

 

http://nautil.us/blog/physicists-nail-down-the-magic-number-that-shapes-the-universe

 

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12/16/2020

Les énigmes, les mannequins, la mélancolie de Giorgio De Chirico


Les énigmes, les mannequins, la mélancolie de Giorgio De Chirico

Dans le musée de l’Orangerie, tu découvres les peintures et les dessins de Giorgio De Chirico (1888-1978), de Carlo Carrà (1881-1966), de Giorgio Morandi (1890-1964). Un ensemble de documents (revues, photographies, ouvrages) issus d’un fonds de l’Archivio dell’Arte Metafisica complète la présentation intellectuelle et culturelle de la carrière de Chirico. L’exposition, terminée pendant le confinement à Paris, sera présentée à la Kunsthalle de Hambourg.


Giorgio De Chirico. La peinture métaphysique. Musée de l’Orangerie. Parcours visuel accessible en suivant ce lien.

Catalogue sous la direction de Paolo Baldacci. Musée d’Orsay/Hazan, 240 p., 330 p., 175 ill., 39,95 €


Giorgio De Chirico écrit sans cesse. Il réfléchit sur la peinture métaphysique. Il s’interroge dans une note en 1912 : « Sur la terre. Il y a bien plus d’énigmes dans l’ombre d’un homme qui marche au soleil que dans toutes les religions passées, présentes et futures. » Selon lui, dans le mot « métaphysique », il y aurait visibilité et précision : « Dans le mot métaphysique, je ne vois rien de ténébreux. C’est cette même tranquille et absurde beauté de la matière qui me paraît “métaphysique” et les objets qui, grâce à la clarté de la couleur et grâce à l’exactitude des volumes, se trouvent placés aux antipodes de toute confusion et de toute obscurité me paraissent plus métaphysiques que d’autres objets. »

En 1913, il évoque la mélancolie dans un poème : « Lourde d’amour et de chagrin / Mon âme se traîne / Comme une chatte blessée. Beauté de longues cheminées rouges. Fumée solide. Un train siffle. le mur. Deux artichauts de fer me regardent… » Très souvent, il représente au loin les trains ; en 1914, Picasso n’est pas insensible aux projets de ce jeune artiste italien, qu’il surnomme ironiquement le « peintre des gares » ; Chirico a admiré son père, le baron Evaristo De Chirico (1841-1905), ingénieur ferroviaire.

Giorgio De Chirico. La peinture métaphysique

« L’incertitude du poète» de Giorgio de Chirico (1913) © Tate, Londres, Dist. RMN-Grand Palais / Tate Photography © ADAGP, Paris, 2020

En juin 1909, Giorgio et son frère cadet Alberto Savinio, écrivain, musicien et peintre, lisent Ecce Homo de Nietzsche, édité en 1908, fulgurant ; les Chirico le lisent dans une traduction française ; puis ils se reprennent à étudier Ainsi parlait Zarathoustra. L’être humain ne vivrait ni dans le passé, ni dans le futur, mais par la notion de « l’éternel retour ». Giorgio peint Serenata (1909) ; ce serait l’éternel présent et son immobilité dynamique. En 1911, il peint L’énigme de l’heure ; une horloge indique le commencement de l’après-midi ; une figure archaïque, enveloppée d’une chlamyde, se dresse, stable, dans une pose méditative près des arcades… Le 9 octobre 1913, dans L’Intransigeant, Apollinaire observe « l’art intérieur et cérébral » de Giorgio De Chirico ; Apollinaire précise : « Ce sont des gares ornées d’une horloge, des tours, des statues, de grandes places désertes ; à l’horizon passent des trains de chemins de fer. Voici quelques titres singuliers pour ces peintures étrangement métaphysiques : L’Énigme de l’oracle, La Tristesse du départ, L’Énigme de l’heure, La Solitude et Le Sifflement de la locomotive. »

En 1914, Giorgio propose le Portrait de Guillaume Apollinaire (qui se trouvera au Centre Pompidou). La silhouette noire du poète vue de profil et semblable, avec son cercle sur la tempe, à une cible de stand de tir. Quand le poète écrit en 1915 à Paul Guillaume, galeriste, il se trouve en première ligne : « Me voilà passé tout à fait au rang d’homme-cible comme dans le portrait de Chirico. » Plus tard, le 17 mars 1916, Apollinaire est blessé à la tempe par un éclat d’obus, puis trépané ; il redevient très actif ; le 9 novembre 1918, il est atteint par la grippe espagnole.

