A38.Inglish BCEnc. Blauwe Kaas Encyclopedie, Duaal Hermeneuties Kollegium.

Inglish Site.38.
*
TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
***
In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
*
Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
*
This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
*
Index.
139.Pataphysics.
140.Surrealism.
141.Supersymmetry (SUSY).
*
139.Pataphysics.
'Pataphysics (French: 'pataphysique) is a philosophy or media theory dedicated to studying what lies beyond the realm of metaphysics. The concept was coined by French writer Alfred Jarry (1873?1907), who defined 'pataphysics as "the science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments".
A practitioner of 'pataphysics is a pataphysician or a pataphysicist.
There are over one hundred differing definitions of pataphysics. Some examples are shown below.
"Pataphysics is the science of that which is superinduced upon metaphysics, whether within or beyond the latter?s limitations, extending as far beyond metaphysics as the latter extends beyond physics. ? Pataphysics will be, above all, the science of the particular, despite the common opinion that the only science is that of the general. Pataphysics will examine the laws governing exceptions, and will explain the universe supplementary to this one.?
"'Pataphysics is patient; 'Pataphysics is benign; 'Pataphysics envies nothing, is never distracted, never puffed up, it has neither aspirations nor seeks not its own, it is even-tempered, and thinks not evil; it mocks not iniquity: it is enraptured with scientific truth; it supports everything, believes everything, has faith in everything and upholds everything that is.? as cited in
"Pataphysics passes easily from one state of apparent definition to another. Thus it can present itself under the aspect of a gas, a liquid or a solid.? as cited in
"Pataphysics "the science of the particular", does not, therefore, study the rules governing the general recurrence of a periodic incident (the expected case) so much as study the games governing the special occurrence of a sporadic accident (the excepted case). ? Jarry performs humorously on behalf of literature what Nietzsche performs seriously on behalf of philosophy. Both thinkers in effect attempt to dream up a ?gay science?, whose joie de vivre thrives wherever the tyranny of truth has increased our esteem for the lie and wherever the tyranny of reason has increased our esteem for the mad.?
The word pataphysics is a contracted formation, derived from the Greek, ??? (???? ?? ??????) (epi meta ta physika);[1] this phrase or expression means "that which is above physics", and is itself a sly variation on the title of Aristotle's Metaphysics, which in Greek is "?? ???? ?? ??????" (ta meta ta physika).
Jarry mandated the inclusion of the apostrophe in the orthography, 'pataphysique and 'pataphysics, "to avoid a simple pun". The words pataphysician or pataphysicist and the adjective pataphysical should not include the apostrophe. Only when consciously referring to Jarry's science itself should the word pataphysics carry the apostrophe. The term pataphysics is a paronym (considered a kind of pun in French) of metaphysics. Since the apostrophe in no way affects the meaning or pronunciation of pataphysics, this spelling of the term is a sly notation, to the reader, suggesting a variety of puns that listeners may hear, or be aware of. These puns include patte à physique ("physics paw"), as interpreted by Jarry scholars Keith Beaumont and Roger Shattuck, pas ta physique ("not your physics"), and pâte à physique ("physics pastry dough").
The term first appeared in print in the text of Alfred Jarry's play Guignol in the 28 April 1893 issue of L'Écho de Paris littéraire illustré, but it has been suggested that the word has its origins in the same schoolpranks at the lycée in Rennes that led Jarry to write Ubu Roi. Jarry considered Ibicrates and Sophrotatos the Armenian as the fathers of this "science".
The Collège de 'Pataphysique
The Collège de 'Pataphysique, founded in 1948 in Paris, France, is a "society committed to learned and inutilious research". (The word 'inutilious' is synonymous with 'useless'.) The motto of the college is Latin: Eadem mutata resurgo ("I arise again the same though changed"), and its current Vice-Curator is Her Magnificence Lutembi - a crocodile. The permanent head of the college is the fictional Dr. Faustroll (Inamovable Curator), with assistance of the equally fictional Bosse-de-Nage (Starosta). The Vice-Curator is as such the "first and most senior living entity" in the college's hierarchy. Publications of the college, generally called Latin: Viridis Candela ("green candle"), include the Cahiers, Dossiers and the Subsidia Pataphysica. The college stopped its public activities between 1975 and 2000, referred to as its occultation. Notable members have included Noël Arnaud, Luc Étienne, Latis, François Le Lionnais, Jean Lescure, Raymond Queneau, Boris Vian, Eugène Ionesco, Jacques Carelman, Joan Miró, Man Ray, Max Ernst, Julien Torma, Roger Shattuck, Groucho, Chico and Harpo Marx, Baron Jean Mollet, Philippe de Chérisey, Irénée Louis Sandomir, Opach and Marcel Duchamp. The Oulipo began as a subcommittee of the college.
Offshoots of the Collège de 'Pataphysique.
Although France had been always the centre of the pataphysical globe, there are followers up in different cities around the world. In 1966 Juan Esteban Fassio was commissioned to draw the map of the Collège de 'Pataphysique and its institutes abroad. In the 1950s, Buenos Aires in the Western Hemisphere and Milan in Europe were the first cities to have pataphysical institutes. London, Edinburgh, Budapest, and Liège, as well as many other European cities, caught up in the sixties. In the 1970s, when the Collège de 'Pataphysique occulted, Germany, Sweden, Switzerland, Canada, The Netherlands, The Far South Gowanus, and many other countries showed that the internationalization of pataphysics was irreversible. During the Communist Era, a small group of pataphysicists in Czechoslovakia started a journal called PAKO, or Pataphysical Collegium. Alfred Jarry's plays had a lasting impression on the country's underground philosophical scene. A Pataphysics Institute opened in Vilnius, Lithuania in May 2013: Patafizikos instituto atidarymas Vilniuje.
London Institute of 'Pataphysics.
