The Heisenberg's yellow butterflies

-.-

"I would like to penetrate little by little into the wall of the uncertainties to clear every enigma of their enigma
every suspicion of their threats." Mario Benedetti.

If we agree to accept that an electron has the ability to jump from one orbit to
another, describing in our physical space one trajectory than is unperceptible for our
senses and observation instruments and if also we assume too that is not possible
know the exact location of one electron observed like a particle and in a one given
moment, such as indicated by the Heisemberg Uncertainty Principle, we could now
understand the fundamental postulate of the Quantum Mechanics through a paradox.

And why is it a paradox?

The paradox is rhetorical figure that were used at first in Philosophy, specifically
in the field of logic and that subsequently passed to mathematics and from there today
we see it present in computer science. In its purest etymology the paradox derives from
the Greek root paradoxus and gives linguistic meaning to something that is unexpected,
incredible and above all singular.
Composed of the preposition for that means beside and the root doxo which has
the meaning of good judgment, for example orthodox is what goes with the good
judgment, while heterodox is the incorrect, paradoxes have like a function in human
thought, overcome the cognitive limits common opinion.
However, paradoxes are not sophisms because they contain a logical contradiction
that gives access to a mathematical truth, while the sophisms are simple lies, spiced
with an eloquent rhetoric. Now yet, in the good art of rhetoric, the paradox is a very
important figure figure of thought that allows to reconcile two ideas in apparent
contradiction, through words, phrases and expressions that stimulate us to reflection.
In Philosophy, paradoxes are essential when measuring the complexity of a
specific phenomenon considered as real, because they are demonstrate that it is the
human mind that has limitations when observing said reality.
 We will approach all this in a fairly simple way:
1. The "Official Science" accepts without any kind of inconvenience that the
electron during the already aforementioned transit, behaves at the same time
like a one wave and one particle.
2. Now yet, we must remember that the so-called "Official Science" is a form of
knowledge creation primarily factual, nomothetic-predictive and that bases its
logical architecture, on the "tangibilization" of the phenomenon observed.
3. The conciliation of the previous points, implies the necessary construction of a
paradox that allows us to integrate the pragmatism, particular of the factual
sciences with certain philosophical aspects that will lead us to the acquisition of
a new systemic vision of the sciens.
From this moment we will use one of the most powerful cognitive tools that any
intelligence can ever know: the human imagination. Only in this way will it be
possible to understand the true essence, both of the paradoxes in the creation of
knowledge and of the Uncertainty Principle or in terms more suited to the materialist-
dialectical thought, still predominant in the traditional science and academia, Principle
of Indeterminacy. The Heisenberg's Principle of Uncertainty tells us in essence that the
very act of "observing something" produces a "change in that something", that is to say
that the observer by the mere act of observing modifies what he observes.
In our gigantic and super material world, if I stop to watch a ball, can tell that it
does not "change", unless I give it a kick. And this is precisely that what happens in
the micro world of sub-atomic particles, where we had tried enter as stealthy and
imperceptible observers and rather, we resemble one angry elephant bursting into an
antique shop. It is important to point out how the "uncertainty" does not originate in
the same observation instruments, but from the very fact of "measuring".
The sub atomic universe is infinitesimally tiny and with our most accurate
implements of our physical world the uncertainty in the "description" of sub-atomic
particle behavior will continue to be present, since the measurement instruments used
by the observer, are at least the same size or are very much larger than the "objects"
measured. At this mode, emitting a curtain of light photons to "illuminate" and thus be
able to observe the "natural behaivor" of an electron, would be something similar to
trying to measure the possibilities of rectilineal displacement that would have one
person, walking for the street and to whom we throw a huge potato sack. Thus, the
greater the precision in our instruments of measurement taken it like one magnitude,
the greater the uncertainty in the measure of the other complementary variable.
We arrive now to the Fundamental Principles of Quantum Mechanics, in which
it is recognized how the ultimate constituents of Matter are at the same time: substance
and non-substance, which means accepting even for the dialectical and materialist
thought more radical and pragmatist that the holistic compression of the Cosmos,
escapes the cognitive dimensions that "by default" have both the human mind and the
material reality that contain it.
 From Virtual Reality to Augmented Real Imaginary