Dans ce catalogue complexe et efficace, Paolo Baldacci se révèle l’un des meilleurs spécialistes de la peinture métaphysique ; il a mené des recherches au sein de l’Archivio dell’Arte Metafisica à Milan. En particulier, il étudie les compositions variées de Chirico à partir de mars 1912. Giorgio privilégie alors la ville de Turin, transfigurée mais dont on reconnaît les édifices caractéristiques, les espaces urbains, les monuments destinés à ses rois et à ses hommes politiques. D’une autre façon, Giorgio suggérerait à Turin le dualisme du masculin et du féminin ; il découvrirait les aspects de Dionysos et d’Ariane. Cette capitale piémontaise est l’endroit où les symboles et les motifs de son italianité s’entrecroisent avec la clairvoyance prophétique de Nietzsche qui a souvent écrit en ces lieux turinois.

En 1915, Giorgio et Alberto Savinio ont été déclarés par les médecins « inaptes à supporter les efforts de la guerre ». Giorgio déplore « cette monstrueuse bêtise qui n’a pas l’air de vouloir finir ». Simultanément, il se livre à un éloge de « cette belle et mélancolique Ferrare où m’a conduit la fatalité de ma vie ». Il y développera des forces occultes dont les résultats apparaîtront dans ses œuvres ultérieures. En avril et juin 1917, De Chirico et Carlo Carrà sont admis à l’hôpital militaire pour malades nerveux, installé à la Villa del Seminario, en périphérie de Ferrare. Giorgio a écrit avec ironie : « Je suis hospitalisé dans un hôpital pour malades des nerfs, à cause de ma neurasthénie. On s’occupe très bien de moi et je peux même peindre. »

Dans le catalogue, Federica Rovati, professeur d’histoire de l’art contemporain à l’université de Turin, étudie « Chirico, Carrà et Morandi : la peinture métaphysique face à la guerre ». Giorgio vit plusieurs mois d’étourdissement et d’apathie ; il est soutenu par son espoir d’être réformé ; il écrit à Paul Guillaume : « J’invoque nuit et jour la déesse Pax ». Dans ses tableaux et dessins, les écussons militaires, les galons, les cartes géographiques, les panneaux signalétiques, les morceaux de pain, les biscuits, les chocolats fourrés, les bobines de fil et de dentelle, les boîtes d’allumettes, les bâtons de sucre, les trompettes pour enfants, les équerres, les cadres, les ardoises, les chevalets s’inscrivent… Giorgio propose des cascades, des villas antiques, des guirlandes au sein des intérieurs métaphysiques ; il note : « Ma chambre est un très beau vaisseau où je peux effectuer de longs voyages aventureux, dignes d’un explorateur têtu. »

Des tableaux noirs se couvrent de constellations, d’orbites célestes. Des signes de mort et de mutilation, des prothèses sont des fascinations et des guets-apens. Se tissent les magies, l’hébraïsme, la civilisation de la Renaissance, les chaises hautes du département de thermothérapie, les mannequins, les énigmes.




12/15/2020

Sans Soleil relu par Level Five

 

Sans Soleil relu par Level Five : Chris Marker ludique tisserand du deuil

À première vue, rien ne rapproche Sans Soleil (1983) de Level Five (1997). D’une évasion kaléidoscopique dans les « pôles extrêmes de la survie » à une fiction en chambre close explorant les arcanes d’un Enfer virtuel, Chris Marker prend un virage abrupt. Pourtant, ces enquêtes sur  l’oubli fredonnent une même fugue, uniment mélancolique. Pour clore notre dossier sur la distance, trois phrases de Sans Soleil relues par Level Five, dans l’idée d’explorer les affinités qui unissent ces documentaires à fleur de temps.