The London Institute of 'Pataphysics was established in September 2000 to promote pataphysics in the English-speaking world. The institute has various publications, including a journal and has six departments:
1.Bureau for the Investigation of Subliminal Images
2.Committee for Hirsutism and Pogonotrophy
3.Department of Dogma and Theory
4.Department of Potassons
5.Department of Reconstructive Archaeology
6.The Office of Patentry
The institute also contains a pataphysical museum and archive and organised the Anthony Hancock Paintings and Sculptures exhibition in 2002.
Musée Patamécanique.
Musée Patamécanique is a private museum located in Bristol, Rhode Island. Founded in 2006, it is open by appointment only to friends, colleagues, and occasionally to outside observers. The museum is presented as a hybrid between an automaton theater and a cabinet of curiosities and contains works representing the field of Patamechanics, an artistic practice and area of study chiefly inspired by Pataphysics. Examples of exhibits include a troop of singing animatronic Chipmunks, A Time Machine, which the museum claims to be the world?s largest automated Phenakistoscope, an olfactory Clock, a chandelier of singing animatronic nightingales, an Undigestulator (a device that purportedly reconstitutes digested foods), A Peanuts Enlarger, A Syzygistic Oracle, The Earolin (a 24 inch tall holographic ear that plays the violin), and a machine for capturing the dreams of bumble bees.
Clinamen.
A clinamen is the unpredictable swerve of atoms that Bök calls ?the smallest possible aberration that can make the greatest possible difference?. An example is Jarry?s merdre, a swerve of French: merde ("shit").
The Grand Gidouille on Ubu's belly is a symbol of pataphysics.
Antinomy.
An antinomy is the mutually incompatible. It represents the duality of things, the echo or symmetry, the good and the evil at the same time. Hugill mentions various examples including the plus minus, the faust-troll, the haldern-ablou, the yes-but, the ha-ha and the paradox.
Syzygy.
The syzygy originally comes from astronomy and denotes the alignment of three celestial bodies in a straight line. In a pataphysical context it is the pun. It usually describes a conjunction of things, something unexpected and surprising. Serendipity is a simple chance encounter but the syzygy has a more scientific purpose. Bök mentions Jarry suggesting that the fall of a body towards a centre might not be preferable to the ascension of a vacuum towards a periphery.
Absolute.
The absolute is the idea of a transcended reality.
Anomaly.
An anomaly represents the exception. Jarry said that "pataphysics will examine the laws governing exceptions, and will explain the universe supplementary to this one". Bök calls it ?the repressed part of a rule which ensures that the rule does not work?.
Pataphor.
A pataphor is an unusually extended metaphor based on 'pataphysics. As Jarry claimed that pataphysics exists "as far from metaphysics as metaphysics extends from regular reality", a pataphor attempts to create a figure of speech that exists as far from metaphor as metaphor exists from non-figurative language.
In the 1960s 'pataphysics was used as a conceptual principle within various fine art forms, especially pop art and popular culture. Works within the pataphysical tradition tend to focus on the processes of their creation, and elements of chance or arbitrary choices are frequently key in those processes. Select pieces from the artist Marcel Duchamp and the composer John Cage characterize this. At around this time, Asger Jorn, a pataphysician and member of the Situationist International, referred to 'pataphysics as a new religion. Rube Goldberg and Heath Robinson were artists who contrived machines of a pataphysical bent.
In literature.
The authors Raymond Queneau, Jean Genet, Eugène Ionesco, Boris Vian, Rene Daumal and Jean Ferry have described themselves as following the pataphysical tradition.
'Pataphysics and pataphysicians feature prominently in several linked works by science fiction writer Pat Murphy.
The philosopher Jean Baudrillard is often described as a pataphysician and identified as such for some part of his life.
American writer Pablo Lopez has developed an extension of 'pataphysics called the pataphor.
In music.
The debut album by Ron 'Pate's Debonairs, featuring Reverend Fred Lane (his first appearance on vinyl), is titled Raudelunas 'Pataphysical Revue (1977), a live theatrical performance. A review in The Wire magazine said, "No other record has ever come as close to realising Alfred Jarry's desire 'to make the soul monstrous' ? or even had the vision or invention to try". 'Pate (note the 'pataphysical apostrophe) and Lane were central members in the Raudelunas art collective in Tuscaloosa, Alabama.
Professor Andrew Hugill, of De Montfort University, is a practitioner of pataphysical music. He curated Pataphysics, for the Sonic Arts Network's CD series, and in 2007 some of his own music was issued by UHRecordings under the title Pataphysical Piano; the sounds and silences of Andrew Hugill.
British progressive rock band Soft Machine were self described as "the Official Orchestra of the College of Pataphysics", and featured the two songs "Pataphysical Introduction" parts I and II on their 1969 album Volume Two.
Japanese psychedelic rock band Acid Mothers Temple refer to the topic on their 1999 release Pataphisical Freak Out MU!!.
Autolux, LA based noise pop band, have a song "Science Of Imaginary Solutions" in their second album Transit Transit.
"'Pataphysical science" is mentioned as a course of study for Maxwell Edison's first victim, "Joan", in the song "Maxwell's Silver Hammer" on the Beatles album, Abbey Road.
In visual art
American artist Thomas Chimes developed an interest in Jarry's pataphysics, which became a lifelong passion, inspiring much of the painter's creative work.
In 2010 American artist Kevin Ferreira began a visual exploration into the imaginary solutions for the constructs of reality (pataphysics=pata art). The exhibit SpektrumMEK that resulted from this endeavor has been put into his book "SpektrumMEK: a pataphysical gestation to the birth of Lil' t"
The League of Imaginary Scientists, a Los Angeles-based art collective specializing in pataphysics-based interactive experiments. In 2011 they exhibited a series of projects at Museum of Contemporary Art, Los Angeles.
*
140.Surrealism.
Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself and/or an idea/concept.
Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement.
Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.
The word 'surrealist' was coined by Guillaume Apollinaire and first appeared in the preface to his play Les Mamelles de Tirésias, which was written in 1903 and first performed in 1917.
World War I scattered the writers and artists who had been based in Paris, and in the interim many became involved with Dada, believing that excessive rational thought and bourgeois values had brought the conflict of the war upon the world. The Dadaists protested with anti-art gatherings, performances, writings and art works. After the war, when they returned to Paris, the Dada activities continued.
