For those too young to remember the 20th century . . .
Related illustrations —
I prefer Kirsch's "Space Babel" (Tablet , Dec. 4, 2020).
An image we may regard as illustrating
the group-identity symbol "e" for "Einheit" —
Some context:
The previous post suggests a review . . .
"This is the purpose of being alive, to find someone
who sharpens the corners of the world for you and
allows you to peer into the souls of your fellow man!"
[“Corners” link added.]
— Rosa Lyster two hours ago at
https://www.gawker.com/culture/george-ann
For instance —
… that was posted here in 2014 in memory of his brother —
A visual framework to adapt for the above calendar —
A related geometric illustration
from a New Yorker article —
"Here's a quarter, call someone who cares."
— Country song lyric
A Bon Jovi "Stripped" video released May 1, 2007 —
Synchronology check —
This journal in the early morning of the above release date —
"Nine is a very |
"Consider the six-dimensional vector space ( 𝔽2 )6
over the two-element field 𝔽2 ."
— Page 23 of "The Universal Kummer Threefold,"
arXiv:1208.1229v3, 12 June 2013, by Qingchun Ren,
Steven V. Sam, Gus Schrader, and Bernd Sturmfels.
An illustration of that space from 1981 —
The above recollection of the Kummer Threefold remark was suggested by
recent posts now tagged Smallfield . . .
"Third Man – an elderly American railway bum, "Art to which I fix my celebrated signature." — "Third Man" in Victor Snaith's play "Changing Stations" |
If we read the above "art" as a scythe blade to which the "signature" —
Snaith ("the crooked handle or shaft of a scythe") — is attached,
an image of the late art critic Robert Hughes comes to mind:
That image of Hughes appeared here in a post of June 17, 2015 —
"Slow Art, Continued" — that also referenced the Kummer Threefold
paper above.
For more on the phrase "diamond brackets," see the post
Artistic Style of July 24, 2018.
This was the dies natalis (in the Catholic sense) of philosophy
professor Garth L. Kemerling.
From Kemerling's internet "Philosophy Pages" —
"First, it must be possible in principle to arrange and organize
the chaos of our many individual sensory images by tracing
the connections that hold among them. This Kant called
the synthetic unity of the sensory manifold.
Second, it must be possible in principle for a single subject
to perform this organization by discovering the connections
among perceived images. This is satisfied by what Kant called
the transcendental unity of apperception."
Related Log24 phrases —
"Intake Manifold" and "Bulk Apperception."
* See also Bracketing (phenomenology) in Wikipedia.
“Character and action, you brought together” —
Keanu Reeves to the late Sonny Chiba.
(A sequel to this morning's post A Subtle Knife for Sean.)
Exhibit A —
Einstein in The Saturday Review, 1949 —
"In any case it was quite sufficient for me
if I could peg proofs upon propositions
the validity of which did not seem to me to be dubious.
For example, I remember that an uncle told me
the Pythagorean theorem before the holy geometry booklet
had come into my hands. After much effort I succeeded
in 'proving' this theorem on the basis of the similarity
of triangles; in doing so it seemed to me 'evident' that
the relations of the sides of the right-angled triangles
would have to be completely determined by one of the
acute angles. Only something which did not in similar fashion
seem to be 'evident' appeared to me to be in need of any proof
at all. Also, the objects with which geometry deals seemed to
be of no different type than the objects of sensory perception,
'which can be seen and touched.' This primitive idea, which
probably also lies at the bottom of the well-known Kantian
problematic concerning the possibility of 'synthetic judgments
a priori' rests obviously upon the fact that the relation of
geometrical concepts to objects of direct experience
(rigid rod, finite interval, etc.) was unconsciously present."
Exhibit B —
Strogatz in The New Yorker, 2015 —
"Einstein, unfortunately, left no … record of his childhood proof.
In his Saturday Review essay, he described it in general terms,
mentioning only that it relied on 'the similarity of triangles.'
The consensus among Einstein’s biographers is that he probably
discovered, on his own, a standard textbook proof in which similar
triangles (meaning triangles that are like photographic reductions
or enlargements of one another) do indeed play a starring role.
Walter Isaacson, Jeremy Bernstein, and Banesh Hoffman all come
to this deflating conclusion, and each of them describes the steps
that Einstein would have followed as he unwittingly reinvented
a well-known proof."
Exhibit C —
Schroeder presents an elegant and memorable proof. He attributes
the proof to Einstein, citing purely hearsay evidence in a footnote.
The only other evidence for Einstein's connection with the proof
is his 1949 Saturday Review remarks. If Einstein did come up with
the proof at age 11 and discuss it with others later, as Schroeder
claims, it seems he might have felt a certain pride and been more
specific in 1949, instead of merely mentioning the theorem in passing
before he discussed Kantian philosophy relating concepts to objects.
Strogatz says that . . .
"What we’re seeing here is a quintessential use of
a symmetry argument… scaling….
Throughout his career, Einstein would continue to
deploy symmetry arguments like a scalpel, getting to
the hidden heart of things."
