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- Creators: Department of Economics
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
- Resource Type: Text
This thesis attempts to explain Everettian quantum mechanics from the ground up, such that those with little to no experience in quantum physics can understand it. First, we introduce the history of quantum theory, and some concepts that make up the framework of quantum physics. Through these concepts, we reveal why interpretations are necessary to map the quantum world onto our classical world. We then introduce the Copenhagen interpretation, and how many-worlds differs from it. From there, we dive into the concepts of entanglement and decoherence, explaining how worlds branch in an Everettian universe, and how an Everettian universe can appear as our classical observed world. From there, we attempt to answer common questions about many-worlds and discuss whether there are philosophical ramifications to believing such a theory. Finally, we look at whether the many-worlds interpretation can be proven, and why one might choose to believe it.
Jake Hernandez grew up in Houston, Texas where his frequent visits to the Museum of Fine Arts introduced him to the works of Mark Rothko and Piet Mondrian. Inspired by these artist’s use of color, Hernandez has leveraged his own understanding of color theory and mathematics to explore the complexity of this element for his honors thesis. In Colored Squares I and II, Hernandez created a process of random color generation from a set of blue, red, and yellow pigments to explore color in the absence of human bias. Since artists' personal biases and inclinations towards color affect our exploration of this element, Hernandez wanted to eliminate these obstructions to investigate color to a much greater extent. In Colored Landscapes I, II, and III, Hernandez used the primaries again in a more expressive style. Drawing inspiration from his travels across Europe and North America, Hernandez created new landscapes all his own. These studies offer a substantiated argument for the limits of art itself, showing artists have only explored a very small fraction of art's possibilities and that more exploration can be done in color and the other elements of art.