During the war, André Breton, who had trained in medicine and psychiatry, served in a neurological hospital where he used Sigmund Freud's psychoanalytic methods with soldiers suffering from shell-shock. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the spiritual son of writer and pataphysics founder Alfred Jarry. He admired the young writer's anti-social attitude and disdain for established artistic tradition. Later Breton wrote, "In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most."
Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and Philippe Soupault. They began experimenting with automatic writing?spontaneously writing without censoring their thoughts?and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault delved deeper into automatism and wrote The Magnetic Fields (1920).
Continuing to write, they attracted more artists and writers; they came to believe that automatism was a better tactic for societal change than the Dada attack on prevailing values. The group grew to include Paul Éluard, Benjamin Péret, René Crevel, Robert Desnos, Jacques Baron, Max Morise, Pierre Naville, Roger Vitrac, Gala Éluard, Max Ernst, Salvador Dalí, Man Ray, Hans Arp, Georges Malkine, Michel Leiris, Georges Limbour, Antonin Artaud, Raymond Queneau, André Masson, Joan Miró, Marcel Duchamp, Jacques Prévert, and Yves Tanguy.
Cover of the first issue of La Révolution surréaliste, December 1924.
As they developed their philosophy, they believed that Surrealism would advocate the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the Hegelian Dialectic. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin and Herbert Marcuse.
Freud's work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness. Later, Salvador Dalí explained it as: "There is only one difference between a madman and me. I am not mad."
Beside the use of dream analysis, they emphasized that "one could combine inside the same frame, elements not normally found together to produce illogical and startling effects." Breton included the idea of the startling juxtapositions in his 1924 manifesto, taking it in turn from a 1918 essay by poet Pierre Reverdy, which said: "a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be -- the greater its emotional power and poetic reality.".
The group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to free people from false rationality, and restrictive customs and structures. Breton proclaimed that the true aim of Surrealism was "long live the social revolution, and it alone!" To this goal, at various times Surrealists aligned with communism and anarchism.
In 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established, and began publishing the journal La Révolution surréaliste.
Surrealist Manifestos.
Yvan Goll, Surréalisme, Manifeste du surréalisme, Volume 1, Number 1, October 1, 1924, cover by Robert Delaunay.
Leading up to 1924, two rival surrealist groups had formed that both professed to be successors of a revolution launched by Guillaume Apollinaire. One group, led by Yvan Goll, consisted of Pierre Albert-Birot, Paul Dermée, Céline Arnauld, Francis Picabia, Tristan Tzara, Giuseppe Ungaretti, Pierre Reverdy, Marcel Arland, Joseph Delteil (fr), Jean Painlevé and Robert Delaunay, among others.
The other group, led by Breton, included Louis Aragon, Robert Desnos, Paul Éluard, Jacques Baron, Jacques-André Boiffard, Jean Carrive, René Crevel and Georges Malkine, among others.
Yvan Goll published the Manifeste du surréalisme, 1 October 1924, in his first and only issue of Surréalisme two weeks prior to the release of Breton's Manifeste du surréalisme, published by Éditions du Sagittaire, 15 October 1924.
Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées, over the rights to the term 'Surrealism'. In the end, Breton won the battle through tactical and numerical superiority. Though quarrel over the anteriority of 'Surrealism' concluded with the victory of Breton, the history of surrealism from that moment would remain marked by fractures, resignations and resounding excommunications, with each surrealist having their own view of the issue and goals, and accepting more or less the definitions laid out by André Breton.
Breton's 1924 "Surrealist Manifesto" defines the purposes of Surrealism. He included citations of the influences on Surrealism, examples of Surrealist works and discussion of Surrealist automatism. He defined Surrealism as:
Dictionary: Surrealism, n. Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.
Encyclopedia: Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.
La Révolution surréaliste.
Shortly after the release of Breton's Surrealist Manifesto, the Surrealists published the inaugural issue of "La Révolution surréaliste". Publication continued into 1929. As the first directors, Naville and Péret modeled the format of the journal on the conservative scientific review La Nature. To the Surrealists' delight, the journal was consistently scandalous and revolutionary. While the focus was on writing, the journal also included reproductions of art, among them works by Giorgio de Chirico, Ernst, Masson, and Man Ray.
Bureau of Surrealist Research
The Bureau of Surrealist Research (Centrale Surréaliste) was the center for Surrealist writers and artists to meet, hold discussions, and conduct interviews. They investigated speech under trance.
The movement in the mid-1920s was characterized by meetings in cafes where the Surrealists played collaborative drawing games, discussed the theories of Surrealism, and developed a variety of techniques such as automatic drawing. Breton initially doubted that visual arts could even be useful in the Surrealist movement since they appeared to be less malleable and open to chance and automatism. This caution was overcome by the discovery of such techniques as frottage and decalcomania.
Soon more visual artists became involved, including Giorgio de Chirico, Max Ernst, Joan Miró, Francis Picabia, Yves Tanguy, Salvador Dalí, Luis Buñuel, Alberto Giacometti, Valentine Hugo, Méret Oppenheim, Toyen, Kansuke Yamamoto and later after the second war: Enrico Donati. Though Breton admired Pablo Picasso and Marcel Duchamp and courted them to join the movement, they remained peripheral. More writers also joined, including former Dadaist Tristan Tzara, René Char, and Georges Sadoul.
In 1925 an autonomous Surrealist group formed in Brussels. The group included the musician, poet, and artist E. L. T. Mesens, painter and writer René Magritte, Paul Nougé, Marcel Lecomte, and André Souris. In 1927 they were joined by the writer Louis Scutenaire. They corresponded regularly with the Paris group, and in 1927 both Goemans and Magritte moved to Paris and frequented Breton's circle. The artists, with their roots in Dada and Cubism, the abstraction of Wassily Kandinsky, Expressionism, and Post-Impressionism, also reached to older "bloodlines" such as Hieronymus Bosch, and the so-called primitive and naive arts.