« A-t-on jamais rien inventé de plus bête que de dire aux gens, comme on l’enseigne dans les écoles de cinéma, de ne pas regarder la caméra ? »

1/25e de seconde : c’est le temps d’un regard-caméra sur un marché du Cap-Vert, où Sandor Krasna, l’avatar de Chris Marker dans Sans Soleil, glane les images de passantes pour en nourrir ses lettres. Level Five prend la boutade de son aîné au pied de la lettre : le film tout entier impose un regard à supporter, à accepter, et dont le spectateur aurait presque envie de se détourner tant il commande un déconcertant rapport d’intimité. Car Level Five est l’histoire d’un deuil : Laura (Catherine Belkhodja) s’adresse depuis chez elle, au-delà de la caméra qu’elle fixe, à son compagnon mort. Elle rappelle jour après jour l’anodine complicité de son couple et, derrière les plaisanteries et les souvenirs de voyage, s’interroge sur le maintien de l’amour. Sa sincérité solide et sans pathos s’apparenterait presque à une épreuve pour le spectateur, plongé malgré lui dans une relation qui n’est pas la sienne et à laquelle le dispositif dépouillé du film confère une allure véridique. Le plaisir de surprendre la confidence adressée vient lutter contre une pulsion adverse générant un discret malaise : celle de détourner le regard pour retrouver, enfin, le confort de la distance. L’écran de cinéma paraissait pourtant la garantir sans heurts ; il n’a pas réussi à la maintenir, même le temps d’un regard. Après les clins d’œil érotiques des passantes de Sans Soleil, place à une pudique pornographie de la tristesse.

« Est-ce une propriété des îles, de faire des femmes les dépositaires de la mémoire ? »

Au cœur du drame individuel, surgit la tragédie collective : celle d’une petite île, sacrifiée par l’armée japonaise. Laura exorcise la souffrance en tâchant d’achever le jeu vidéo pédagogique que son mort consacrait à la bataille d’Okinawa (1er avril-22 juin 1945). « Chris », double explicite du cinéaste, l’aide à opérer cette régénération posthume. Le spectateur s’évade, de l’étouffant bureau de Laura aux paysages insulaires, et croit souffler. Mais si Marker se détourne d’un décès individuel, c’est pour mieux faire défiler les cadavres : ces milliers de civils qui, sur les recommandations de la propagande militaire, se sont suicidés au moment de l’offensive américaine. Certains, avant de mourir, ont battu à mort leurs proches plutôt que de céder de la vie à l’ennemi. Face à l’horreur, la révélation survient, implicite : le compagnon de Laura s’est suicidé, à force de trop chercher. Et c’est l’éclat du documentaire que de suggérer, comme dans un film noir, ce fastueux coup de théâtre. Laura reste, et lutte contre plusieurs strates de distance : celle de l’Histoire, qui a négligé d’écrire le souvenir de la catastrophe ; celle qu’impose la disparition du chercheur aimé, dont il faut terminer le travail. La mélopée de la consolation avance sur deux fronts simultanés : il revient au jeu vidéo de réconcilier l’Histoire avec le deuil.

Dans Sans Soleil, Sandor Krasna évoquait déjà Okinawa, et l’irruption de la guerre comme moment du basculement de l’île dans les temps modernes, ceux du tourisme de masse et des porte-clefs à forme d’arme. Il filmait les cérémonies magiques et célébrait les noro. De ces divinités sororales et tutélaires d’Okinawa, il faisait les dépositaires en voie d’extinction de la mémoire, et au-delà, le symbole de la résilience du temps humain devant les atroces à-coups de l’Histoire. Quatorze ans après, Laura, nouvelle noro, doit, comme les femmes du marché de Nara, comme la tisseuse du temple de Kannon, raccommoder un rideau déchiré.

« Je pense à un monde où chaque mémoire pourrait créer sa propre légende » 

Sandor Krasna se fascine au Japon pour les jeux vidéo, « seul plan qui offre un avenir à l’intelligence ». À Okinawa, le tourisme fait de l’Histoire un jeu pour consommer gaiement l’horreur. Laura fabrique quant à elle son propre dispositif ludique. Le matériel informatique qu’elle utilise ferait sourire le spectateur actuel, n’était la dérangeante pertinence, plus de vingt ans après, de la confiance amusée placée en la mémoire du numérique, nouveau dépositaire des traces du temps. Cette foi en une réparation de l’oubli collectif prend le contrepied de la conclusion désabusée de L’Homme qui tua Liberty Valance (John Ford, 1962) : « When the legend becomes fact, print the legend » (« Quand la légende se transforme en faits, imprimez la légende »). Alors que l’Histoire brode trop souvent ses grands récits sur le tambour d’une légende dorée, nécessairement erronée, l’univers virtuel ordonne les vestiges des mémoires individuelles et leur offre un lieu de survivance.

