...the principle of the limiting character of the velocity of light. This statement... is not an arbitrary assumption but a physical law based on experience. In making this statement, physics does not commit the fallacy of regarding absence of knowledge as evidence for knowledge to the contrary. It is not absence of knowledge of faster signals, but positive experience which has taught us that the velocity of light cannot be exceeded. For all physical processes the velocity of light has the property of an infinite velocity. In order to accelerate a body to the velocity of light, an infinite amount of energy would be required, and it is therefore physically impossible for any object to obtain this speed. This result was confirmed by measurements performed on electrons. The kinetic energy of a mass point grows more rapidly than the square of its velocity, and would become infinite for the speed of light.
German–American philosopher
Hans Reichenbach (26 September 1891 – 9 April 1953) was a leading philosopher of science, educator and proponent of logical positivism.
From: Wikiquote (CC BY-SA 4.0)
Works in ChatGPT, Claude, or Any AI
Add semantic quote search to your AI assistant via MCP. One command setup.
Clocks are inherently four-dimensional instruments, since the endpoints of their unit distances are events. Measuring rods, on the other hand, are three-dimensional measuring instruments; their end points are space points and they can be changed into four-dimensional measuring instruments only if events are produced at their end points according to a special rule.
...the famous assertion by Einstein that the length of a rod depends on its velocity and on the chosen definition of simultaneity. ...is based on the fact that we do not measure the length of the rod, but its projection on a system at rest. How the length of the projection depends on the choice of simultaneity can be illustrated by reference to a photograph taken through a focal-plane shutter. Such a shutter... consists of a wide band with a horizontal slit, which slides down vertically. Different bands are photographed successively on the film. Moving objects are therefore strangely distorted; the wheels of a rapidly moving car for instance, appear to be slanted. The shape of the objects in the picture will evidently depend on the speed of the shutter. Similarly, the length of the moving segment depends on the definition of simultaneity. One definition of simultaneity differs from another because events that are simultaneous for one definition occur successively for another. What may be a simultaneity projection of a moving segment for one definition is a "focal-plane shutter photograph" for another.
We define: any two events which are indeterminate as to their time order may be called simultaneous. ...Simultaneity means the exclusion of causal connection. ...Yet we must not commit the mistake of attempting to derive from it the conclusion that this definition coordinates to any given event at a given different place. This would be the case only for a special form of causal structure, a form that does not conform to physical reality.
PREMIUM FEATURE
Advanced Search Filters
Filter search results by source, date, and more with our premium search tools.
...introduce the auxiliary concept of first-signal...defined as the fastest message carrier between any two points in space. We now send a first-signal from P, calling the event of departure E<sub>1</sub>... The event of its arrival at P' is called E'. Simultaneously with the arrival of this signal, another first signal is sent from P'. The arrival of this signal at P is the event E<sub>2</sub>. ...the time interval between E<sub>1</sub> and E<sub>2</sub> is coordinated to the event E', [E<sub>1</sub> is earlier than E' and E<sub>2</sub> is later than E'] and every event of this time interval except for the endpoints is inderterminate as to the time order relative to E'.
If E<sub>1</sub> is the cause of E<sub>2</sub>, then a small variation (a mark) in E<sub>1</sub> is associated with a small variation in E<sub>2</sub>, whereas small variations in E<sub>2</sub> are not associated with variations in E<sub>1</sub>. If we wish to express even more clearly that this concept does not contain the concept of temporal order, we can express it in the following form, where events that show a slight variation are designated E*: E<sub>1</sub>E<sub>2</sub>, E<sub>1</sub>*E<sub>2</sub>*, E<sub>1</sub>E<sub>2</sub>* and never the combination E<sub>1</sub>*E<sub>2</sub>.
Whereas the conception of space and time as a four-dimensional manifold has been very fruitful for mathematical physicists, its effect in the field of epistemology has been only to confuse the issue. Calling time the fourth dimension gives it an air of mystery. One might think that time can now be conceived as a kind of space and try in vain to add visually a fourth dimension to the three dimensions of space. It is essential to guard against such a misunderstanding of mathematical concepts. If we add time to space as a fourth dimension it does not lose any of its peculiar character as time. ...Musical tones can be ordered according to volume and pitch and are thus brought into a two dimensional manifold. Similarly colors can be determined by the three basic colors red, green and blue... Such an ordering does not change either tones or colors; it is merely a mathematical expression of something that we have known and visualized for a long time. Our schematization of time as a fourth dimension therefore does not imply any changes in the conception of time. ...the space of visualization is only one of many possible forms that add content to the conceptual frame. We would therefore not call the representation of the tone manifold by a plane the visual representation of the two dimensional tone manifold.