André Masson's automatic drawings of 1923 are often used as the point of the acceptance of visual arts and the break from Dada, since they reflect the influence of the idea of the unconscious mind. Another example is Giacometti's 1925 Torso, which marked his movement to simplified forms and inspiration from preclassical sculpture.
However, a striking example of the line used to divide Dada and Surrealism among art experts is the pairing of 1925's Little Machine Constructed by Minimax Dadamax in Person (Von minimax dadamax selbst konstruiertes maschinchen) with The Kiss (Le Baiser)[18] from 1927 by Max Ernst. The first is generally held to have a distance, and erotic subtext, whereas the second presents an erotic act openly and directly. In the second the influence of Miró and the drawing style of Picasso is visible with the use of fluid curving and intersecting lines and colour, whereas the first takes a directness that would later be influential in movements such as Pop art.
Giorgio de Chirico's The Red Tower (La Tour Rouge) (1913), Guggenheim Museum.
Giorgio de Chirico, and his previous development of metaphysical art, was one of the important joining figures between the philosophical and visual aspects of Surrealism. Between 1911 and 1917, he adopted an unornamented depictional style whose surface would be adopted by others later. The Red Tower (La tour rouge) from 1913 shows the stark colour contrasts and illustrative style later adopted by Surrealist painters. His 1914 The Nostalgia of the Poet (La Nostalgie du poète) has the figure turned away from the viewer, and the juxtaposition of a bust with glasses and a fish as a relief defies conventional explanation. He was also a writer whose novel Hebdomeros presents a series of dreamscapes with an unusual use of punctuation, syntax, and grammar designed to create an atmosphere and frame around its images. His images, including set designs for the Ballets Russes, would create a decorative form of Surrealism, and he would be an influence on the two artists who would be even more closely associated with Surrealism in the public mind: Dalí and Magritte. He would, however, leave the Surrealist group in 1928.
In 1924, Miró and Masson applied Surrealism to painting. The first Surrealist exhibition, La Peinture Surrealiste, was held at Galerie Pierre in Paris in 1925. It displayed works by Masson, Man Ray, Paul Klee, Miró, and others. The show confirmed that Surrealism had a component in the visual arts (though it had been initially debated whether this was possible), and techniques from Dada, such as photomontage, were used. The following year, on March 26, 1926 Galerie Surréaliste opened with an exhibition by Man Ray. Breton published Surrealism and Painting in 1928 which summarized the movement to that point, though he continued to update the work until the 1960s.
Writing continues.
René Magritte's "This is not a pipe." The Treachery of Images 1928?29, Los Angeles County Museum of Art
The first Surrealist work, according to leader Breton, was Les Champs Magnétiques (May?June 1919). Littérature contained automatist works and accounts of dreams. The magazine and the portfolio both showed their disdain for literal meanings given to objects and focused rather on the undertones, the poetic undercurrents present. Not only did they give emphasis to the poetic undercurrents, but also to the connotations and the overtones which "exist in ambiguous relationships to the visual images."
Because Surrealist writers seldom, if ever, appear to organize their thoughts and the images they present, some people find much of their work difficult to parse. This notion however is a superficial comprehension, prompted no doubt by Breton's initial emphasis on automatic writing as the main route toward a higher reality. But?as in Breton's case?much of what is presented as purely automatic is actually edited and very "thought out". Breton himself later admitted that automatic writing's centrality had been overstated, and other elements were introduced, especially as the growing involvement of visual artists in the movement forced the issue, since automatic painting required a rather more strenuous set of approaches. Thus such elements as collage were introduced, arising partly from an ideal of startling juxtapositions as revealed in Pierre Reverdy's poetry. And?as in Magritte's case (where there is no obvious recourse to either automatic techniques or collage)?the very notion of convulsive joining became a tool for revelation in and of itself. Surrealism was meant to be always in flux?to be more modern than modern?and so it was natural there should be a rapid shuffling of the philosophy as new challenges arose.
Surrealists revived interest in Isidore Ducasse, known by his pseudonym Comte de Lautréamont, and for the line "beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella", and Arthur Rimbaud, two late 19th-century writers believed to be the precursors of Surrealism.
Examples of Surrealist literature are Artaud's Le Pèse-Nerfs (1926), Aragon's Irene's Cunt (1927), Péret's Death to the Pigs (1929), Crevel's Mr. Knife Miss Fork (1931), Sadegh Hedayat's the Blind Owl (1937), and Breton's Sur la route de San Romano (1948).
La Révolution surréaliste continued publication into 1929 with most pages densely packed with columns of text, but also included reproductions of art, among them works by de Chirico, Ernst, Masson, and Man Ray. Other works included books, poems, pamphlets, automatic texts and theoretical tracts.
Surrealist films.
Main article: Surrealist cinema.
Early films by Surrealists include:
Entr'acte by René Clair (1924)
La Coquille et le clergyman by Germaine Dulac, screenplay by Antonin Artaud (1928)
L'Étoile de mer by Man Ray (1928)
Un Chien Andalou by Luis Buñuel and Salvador Dalí (1929)
L'Âge d'Or by Buñuel and Dalí (1930)
Le sang d'un poète by Jean Cocteau (1930)
Surrealist theatre.
The word surrealist was first used by Guillaume Apollinaire to describe his 1917 play Les Mamelles de Tirésias (The Breasts of Tiresias), which was later adapted into an opera by Francis Poulenc.
Antonin Artaud, an early Surrealist, rejected the majority of Western theatre as a perversion of its original intent, which he felt should be a mystical, metaphysical experience. He thought that rational discourse comprised "falsehood and illusion." Theorising a new theatrical form that would be immediate and direct, that would link the unconscious minds of performers and spectators in a sort of ritual event, Artaud created the Theatre of Cruelty, in which emotions, feelings, and the metaphysical were expressed not through language but physically, creating a mythological, archetypal, allegorical vision, closely related to the world of dreams.