Magical Realism is an aesthetic current that originated in the middle of the 20th
century and whose proposal is the narration of the extraordinary and even unreal facts
and characters, in a context that may well be called hyperrealistic.
It is within the narrative atmospheres of Magical Realism where the characters
perceive the fantastic as something everyday and even natural. A good example of
this can be found in the short novel "Pedro Páramo y el Llano en LLamas" from the
Mexican writer Juan Rulfo, where the specters lead a life of daily contact with living
humans who are not surprised by it.
Being the term of German origin with strongs influences from both
psychoanalysis and post-war European surrealism, the Magic Realism is
paradoxically, the cultural vehicle that will allow the political criticism in the Latin
American region, for much of the XX century. They are emblematic example of what is
exposed here, the saga of novels: "The Mr. President" of the Guatemalan writer Miguel
Ángel Asturias, "The Autumn of the Patriarch" by the Colombian writer Gabriel
García Márquez and "I the Supreme" by the Paraguayan writer Augusto Roa Bastos.
At first the term Magical Realism gave name to a pictorial movement quite
innovative for the year 1925, however it was the Venezuelan intellectual Arturo Uslar
Pietri who applied it to name a new literary tendency that would arise in Latin
America, between the decades of 1930 to 1940 and that would be characterized by the
construction of atmospheres and scenarios where the real merges with the imaginary.
Now yet the rise of Magical Realism, comes between the 1960s and 1980s and is
known as the Boom of Latin American Literature and among the most popular works
of this literary movement, we can find "One Hundred Years of Solitude" by the
aforementioned Colombian writer Gabriel García Marquéz and in whose narrative is
contained a fantastic story as rooted in the author's deepest memory: "The Yellow
Butterflies of Mauricio Babilonia ".
Augmented Reality is a technology of very recent date, whose main
characteristic is to integrate the attributes of digital virtualization into our daily real
life. Augmented Reality is very different from the Virtual Reality given the Virtual
Reality configure an environment isolated from our real life and therefore completely
virtual. Conversely Augmented Reality is integrated into the Real World that contains
us and can even reach modify it.
Now we can find notable coincidences between Magical Realism and
Augmented Reality, especially in that both entities interact from an ethereal
architecture and impact in our reality in a fantastic way. Both the characters of "Pedro
Páramo and the Llano en Llamas" as well as of "One Hundred Years of Solitude" just
as we ourselves accept certain supra-sensory events as something logical for our
psyche and we even normalize it in terms of socialization.
 In Komala, mythical rural location of the novel "Pedro Páramo and the Llano en
Llamas", living beings of this humble town converse without any kind of
communication problem with their dead relatives. In the same way, transubstantiation
of the human spirits to animal bodies, through the figure of Nahualt is something as
natural as the cultivation of corn, in the work of the writer Miguel Angel Asturias.
At the end of this idea the important thing to determine is the paradoxes are
logical objects that are constructed with apparently contradictory expressions,
nevertheless present a series of implicit assumptions that make their approaches
plausible and even real, thus we arrive at the possibility of applying Realism Magical
in the interesting construction of a paradox of truth that through the Augmented
Reality, will allow us to demonstrate the true educational, creative and technological
productive reach that in South America can get to have Industry 4.0.
In the reality of the Colombian writer Gabriel García Marquéz, the yellow color
had a preponderant importance. The famous writer used to carry a yellow flower on
his chest, which too could not be missing from his desk when the moment to
addressing his prodigious literary projects.
The yellow flowers as well as the butterflies of the same color, have an essential
symbolism in the psychic life of the Colombian writer, in the novel One Hundred Years
of Solitude the yellow flowers are mentioned when the death of José Arcadio Buendía
is narrated. Describing a drizzle of tiny yellow flowers that like a silent storm, fall for a
whole night over the Macondo hamlet.
Paradoxically, Colombia is the second country in the whole world in terms of
diversity and richness of butterflies. The yellow butterfly referred to by García
Marquéz is the Phoebis Philea that lives in warm places and that also paradoxically
does not come out at night, however this butterfly is not a nocturnal being in the novel
One Hundred Years of Solitude, but rather a kind of collective premonitory entity.
The yellow butterflies appear in the environment of Meme, the daughter of