Encore plus que dans Sans soleil, le contenu du documentaire, dans Level Five, ne s’énonce pas, il se cherche. Nulle sérénité didactique ne s’impose. La vérité s’apparente au jeu vidéo que Laura ne parviendra jamais à achever : un Janus bifrons dont les visages se truquent aussi facilement que les images. Au cours de catabases nocturnes et névrotiques, le personnage erre sur le réseau clandestin créé par son compagnon : l’Optional World Link, ou OWL (du nom anglais de l’animal totem de Marker). Derrière chaque profil, derrière chaque masque, derrière les morts d’Okinawa, elle recherche, nouvel Orphée du numérique, quelque trace de son Eurydice. Selon André Bazin, du désir d’embaumer le réel pour en garder le souvenir découle la genèse des arts plastiques que sont la peinture, la photographie et le cinéma. Dans Level Five se lit la conscience lucide, à la fin du XXe siècle, d’une prise de relais par l’internet quant à ce défi répété de l’intelligence humaine : abréger la distance qui nous sépare de l’insupportable mutisme des défunts.

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Le stade ultime de compréhension du monde, ce « cinquième niveau » qu’offre le virtuel, se dérobe à Laura : elle finit par s’y noyer. Sans Soleil et Level Five posent la question de la mémoire en roue libre, qui, à force d’accumuler images et faits, s’enrage, s’enraye et brise même son dépositaire. Dans Sans Soleil, le « seul film [qui] avait su dire la mémoire impossible, la mémoire folle » s’appelle Vertigo (Alfred Hitchcock, 1958). La pierre de touche de Level Five, c’est Laura (Otto Preminger, 1944). Ces choix disent assez que pour le cinéaste, la fabrication de l’Histoire est d’abord l’affaire d’un amour qui rend fou ; dans ce cadre, rien ne saurait séparer la passion individuelle des déchirures collectives. Laura partage avec Okinawa une même rencontre abrupte avec la mort, dans le souvenir mélancolique d’un troisième film, d’Alain Resnais celui-là : « Je peux me reconnaître dans cette petite île, parce que ma souffrance la plus unique, la plus intime est aussi la plus banale, la plus facile à baptiser. Alors autant lui donner un nom qui sonne comme une chanson, comme un film : Okinawa mon amour ». 

Sans Soleil et Level Five font résonner une même conviction : l’oubli, identifié au deuil, n’est pas le contraire du souvenir, mais son envers. Il serait vain de l’éconduire pour vouer un culte à Mnémosyne, comme le Scottie de Vertigo qui s’échine à façonner une seconde Madeleine semblable en tous points à la chère disparue. Le cinéma de Marker érige en figure de proue la permission humble et sereine de l’oubli en tant qu’il est conscient des bribes de mémoire individuelle qu’il révèle : loin des grands récits, l’Histoire doit être faite par tous.

  • Sans Soleil et Level Five de Chris Marker, sur Mubi.

Hélène Boons

 

Copyright © 2013 Zone Critique. Tous droits réservés. ISSN 2430-3097

"La théorie de la relativité d'Einstein"/Ernst Cassirer

 



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Si pose problème la coexistence dans un même cadre de deux propositions valides, ou si, dans ce même cadre encore, deux définitions se rapportant au départ à deux objets radicalement séparés en viennent à rendre indiscernable l’un de l’autre ces deux objets, sous doute peut-il être judicieux de changer ce cadre. C’est, pour faire simple, l’option radicale que défendit Einstein lorsqu’il créa sa théorie de la relativité. Le cadre en question suppose l’invariance du temps et de l’espace? Il repose sur l’identification de la masse inerte et de la masse pesante? Bâtissons-en un qui postule la relativité du temps et de l’espace et qui déconstruise le concept de matière au profit de celui de champ. Faisons du problème un postulat.

De nouveau nous nous retrouvons ici face à l’un de ces triomphes du concept critique de fonction sur l’idée naïve de chose et de substance, comme l’histoire de la science exacte ne manque pas de le relever progressivement.