The other major theatre practitioner to have experimented with surrealism in the theatre is the Spanish playwright and director Federico García Lorca, particularly in his plays The Public (1930), When Five Years Pass (1931), and Play Without a Title (1935). Other surrealist plays include Aragon's Backs to the Wall (1925) and Roger Vitrac's The Mysteries of Love (1927) and Victor, or The Children Take Over (1928). Gertrude Stein's opera Doctor Faustus Lights the Lights (1938) has also been described as "American Surrealism", though it is also related to a theatrical form of cubism.
Music by Surrealists.
Main article: Surrealist music
In the 1920s several composers were influenced by Surrealism, or by individuals in the Surrealist movement. Among them were Bohuslav Martin?, André Souris, and Edgard Varèse, who stated that his work Arcana was drawn from a dream sequence.[citation needed] Souris in particular was associated with the movement: he had a long relationship with Magritte, and worked on Paul Nougé's publication Adieu Marie.
Germaine Tailleferre of the French group Les Six wrote several works which could be considered to be inspired by Surrealism[citation needed], including the 1948 Ballet Paris-Magie (scenario by Lise Deharme), the Operas La Petite Sirène (book by Philippe Soupault) and Le Maître (book by Eugène Ionesco).[citation needed] Tailleferre also wrote popular songs to texts by Claude Marci, the wife of Henri Jeanson, whose portrait had been painted by Magritte in the 1930s.
Even though Breton by 1946 responded rather negatively to the subject of music with his essay Silence is Golden, later Surrealists, such as Paul Garon, have been interested in?and found parallels to?Surrealism in the improvisation of jazz and the blues. Jazz and blues musicians have occasionally reciprocated this interest. For example, the 1976 World Surrealist Exhibition included performances by David Honeyboy Edwards.
Throughout the 1930s, Surrealism continued to become more visible to the public at large. A Surrealist group developed in Britain and, according to Breton, their 1936 London International Surrealist Exhibition was a high-water mark of the period and became the model for international exhibitions.
Dalí and Magritte created the most widely recognized images of the movement. Dalí joined the group in 1929, and participated in the rapid establishment of the visual style between 1930 and 1935.
Surrealism as a visual movement had found a method: to expose psychological truth; stripping ordinary objects of their normal significance, to create a compelling image that was beyond ordinary formal organization, in order to evoke empathy from the viewer.
1931 was a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: Magritte's Voice of Space (La Voix des airs) is an example of this process, where three large spheres representing bells hang above a landscape. Another Surrealist landscape from this same year is Yves Tanguy's Promontory Palace (Palais promontoire), with its molten forms and liquid shapes. Liquid shapes became the trademark of Dalí, particularly in his The Persistence of Memory, which features the image of watches that sag as if they were melting.
The characteristics of this style?a combination of the depictive, the abstract, and the psychological?came to stand for the alienation which many people felt in the modern period, combined with the sense of reaching more deeply into the psyche, to be "made whole with one's individuality".
Between 1930 and 1933, the Surrealist Group in Paris issued the periodical Le Surréalisme au service de la révolution as the successor of La Révolution surréaliste.
From 1936 through 1938 Wolfgang Paalen, Gordon Onslow Ford, and Roberto Matta joined the group. Paalen contributed Fumage and Onslow Ford Coulage as new pictorial automatic techniques.
Long after personal, political and professional tensions fragmented the Surrealist group, Magritte and Dalí continued to define a visual program in the arts. This program reached beyond painting, to encompass photography as well, as can be seen from a Man Ray self-portrait, whose use of assemblage influenced Robert Rauschenberg's collage boxes.
Max Ernst, L'Ange du Foyer ou le Triomphe du Surréalisme (1937), private collection.
During the 1930s Peggy Guggenheim, an important American art collector, married Max Ernst and began promoting work by other Surrealists such as Yves Tanguy and the British artist John Tunnard.
Major exhibitions in the 1930s.
1936 - London International Surrealist Exhibition is organised in London by the art historian Herbert Read, with an introduction by André Breton.
1936 - Museum of Modern Art in New York shows the exhibition Fantastic Art, Dada and Surrealism.
1938 - A new Exposition Internationale du Surréalisme was held at the Beaux-arts Gallery, Paris, with more than 60 artists from different countries, and showed around 300 paintings, objects, collages, photographs and installations. The Surrealists wanted to create an exhibition which in itself would be a creative act and called on Marcel Duchamp, Wolfgang Paalen, Man Ray and others to do so. At the exhibition's entrance Salvador Dalí placed his Rainy Taxi (an old taxi rigged to produce a steady drizzle of water down the inside of the windows, and a shark-headed creature in the driver's seat and a blond mannequin crawling with live snails in the back) greeted the patrons who were in full evening dress. Surrealist Street filled one side of the lobby with mannequins dressed by various Surrealists. Paalen and Duchamp designed the main hall to seem like subterranean cave with 1,200 coal bags suspended from the ceiling over a coal brazier with a single light bulb which provided the only lighting, as well as the floor covered with humid leaves and mud. The patrons were given flashlights with which to view the art. On the floor Wolfgang Paalen created a small lake with grasses and the aroma of roasting coffee filled the air. Much to the Surrealists' satisfaction the exhibition scandalized the viewers.
World War II and the Post War period
Yves Tanguy Indefinite Divisibility 1942, Albright Knox Art Gallery, Buffalo, New York
World War II created havoc not only for the general population of Europe but especially for the European artists and writers that opposed Fascism, and Nazism. Many important artists fled to North America, and relative safety in the United States. The art community in New York City in particular was already grappling with Surrealist ideas and several artists like Arshile Gorky, Jackson Pollock, and Robert Motherwell converged closely with the surrealist artists themselves, albeit with some suspicion and reservations. Ideas concerning the unconscious and dream imagery were quickly embraced. By the Second World War, the taste of the American avant-garde in New York City swung decisively towards Abstract Expressionism with the support of key taste makers, including Peggy Guggenheim, Leo Steinberg and Clement Greenberg. However, it should not be easily forgotten that Abstract Expressionism itself grew directly out of the meeting of American (particularly New York) artists with European Surrealists self-exiled during World War II. In particular, Gorky and Paalen influenced the development of this American art form, which, as Surrealism did, celebrated the instantaneous human act as the well-spring of creativity. The early work of many Abstract Expressionists reveals a tight bond between the more superficial aspects of both movements, and the emergence (at a later date) of aspects of Dadaistic humor in such artists as Rauschenberg sheds an even starker light upon the connection. Up until the emergence of Pop Art, Surrealism can be seen to have been the single most important influence on the sudden growth in American arts, and even in Pop, some of the humor manifested in Surrealism can be found, often turned to a cultural criticism.