Úrsula and granddaughter of Remedios la Bella, the most beautiful woman in all of
Macondo. Meme was courted by a humble apprentice mechanic of the banana company
who was called Mauricio Babilonia. All the appearances of Mauricio Babilonia in the
novel, are preceded by a dense cloud of yellow butterflies that even announce the
tragic end of this torrid romance.
Imagine now a parallel world inhabited by two-dimensional beings, to "move"
in our world of three dimensions, these beings would acquire a form similar to that of
a deck of cards. For these beings who are in the form of a deck of cards the volume is
something that can not be understood, given that it exceeds its cognitive limits, that is
while we see a volume, two-dimensional beings see only one figure. It is not the same
to see a cube than a square. In the fourth dimension that is perhaps the real quantum
dimension, is incorporated into the cognitive capacities of the consciousness, both
movement and time, this means that we in our current three-dimensional condition
we perceive the behavior of electrons only from two possible and unique perspectives
of observation, either as a particle or as a wave and not as a solution of kinetic
continuity. Imagine for a moment to perceive the cinetic behavior of a toy like the
Plastic Rainbow Spring, only in two moments: beginning and end and not as we usually
see it, describing an armonic and continuous movement.
In this way instead of seeing how the Plastic Rainbow Spring describes a colorful
and harmonic movement, we would see only a chromatic spectrum or failing that, two
points of different colors and with a considerably distanced one of other.
Now understand how from our third dimension, we see the temporal and
dynamically fragmented quantum world, subdivided as the frames that make up a
film and that acquire meaning before us when they are set in motion.
We can see how the uncertainty derives from the same fact of measuring and
not from the precision of the instruments used. Even with the most refined technology
of quantum observation the uncertainty or in less ambiguous terms, indeterminacy in
the displacement and mass measurements will continue to be present.
Thus, the greater the precision in the measurement of one of these magnitudes,
the greater will be the limitations that we will have to accurately measure the other
complementary variable. Position and amount of movement of a particle inside of our
three-dimensional space, are complementary magnitudes subject to the restrictions
described in the Heisenberg uncertainty principle, according to which it is impossible
to measure simultaneously and with absolute precision the value of the position and
the amount of movement of a sub atomic particle. This proves to us how the precision
with which we can elaborate an objective description of things in our three-
dimensional space is limited and in this case the limit is fixed by the Planck constant.
However, we have our powerful imagination and Magical Realism as a
cognitive tool to be able to explain and at the same time visualize the dual condition
and therefore profoundly disruptive of paradoxes. Knowledge in all its forms is always
contrary to the Common Opinion, because the generation of Knowledge is based on the
development of cognitive processes that can be verifiable and scalable in our reality,
producing even benefits but Common Opinions, are root in our most deepest cognitive
biases and are highly limiting when the moment to creating Knowledge.
Recall how the paradox is related to the unexpected, incredible and unique and from
there it is contrasted in terms espistemológicos to the common opinion that tends to be
considerably biased to reality. In this way a paradox is also an antilogy, that is a
rhetorical figure that while opposing the common opinion by presenting two apparently
contradictory ideas, does not contain in itself a logical contradiction.
Like the antilogy the paradox is also a figure of thought that should stimulate us
to reflect and from there allow the human intellect to understand the true complexity
of the reality that containt it, showing at the same time the evident limitations of the
human cognitivity. A paradox is a source of direct self-reference of the individual with
respect to the reality that contains it, thus being able to deal with such abstract topics
as infinity, circular definitions, and the uncertainty, starting from the configuration of a
new level of logical-intuitive reasoning.
 With technologies from Industry 4.0 such as the Augmented Reality we can
establish a paradox based on the configuration of a multisensory cognitive experience,
capable of introducing us into a visual-sensitive atmosphere that will allow us to
understand the complexity of quantum reality.
We understood that augmented reality differs from the virtual one in that it
mixes our real environment with virtualized objects, thus creating a re-reading of our
idea about wath is real. Another difference is that augmented reality can be