Comme le disait Einstein lui-même au sujet de sa théorie, l’un de ses résultats essentiels était d’avoir ôté à l’espace comme au temps – ou à la matière – « le dernier résidu d’objectivité physique ». Entendue – fautivement – dans son sens vulgaire, cette assertion pourrait recouper l’impression, que nous ressentons tous, d’une coupure entre l’appréciation de l’espace et du temps physiques, théorisée par le natif d’Ulm, et celle dont nous pouvons faire l’expérience intuitivement. Ce serait oublier que cette disjonction, même si elle paraît effectivement s’achever avec l’invention de la théorie de la relativité générale, était déjà opérante avec la cinématique galiléenne. Ce que veut dire le scientifique Einstein, et qu’a parfaitement compris le philosophe Cassirer, c’est que la théorie de la relativité prouve l’opérabilité de celle de la connaissance.

Ce qui disparaît un peu plus avec la théorie de la relativité c’est l’idée naïve que puisse exister réellement tout objet, toute substance, dont nous ne pourrions atteindre, toujours approximativement, des impressions qu’en progressant d’un raffinement empirique à un autre. Ce qu’atteste avec éclat la découverte de l’espace-temps, c’est la fin de l’invariance objectivale. Mais aussi, et c’est là tout le travail d’analyse que poursuit Cassirer dans ce livre, la fin de l’objet naïf, de la chose dans son acception substanciale, ne signifie en aucun cas une victoire du scepticisme, du relativisme, ou le surgissement du règne de la post-vérité. Car la fin de l’objet qu’entérine la relativité générale ne signifie aucunement une faillite de la connaissance mais au contraire, et à rebours de la conception vulgaire d’insécurité que véhicule la fin d’une saisie sensualiste du monde, la validation de son propos critique. L’objet de la connaissance n’est pas l’objet et n’a nul besoin d’en postuler l’existence. Par là est désarmé le sceptique lui-même qui a besoin qu’un objet soit posé en absolu avant de pouvoir déplorer – ou se réjouir – qu’il ne puisse jamais l’atteindre.

Une propriété de l’objet n’indique aucun « en-soi » de l’objet mais un mode de relation qui l’enchaîne à d’autres et dont la connaissance a pour but de dégager les principes généraux – voire d’en proposer a priori. L’objet n’est que relation. Ainsi l’objectivité empirique, qui reposait entièrement sur l’invariance de l’objet, maintenant caduque, est remplacée – en quelque sorte réifiée – par celle de lois dont l’invariance confère à l’acte de connaître sa solidité et sa validité. Avec Einstein, et Cassirer, l’objet est remplacé par la forme.

À l’heure où plus que jamais les rapports entre pensée, technique et réel doivent être envisagés sous de nouvelles coutures moins naïves, la philosophie des formes de Cassirer, dont il est possible de découvrir les germes ici, est absolument incontournable. À rebours des relativismes ou des scepticismes aujourd’hui fort à la mode, il démontre qu’il est tout à fait possible que coexistent validement divers modes d’appréhension du réel s’ils sont envisagés, non plus comme des objets – et à la notion d’objet est toujours, quoi qu’on en pense, attachée celle d’absolu – , mais comme des relations.

Ernst Cassirer, La théorie de la relativité d’Einstein, Éléments pour une théorie de la connaissance, Le Cerf, trad. Jean Seidengart.

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12/12/2020

The Secret History of T. S. Eliot’s Muse



The Secret History of T. S. Eliot’s Muse

For years, Emily Hale was the object of his longing and the source of his inspiration. Was the loss of their romance a boon for his poetry?
Seventeen years of correspondence between Hale and Eliot—more than a thousand letters—was made available to the public this year.Photograph by Mary Patten / Courtesy Smith College Archives

In 1949, eight years after James Joyce died, his letters began to travel the world. Thanks to microfilm technology, popularized a few years earlier, the contents of his archive at the University of Buffalo became more accessible to curious readers and meddlesome critics than ever before. T. S. Eliot encountered them thousands of miles away, at the British Museum, in London, where he came face to face with a past self: his own letters to the Irish writer, lit up on a projection screen before him. Such exposure made Eliot uneasy. Later, in a letter sent across the ocean to Emily Hale, a teacher at a boarding school in Massachusetts, Eliot recalled the anxiety he’d experienced that day in the museum: “I thought, how fortunate that I did not know Joyce intimately enough to have made personal revelations or to have expressed adverse opinions, or repeated gossip or scandal, about living people!”