The Second World War overshadowed, for a time, almost all intellectual and artistic production. In 1939 Wolfgang Paalen was the first to leave Paris for the New World as exile. After a long trip through the forests of British-Columbia, he settled in Mexico and founded his influential art-magazine Dyn. In 1940 Yves Tanguy married American Surrealist painter Kay Sage. In 1941, Breton went to the United States, where he co-founded the short-lived magazine VVV with Max Ernst, Marcel Duchamp, and the American artist David Hare. However, it was the American poet, Charles Henri Ford, and his magazine View which offered Breton a channel for promoting Surrealism in the United States. The View special issue on Duchamp was crucial for the public understanding of Surrealism in America. It stressed his connections to Surrealist methods, offered interpretations of his work by Breton, as well as Breton's view that Duchamp represented the bridge between early modern movements, such as Futurism and Cubism, to Surrealism. Wolfgang Paalen left the group in 1942 due to political/philosophical differences with Breton.
Though the war proved disruptive for Surrealism, the works continued. Many Surrealist artists continued to explore their vocabularies, including Magritte. Many members of the Surrealist movement continued to correspond and meet. While Dalí may have been excommunicated by Breton, he neither abandoned his themes from the 1930s, including references to the "persistence of time" in a later painting, nor did he become a depictive pompier. His classic period did not represent so sharp a break with the past as some descriptions of his work might portray, and some, such as Thirion, argued that there were works of his after this period that continued to have some relevance for the movement.
During the 1940s Surrealism's influence was also felt in England and America. Mark Rothko took an interest in biomorphic figures, and in England Henry Moore, Lucian Freud, Francis Bacon and Paul Nash used or experimented with Surrealist techniques. However, Conroy Maddox, one of the first British Surrealists whose work in this genre dated from 1935, remained within the movement, and organized an exhibition of current Surrealist work in 1978 in response to an earlier show which infuriated him because it did not properly represent Surrealism. Maddox's exhibition, titled Surrealism Unlimited, was held in Paris and attracted international attention. He held his last one-man show in 2002, and died three years later. Magritte's work became more realistic in its depiction of actual objects, while maintaining the element of juxtaposition, such as in 1951's Personal Values (Les Valeurs Personnelles) and 1954's Empire of Light (L?Empire des lumières). Magritte continued to produce works which have entered artistic vocabulary, such as Castle in the Pyrenees (Le Château des Pyrénées),[36] which refers back to Voix from 1931, in its suspension over a landscape.
Other figures from the Surrealist movement were expelled. Several of these artists, like Roberto Matta (by his own description) "remained close to Surrealism."
After the crushing of the Hungarian Revolution of 1956, Endre Rozsda returned to Paris to continue creating his own word that had been transcended the surrealism. The preface to his first exhibition in the Furstenberg Gallery (1957) was written by Breton yet.
Many new artists explicitly took up the Surrealist banner for themselves. Dorothea Tanning and Louise Bourgeois continued to work, for example, with Tanning's Rainy Day Canape from 1970. Duchamp continued to produce sculpture in secret including an installation with the realistic depiction of a woman viewable only through a peephole.
Breton continued to write and espouse the importance of liberating of the human mind, as with the publication The Tower of Light in 1952. Breton's return to France after the War, began a new phase of Surrealist activity in Paris, and his critiques of rationalism and dualism found a new audience. Breton insisted that Surrealism was an ongoing revolt against the reduction of humanity to market relationships, religious gestures and misery and to espouse the importance of liberating the human mind.
Major exhibitions of the 1940s, '50s and '60s.
1942 - First Papers of Surrealism - New York - The Surrealists again called on Duchamp to design an exhibition. This time he wove a 3-dimensional web of string throughout the rooms of the space, in some cases making it almost impossible to see the works. He made a secret arrangement with an associate's son to bring his friends to the opening of the show, so that when the finely dressed patrons arrived they found a dozen children in athletic clothes kicking and passing balls, and skipping rope. His design for the show's catalog included "found", rather than posed, photographs of the artists.
1947 - International Surrealist Exhibition - Galerie Maeght, Paris
1959 - International Surrealist Exhibition - Paris
1960 - Surrealist Intrusion in the Enchanters' Domain - New York
*
141.Supersymmetry (SUSY).
Supersymmetry (SUSY), a theory of particle physics, is a proposed type of spacetime symmetry that relates two basic classes of elementary particles: bosons, which have an integer-valued "spin", and fermions, which have a half-integer spin. Each particle from one group is associated with a particle from the other, known as its superpartner, the spin of which differs by a half-integer. In a theory with perfectly "unbroken" supersymmetry, each pair of superpartners shares the same mass and internal quantum numbers besides spin ? for example, a "selectron" (superpartner electron) would be a boson version of the electron, and would have the same mass energy and thus be equally easy to find in a laboratory. However, since no superpartners have been observed yet, if supersymmetry exists then it must be a spontaneously broken symmetry. If supersymmetry is a true symmetry of nature, it would explain many mysterious features of particle physics and would help solve paradoxes such as the cosmological constant problem. The Minimal Supersymmetric Standard Model is one of the best studied candidates for addition to the Standard Model.
The failure of the Large Hadron Collider to find evidence for supersymmetry has caused some physicists to suggest that the theory should be abandoned as a solution to such problems, as any superpartners that exist would now need to be too massive to solve the paradoxes anyway. Experiments with the Large Hadron Collider also yielded extremely rare particle decay events which casts doubt on many versions of supersymmetry.
