As the theory of the atom, quantum mechanics is perhaps the most successful theory in the history of science. It enables physicists, chemists, and technicians to calculate and predict the outcome of a vast number of experiments and to create new and advanced technology based on the insight into the behavior of atomic objects. But it is also a theory that challenges our imagination. It seems to violate some fundamental principles of classical physics, principles that eventually have become a part of western common sense since the rise of the modern worldview in the Renaissance. The aim of any metaphysical interpretation of quantum mechanics is to account for these violations.

In this theory, the electron had maintained some measure of identity as an independent physical system. Even this was lost as the lectron
continued to mutate into forms ever more remote from Thomson’s corpuscles. In Jordan and Wigner’s (1928) theory, under second quantization of the singleparticle electron wave function, the electron became a mere excitation of a fermionic field. Wigner’s (1939) analysis of group properties of elementary particles relegated the electron to a spin-1/2 irreducible representation of the Poincaré group. In the 1967-68 Glashow-Salam-Weinberg theory of electroweak interactions, the electron is an even stranger beast: it has massless left-handed and right-handed parts that unite to form a massive particle through interactions with a scalar Higgs field. Finally, in the current Standard Model of fundamental interactions, the electron is a member of the first of three generations of similar
leptonic particles that are related in a non-trivial way to three generations of hadronic quarks. With its public person displaying more aliases than a master confidence trickster, we may well doubt that we have or ever will unmask the identity of the real electron in our theorizing. Do we not learn the lesson of history if we cease to take our theories of the electron as credible reports of physical reality?
Such concerns have long been a subject of analysis in philosophy of science. They have been given precise form in the “pessimistic meta-induction”: Every theory we can name in the history of science is, in retrospect, erroneous in some respect.
At the moment the question remains: do electron exist or not?

Excerpt from "What Should Philosophers of Science Learn
From the History of the Electron?". Jonathan Bain and John D. Norton.
Department of History and Philosophy of Science University of Pittsburgh.

Review by Stephane Froidcoeur (Side-Line):

Background/Info: Raffaele Pezzella is an Italian artist and the owner of Unexplained Sound Group. He’s active as a musician under the Sonologyst moniker and has already released multiple productions during the past few years. This new work reveals a conceptual approach transposing theories about electrons into music.

Content: If science and research about electrons is a complex, but fascinating subject, it also reflects the sonic exploration of Sonologyst. The work is a constant exploration of experimental noise fields, which often sound like signals emerging from distant and unknown music planets. But is it really ‘music’ properly speaking?

“Electrons: A Scientific Essay” rapidly becomes a kind of abstract soundscape where the composer is manipulating the knobs of his machines to obtain a kind of hostile sound atmosphere. There’s an interesting progression running through the tracks and especially the final cuts are worthy of examination.

+ + + : Raffaele Pezzella is more a sound architect instead of a musician. You feel a fascination for sounds and noises, which have been transformed and adapted into a kind of sonic rarity with a dark and sometimes disturbing touch. This is the right production for lovers of experimental music.

- - - : Sonologyst clearly appeals for a much selected group of music freaks. This is not the most accessible production and clearly an antidote to music with the typical verse – chorus structure.

Conclusion: Sonologyst is a kind of sonic alien composing a paranormal sound, which is impossible to define and hard to catch.

Best songs: “Zeeman Effect”, “Hadronic Telescope”.