Eliot’s letters to Hale, who for nearly seventeen years was his confidante, his beloved, and his muse, were another matter. They don’t just repeat “gossip and scandal,” they produce it. Scholars have known about this correspondence since Hale donated Eliot’s letters to Princeton, in 1956, but for decades, the trove of documents remained a tantalizing secret—kept sealed, at Eliot’s insistence, until fifty years after both he and Hale had died.

On January 2nd of this year, 1,131 letters from Eliot to Hale were unearthed from the basement of Princeton’s Firestone Library and made available to the public. The line to read them began forming at 8 A.M. The first surprise awaiting scholars was not a letter to Hale but, in essence, one addressed to them: a four-page statement that Eliot had written in 1960, with instructions that it be released on the same day that the Princeton letters were unveiled (or whenever, as he feared, they were leaked).

In the statement, Eliot implies that Hale saved his correspondence in order to exact revenge on him for refusing to marry her. As for his own part in the drama, Eliot suggests that he was simply deluded, “that the letters I had been writing to her were the letters of an hallucinated man.” (He also claims, with a legalistic precision worthy of Bill Clinton, that he “never at any time had any sexual relations with Emily Hale.”) Eliot’s dissociation from his earlier self—from the man who wrote to Hale passionately, almost daily, for nearly two decades—epitomizes the strange swerves between intimacy and detachment that characterize his side of their long and fraught relationship.

The real subject of Eliot’s statement isn’t love but poetry. “Emily Hale would have killed the poet in me,” he insists. By attempting to renege on the undying love he had promised Hale, Eliot also hopes to revoke a more complex vow, one that these letters keep: the promise of a poet to his muse. There is no way to say whether marrying Hale would have destroyed Eliot’s art. What reading his letters makes clear, however, is that the deferral of his desire—the ascetic refusal to make his most enduring love ever truly complete—was what sustained it.

In 1913, Thomas Stearns Eliot and Emily Hale performed in a theatrical adaptation of Jane Austen’s “Emma,” in a parlor room right off Harvard’s campus. Eliot was a Ph.D. student in philosophy: gawky and painfully shy. Hale, with her trained singer’s voice and cultivated grace, had an arresting presence. After more than a year of operagoing and ice skating, Eliot proclaimed his love to Hale, stopping just short of proposing marriage. Hale was caught off guard; she could not reciprocate. Heartbroken, Eliot left to study in England.

Just a year later, he had completely transformed his life: in June, 1915, he published his first major poem, “The Love Song of J. Alfred Prufrock,” in Poetry magazine, and married Vivienne Haigh-Wood, an English governess who was passionate about the arts and, unbeknownst to Eliot, prone to mental illness. For the decade and a half that followed, there is little record of Eliot and Hale’s relationship. There appear to be many years of silence and at least one miserable encounter in London. What we do know is that they met again in 1930, and, shortly thereafter, the still-married poet poured his heart out to Hale in a transatlantic confession, sixteen years after his first, futile proclamation. “[L]oving and adoring you,” he wrote by hand, “has given me the very best I have had in my life . . . in the midst of agony a deep peace + resignation springs.” The best included his Christian faith; Eliot implies that his 1927 conversion to Anglo-Catholicism owed something to Hale’s devotion as a Unitarian. And, of course, it included his poetry. At this point, he considered Hale both his saintly muse and his ideal reader. “There is no need to explain ‘Ash Wednesday’ to you,” he told her. “No one else will ever understand it.” (In his wife’s copy of “Poems 1909-1925,” he had written, “For my dearest Vivienne, this book, which no one else will quite understand.”)

That Emily Hale’s letters would become a part of his literary monument was a possibility Eliot considered only two months after his confession of love. He told her of a “locked tin box” he kept for his literary executor, with “a closed envelope marked ‘to be burnt at once’ ”—her letters, of course. Yet he couldn’t quite bear the thought of their destruction, and entertained the opposite fantasy, too: “But what I wish to do is to mark it ‘to be given to the Bodleian Library, not to be opened for 60 years.’ ” He wanted her to be remembered always as the Beatrice to his Dante, the moral force behind his religious conversion, and the inspiration behind some of his most beautiful poems.