Supersymmetry differs notably from symmetries currently known in that it establishes a symmetry between classical and quantum physics, which has not been observed in any other domain. While any number of bosons can occupy the same quantum state, for fermions this is not possible because of the Pauli exclusion principle, which allows only one fermion in a given state. But when the occupation numbers become large, quantum physics approaches the classical limit. This means that while bosons also exist in classical physics, fermions do not. That makes it difficult to expect that bosons possess the same quantum numbers as fermions. There is only indirect evidence for the existence of supersymmetry, primarily in the form of evidence for gauge coupling unification. However, this refers only to electroweak and strong interactions and does not provide the ultimate unification of all interactions, since it does not include gravitation.
A supersymmetry relating mesons and baryons was first proposed, in the context of hadronic physics, by Hironari Miyazawa during 1966. This supersymmetry did not involve spacetime, that is it concerned internal symmetry, and was broken badly. His work was largely ignored at the time.
J. L. Gervais and B. Sakita (during 1971), Yu. A. Golfand and E. P. Likhtman (also during 1971), and D.V. Volkov and V.P. Akulov (1972), independently rediscovered supersymmetry in the context of quantum field theory, a radically new type of symmetry of spacetime and fundamental fields, which establishes a relationship between elementary particles of different quantum nature, bosons and fermions, and unifies spacetime and internal symmetries of microscopic phenomena. Supersymmetry with a consistent Lie-algebraic graded structure on which the Gervais?Sakita rediscovery was based directly first arose during 1971 in the context of an early version of string theory by Pierre Ramond, John H. Schwarz and André Neveu.
Finally, Julius Wess and Bruno Zumino (during 1974) identified the characteristic renormalization features of four-dimensional supersymmetric field theories, which identified them as remarkable QFTs, and they and Abdus Salam and their fellow researchers introduced early particle physics applications. The mathematical structure of supersymmetry (Graded Lie superalgebras) has subsequently been applied successfully to other topics of physics, ranging from nuclear physics, critical phenomena, quantum mechanics to statistical physics. It remains a vital part of many proposed theories of physics.
The first realistic supersymmetric version of the Standard Model was proposed during 1977 by Pierre Fayet and is known as the Minimal Supersymmetric Standard Model or MSSM for short. It was proposed to solve the hierarchy problem and predicts superpartners with masses between 100 GeV and 1 TeV.
The Large Hadron Collider at CERN is producing the world's highest-energy collisions and offers the best chance at discovering superparticles for the foreseeable future. After the discovery of the Higgs particle during 2012, it was expected that supersymmetric particles would be found at CERN, but there has been still not any evidence of them. The LHCb and CMS experiments at the LHC made the first definitive observation of a Strange B meson decaying into two muons, confirming a standard model prediction, but a disappointment for those hoping for signs of supersymmetry. Neil Turok at Perimeter Institute concedes that theorists are disheartened at that situation, calling it a crisis. He described the LHC results as "simple, yet extremely puzzling" and said "we have to get people to try to find the new principles that will explain the simplicity".
A major motivation for supersymmetry close to the tera-electronvolt (TeV) energy scale is the resolution of the hierarchy problem of the Standard Model. Without the extra supersymmetric particles, the Higgs boson mass is subject to quantum corrections which are so large as to drive it close naturally to the Planck mass barring its fine tuning to an extraordinarily tiny value. In the supersymmetric theory, however, these quantum corrections are canceled by those from the corresponding superpartners above the supersymmetry breaking scale, which becomes the new characteristic natural scale for the Higgs mass. Other attractive features of TeV-scale supersymmetry are the fact that it often provides a candidate dark matter particle at a mass scale consistent with thermal relic abundance calculations, provides a natural mechanism for electroweak symmetry breaking and allows for the precise high-energy unification of the weak, the strong and electromagnetic interactions. Therefore, scenarios such that supersymmetric partners appear with masses not much greater than 1 TeV are considered the most well-motivated by theorists. These scenarios would imply that experimental traces of the superpartners should have been detected from high-energy collisions in the LHC relatively soon; however to date this has not happened, which is beginning to significantly constrain the most popular incarnations of supersymmetry. However, the total parameter space of consistent supersymmetric extensions of the Standard Model is extremely diverse and can not be ruled out definitively by the LHC.
Supersymmetry is also motivated by solutions to several theoretical problems, for generally providing many desirable mathematical properties, and for ensuring sensible behavior at high energies. Supersymmetric quantum field theory is often much easier to analyze, as many more problems become exactly solvable. When supersymmetry is imposed as a local symmetry, Einstein's theory of general relativity is included automatically, and the result is said to be a theory of supergravity. It is also a necessary feature of the most popular candidate for a theory of everything, superstring theory.
Another theoretically appealing property of supersymmetry is that it offers the only "loophole" to the Coleman?Mandula theorem, which prohibits spacetime and internal symmetries from being combined in any nontrivial way, for quantum field theories like the Standard Model with very general assumptions. The Haag-Lopuszanski-Sohnius theorem demonstrates that supersymmetry is the only way spacetime and internal symmetries can be combined consistently.
Extension of possible symmetry groups
One reason that physicists explored supersymmetry is because it offers an extension to the more familiar symmetries of quantum field theory. These symmetries are grouped into the Poincaré group and internal symmetries and the Coleman?Mandula theorem showed that under certain assumptions, the symmetries of the S-matrix must be a direct product of the Poincaré group with a compact internal symmetry group or if there is not any mass gap, the conformal group with a compact internal symmetry group. During 1971 Golfand and Likhtman were the first to show that the Poincaré algebra can be extended through introduction of four anticommuting spinor generators (in four dimensions), which later became known as supercharges. During 1975 the Haag-Lopuszanski-Sohnius theorem analyzed all possible superalgebras in the general form, including those with an extended number of the supergenerators and central charges. This extended super-Poincaré algebra paved the way for obtaining a very large and important class of supersymmetric field theories.
The supersymmetry algebra.