implemented in various devices ranging from personal computers to mobile devices.
Technological components to recreate an augmented reality experience would
not be so difficult to achieve and would be composed of:
1. A computer monitor, where the integration between the real and the virtualized
components that will make up the augmented reality atmosphere will be
reflected.
2. A webcam that will capture the information as de-structured data of the real
world and deposit it in the augmented reality software.
3. Software is the most creative and complex part of the entire implementation,
since it involves developing the algorithms for capturing the real data and on
which the efficient transformation of our three-dimensional reality in an
augmented reality experience depends.
4. The Markers are the solid elements and symbols in real world that the software
interprets and according to the coordinates it provides, it execute a specific
response such as showing a 3D image or making changes of movement to the
3D object that must already be previously created with its respective marker.
The augmented reality is a technology that requires a very high creativity in the
development of computer programs, something called heuristic programming and
that involves the acquisition of certain programming and design knowledge that may
not be currently contemplated in traditional education systems.
Paradoxes are extremely useful in education, because the unexpected condition of
the fact that involves, by going against logic stimulates our ability to re-interpret the
components of reality. In the same way Magical Realism is paradoxical in that it
integrates two existential dimensions, deeply separated by the cognitive aspects that
compose them, just as it is not possible to observe at the same time the behavior of an
electron as if it were a micro-meteorite moving through a micro-universe, in many
Spanish-American narratives it becomes difficult to distinguish when a living or dead
character intervenes or at what moment our reading develops in a dream or in the
same reality of the fictional character.
The own Gabriel Garcia Marquéz at the time defined the Magical Realism like "a
fact rigorously certain that, nevertheless, it seems fantastic". Based on approach of the
genial colombian writer we will apply now an imaginative exercise with arrange to
develope one educational implementation of Augmented Reality allows us to
understand the Uncertainty Principle, through one multi-sensorial and trans-
dimensional experience.
 At the same time, gamification is a teaching technique that integrates the logic
and dynamics of games into the educational-professional field with the aim of
providing new mechanisms for the absorption of knowledge and the improving
cognitive skills, througt a multi-sensorial experiencie that give one cognitive reward in
a real-digital and educational environment. We begin by building our first paradox,
between Magical Realism as an aesthetic current and the Augmented Reality as
Educational Technology, through the Uncertainty Principle as the playful-binding
object. And for that we starting by describing the scenario in which our proposal of
educational gamification 4.0 will be developed. As the title of this chapter indicates,
we will recreate the beautiful literary construction of the Yellow Butterflies of Mauricio
Babilonia, original of the Colombian writer Gabriel García Marquéz with the specific
objective of explaining the Principle of Uncertainty or Indeterminacy through the
Augmented Reality. For this we will integrate in the same multi-sensorial experience
our physical dimension with the quantum dimension.

Here is our synopsis:

A group of students and teachers enter a room in which through the Augmented
Reality they can see how a large yellow butterflies colony flutter around freely and
thanks to a sensor that we put on they index fingers, is possible follow the yellow
butterflies until touching them and thus register their position in space. At this mode
people touching the yellow butterflies would immediately see their location on the X,
Y and Z axes, through their devices. When persons in the room touch the yellow
butterflies, these will move establishing an paradox with the behavior show by electrons in
their quantum world, when are impacted by our instruments of observation.
Now if people decide to walk, accompanying the path of one yellow butterfly around
the room, this butterfly will provide you with all the information regarding its speed
and direction. In this way, thanks to the Augmented Reality, integrated to the aesthetics
of Magical Realism in the figure of the Colombian writer Gabriel García Marquéz, we
created the necessary cognitive conditions to check through Gamification the postulate
of the German physicist Werner Heisenberg, demonstrating that is not possible touch
and follow the yellow butterflies at the same time, as also happens with the observation of
the mass of the electrons and their movements from our physical dimension.