T. S. Eliot and Emily Hale in Dorset, Vermont, during the summer of 1946.Photo courtesy Princeton University Library

Most readers know Eliot as the arch-impersonal poet, who bewildered the world with “The Waste Land” and proclaimed that “poetry is not a turning loose of emotion, but an escape from emotion.” Readers of this Eliot might, at first, have difficulty recognizing the gushy, hyperbolic admirer who signed his letters to Hale as “Tom.” In many of the letters, he described Hale as a kind of divinity, or at least nobility: “my Dove,” “my paragon”; his “one Fixed Point in this world.” Yet Eliot’s grandiloquent devotion can also sound like a kind of escape from certain messy feelings—the turmoil of his marriage, his uncertainty about his career—into something closer to what he sometimes called an “art emotion,” an impersonal, transcendent feeling. In his famous 1919 essay, “Tradition and the Individual Talent,” Eliot wrote, “The progress of an artist is a continual self-sacrifice, a continual extinction of personality.” In 1936, when Hale had at last returned his affection, Eliot marvelled to find himself engaged in a “perpetual daily surrender” to Hale, “and yet at the same time . . . to something bigger than either ‘me’ or ‘you’ – to something that only you and I together can look at.” Something, perhaps, like a poem.

Writing to Hale was also therapeutic. “I like to be able to write to you and curse the people I am fondest of,” Eliot confessed:

I think that we all have these feelings but that most people are prudent about what they put into letters, for fear of being misunderstood. I am not afraid of being misunderstood by you, but I would rather be misunderstood than not say exactly what I feel at the moment of writing.

Eliot divulged a great deal in his letters—about his family resentments, about his sexual experience (or lack thereof), and even about the men who had made physical and emotional advances on him. (His friendship with Lytton Strachey ended, he said, when the Bloomsbury writer “went down on his knees and kissed me.”) As an Anglo-Catholic, Eliot already had a confessor, but his relationship with Hale was beyond confessional—she did not have the power to absolve him but to absorb him.

Eliot wrote to her obsessively, often twice a week. He learned when the ships carrying mail departed from England and kept track of which ones sailed fastest. Hale, for her part, was clearly burdened by Eliot’s unceasing correspondence. Much later, in a statement she wrote to accompany the archive, she would describe herself in this period as “the confidante by letters of all which was pent up in this gifted, emotional, grasping personality.” Hale, by then teaching at Scripps College, was overworked, and her health, although she tried to hide it from Eliot, was faltering. Her neuritis made it difficult for her to write. It wasn’t only Eliot’s insatiable demand for letters that taxed her. She was growing attached to him, and he was still married. From 1931 to 1934, Hale suggested at least five times that Eliot consider divorcing his wife. Eventually, Hale’s deteriorating health compelled her to take leave from Scripps. Only then did Eliot acknowledge his own hand in her collapse: “by constantly pressing myself upon your attention, and importuning you with my correspondence, I was really tampering insidiously with your mind.” The melodrama of his self-censure—“I see myself as a blood-sucker”—is especially telling. Like a vampire, he had not only drawn what he needed out of Hale but also, in the process, transformed her. She was falling in love.

Hale described herself as “the confidante by letters of all which was pent up in this gifted, emotional, grasping personality.”Photograph by Shelley Szwast / Courtesy Princeton University Library

Although Eliot had sought a formal separation from his wife in 1933, he made it clear to Hale that, as a converted Anglo-Catholic, he was both unwilling and unable to get a divorce. But for this constraint, he reminded her when pressed, “I would literally give my eyesight to be able to marry you.” He dwelled instead on the ways in which he felt them to be already bonded—the feeling of “simply belonging,” which, he said, had “something eternal about it.” His avowals became more pronounced in 1934, when Hale began an eighteen-month holiday in England and Europe. Whenever Hale came to London during her trip, Eliot let her borrow his flat—a spartan apartment in a Kensington clergy house. The two of them spent the night before she left for America together, with Eliot literally at Hale’s feet. “I am filled with wretchedness and rejoicing,” he wrote, almost as soon as she was gone, “and when I go to bed I shall imagine you kissing me; and when you take off your stocking you must imagine me kissing your dear dear feet and striving to approach your beautiful saintly soul.” (In January, 1936, Eliot wrote, “I love your foot, and to kiss it has special symbolism, because you have to take off your stocking to let me kiss it, and that is a kind of special act of consent.”) Marking this consummation, of sorts, they even exchanged rings. “This ring means to me all that a wedding ring can mean,” he promised, “and I love to wake up and feel it binding my finger, and know that it will always bind that finger.”

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