Traditional symmetries of physics are generated by objects that transform by the tensor representations of the Poincaré group and internal symmetries. Supersymmetries, however, are generated by objects that transform by the spinor representations. According to the spin-statistics theorem, bosonic fields commute while fermionic fields anticommute. Combining the two kinds of fields into a single algebra requires the introduction of a Z2-grading under which the bosons are the even elements and the fermions are the odd elements. Such an algebra is called a Lie superalgebra.
The simplest supersymmetric extension of the Poincaré algebra is the Super-Poincaré algebra. Expressed in terms of two Weyl spinors, has the following anti-commutation relation:
and all other anti-commutation relations between the Qs and commutation relations between the Qs and Ps vanish. In the above expression  are the generators of translation and  are the Pauli matrices.
There are representations of a Lie superalgebra that are analogous to representations of a Lie algebra. Each Lie algebra has an associated Lie group and a Lie superalgebra can sometimes be extended into representations of a Lie supergroup.
The Supersymmetric Standard Model.
Incorporating supersymmetry into the Standard Model requires doubling the number of particles since there is no way that any of the particles in the Standard Model can be superpartners of each other. With the addition of new particles, there are many possible new interactions. The simplest possible supersymmetric model consistent with the Standard Model is the Minimal Supersymmetric Standard Model (MSSM) which can include the necessary additional new particles that are able to be superpartners of those in the Standard Model.
One of the main motivations for SUSY comes from the quadratically divergent contributions to the Higgs mass squared. The quantum mechanical interactions of the Higgs boson causes a large renormalization of the Higgs mass and unless there is an accidental cancellation, the natural size of the Higgs mass is the greatest scale possible. This problem is known as the hierarchy problem. Supersymmetry reduces the size of the quantum corrections by having automatic cancellations between fermionic and bosonic Higgs interactions. If supersymmetry is restored at the weak scale, then the Higgs mass is related to supersymmetry breaking which can be induced from small non-perturbative effects explaining the vastly different scales in the weak interactions and gravitational interactions.
In many supersymmetric Standard Models there is a heavy stable particle (such as neutralino) which could serve as a weakly interacting massive particle (WIMP) dark matter candidate. The existence of a supersymmetric dark matter candidate is related closely to R-parity.
The standard paradigm for incorporating supersymmetry into a realistic theory is to have the underlying dynamics of the theory be supersymmetric, but the ground state of the theory does not respect the symmetry and supersymmetry is broken spontaneously. The supersymmetry break can not be done permanently by the particles of the MSSM as they currently appear. This means that there is a new sector of the theory that is responsible for the breaking. The only constraint on this new sector is that it must break supersymmetry permanently and must give superparticles TeV scale masses. There are many models that can do this and most of their details do not matter. In order to parameterize the relevant features of supersymmetry breaking, arbitrary soft SUSY breaking terms are added to the theory which temporarily break SUSY explicitly but could never arise from a complete theory of supersymmetry breaking.
Gauge-coupling unification.
One piece of evidence for supersymmetry existing is gauge coupling unification. The renormalization group evolution of the three gauge coupling constants of the Standard Model is somewhat sensitive to the present particle content of the theory. These coupling constants do not quite meet together at a common energy scale if we run the renormalization group using the Standard Model. With the addition of minimal SUSY joint convergence of the coupling constants is projected at approximately 1016 GeV.
Supersymmetric quantum mechanics
Main article: Supersymmetric quantum mechanics.
Supersymmetric quantum mechanics adds the SUSY superalgebra to quantum mechanics as opposed to quantum field theory. Supersymmetric quantum mechanics often becomes relevant when studying the dynamics of supersymmetric solitons, and due to the simplified nature of having fields which are only functions of time (rather than space-time), a great deal of progress has been made in this subject and it is now studied in its own right.
SUSY quantum mechanics involves pairs of Hamiltonians which share a particular mathematical relationship, which are called partner Hamiltonians. (The potential energy terms which occur in the Hamiltonians are then known as partner potentials.) An introductory theorem shows that for every eigenstate of one Hamiltonian, its partner Hamiltonian has a corresponding eigenstate with the same energy. This fact can be exploited to deduce many properties of the eigenstate spectrum. It is analogous to the original description of SUSY, which referred to bosons and fermions. We can imagine a "bosonic Hamiltonian", whose eigenstates are the various bosons of our theory. The SUSY partner of this Hamiltonian would be "fermionic", and its eigenstates would be the theory's fermions. Each boson would have a fermionic partner of equal energy.
Supersymmetry: Applications to condensed matter physics.
SUSY concepts have provided useful extensions to the WKB approximation. Additionally, SUSY has been applied to disorder averaged systems both quantum and non-quantum (through statistical mechanics), the Fokker-Planck equation being an example of a non-quantum theory. The `supersymmetry' in all these systems arises from the fact that one is modelling one particle and as such the`statistics' don't matter. The use of the supersymmetry method provides a mathematical rigorous alternative to the replica trick, but only in non-interacting systems, which attempts to address the so-called `problem of the denominator' under disorder averaging. For more on the applications of supersymmetry in condensed matter physics see the book.
Supersymmetry in optics.
Integrated optics was recently found to provide a fertile ground on which certain ramifications of SUSY can be explored in readily-accessible laboratory settings. Making use of the analogous mathematical structure of the quantum-mechanical Schrödinger equation and the wave equation governing the evolution of light in one-dimensional settings, one may interpret the refractive index distribution of a structure as a potential landscape in which optical wave packets propagate. In this manner, a new class of functional optical structures with possible applications in phase matching, mode conversion and space-division multiplexing becomes possible. SUSY transformations have been also proposed as a way to address inverse scattering problems in optics and as a one-dimensional transformation optics.
Mathematics.
SUSY is also sometimes studied mathematically for its intrinsic properties. This is because it describes complex fields satisfying a property known as holomorphy, which allows holomorphic quantities to be exactly computed. This makes supersymmetric models useful "toy models" of more realistic theories. A prime example of this has been the demonstration of S-duality in four-dimensional gauge theories that interchanges particles and monopoles.
The proof of the Atiyah-Singer index theorem is much simplified by the use of supersymmetric quantum mechanics.