Connoisseurs of bullshit may prefer a faux-Chinese approach to
"the hidden heart of things." See Log24 on August 16, 2021 —
http://m759.net/wordpress/?p=96023 —
In a Nutshell: The Core of Everything .
"The subject of K -theory takes its name from a 1957 construction of
Alexander Grothendieck which appeared in the
Grothendieck–Riemann–Roch theorem, his generalization of
Hirzebruch's theorem.[2] Let X be a smooth algebraic variety.
To each vector bundle on X , Grothendieck associates an invariant, its class .
The set of all classes on X was called K(X) from the German Klasse ."
— Wikipedia, Algebraic K -theory
In memory of a mathematician who reportedly died on July 3rd, 2021 —
For a somewhat simpler K , see Aesthetic Distance.
From yesterday morning's post "What's in a Name?" —
"Third Man – an elderly American railway bum, "Art to which I fix my celebrated signature." — "Third Man" in Victor Snaith's play "Changing Stations" |
In the above Facebook post, a dead person speaks —
"You and I are separated by a thin piece of silk
which neither the strongest man could tear,
nor the sharpest tool could pierce.
Nothing can cross this membrane that divides us
except art, music, poetry and love."
Try a subtle knife, Sean.
Related material —
"Third Man – an elderly American railway bum,
a schizophrenic, speaks with a Southern drawl"
"Art to which I fix my celebrated signature."
— "Third Man" in Victor Snaith's play "Changing Stations"
"Snaithing may thus be Smallfield . . . ."
Starring J. J. Abrams as Leonhard Euler?
Related material —
The Cornell cap in the recent HBO "White Lotus" —
From Under the Volcano , Chapter II—
Hotel Bella Vista
Gran Baile Noviembre 1938
a Beneficio de la Cruz Roja.
Los Mejores Artistas del radio en accion.
No falte Vd.
From the above Essays on the Plays —
"In the first short play of 365 Days . . . ."
Some will prefer a film with the same title —
The previous post, Mythical Figure, suggests a review of posts
tagged Solomon Marcus.
See as well . . .
Synchronology check — See LA Scenes tag.
Google News today — Science:
Google News today — Entertainment:
Science Entertainment —
See "Dark Matter" in this journal.
“The great Confucius guided China spiritually for over 2,000 years.
The main doctrine is ' 仁 ' pronounced 'ren', meaning two people,
i.e., human relationship. Modern science has been highly competitive.
I think an injection of the human element will make our subject more
healthy and enjoyable."
— Geometer Shiing-Shen Chern in a Wikipedia article
See the "ren" character in Wiktionary. See as well . . .
"The development of ren ( 仁 ) in early Chinese philosophy,"
By Robin Elliott Curtis, U. of B.C. Master's thesis, 2016 —
Thus, we can conclude that several different forms of
the character ren , were in existence during the
Warring States period. This shows that etymological analyses
focusing exclusively on the combination of 人 and 二 are inadequate.
It should also serve as a warning against “character fetishization,”
or giving “exaggerated status to Chinese characters in the interpretation
of Chinese language, thought, and culture.” 46
46 Edward McDonald 2009, p. 1194.
McDonald, Edward. 2009. “Getting over the Walls of
Discourse: 'Character Fetishization' in Chinese Studies.”
The Journal of Asian Studies 68 (4): 1189 – 1213.
Wikipedia article on Ren in Confucianism:
人 + 二 = 仁 (Rén) man on left two on right, the relationship between two human beings, means co-humanity. Originally the character was just written as丨二 [citation needed] representing yin yang, the vertical line is yang (bright, traditionally masculine, heaven, odd numbers), the two horizontal lines are yin (dark, traditionally feminine, earth, even numbers), 仁 is the core of everything. |
"The core of everything" . . . Citation needed ?
The title is from "Federico Ardila on Math, Music and
the Space of Possibilities," a podcast from Steven Strogatz's
Quanta Magazine series. The transcript is dated March 29, 2021.
Ardila: … in a nutshell, what combinatorics is about is just
the study of possibilities and how do you organize them,
given that there’s too many of them to list them.
Strogatz: So, I love it. Combinatorics is not just
the art of the possible, but the enumeration of the possible,
the counting of the possible and the organizing of the possible.
Strogatz: It’s such a poetic image, actually: the space of possibilities.
This journal on the podcast date, March 29, 2021 —
A more precise approach to the space of possibilities:
The title refers to a Log24 post of Feb. 8, 2021.
Detail from an image in that post:
By groping toward the light we are made to realize
how deep the darkness is around us." — Arthur Koestler
Related Hollywood remark:
"You've blown communication
…as we've known it… right out of
the water. You know that, don't you?"
— Cliff Robertson in Brainstorm (1983)
Ave
A letter in The Mathematical Intelligencer , January 1988
http://www.log24.com/noindex-pdf/
Cullinane-letter-Artes_Liberales-Intelligencer.pdf —
Vale
A farewell lecture at Yale, April 2013
Kagan's obituary in the online New York Times tonight
says that he died at 89 on August 6, 2021.
The above farewell lecture of Kagan was on Thursday, April 25, 2013.
From this journal on Kagan's "born yesterday" date — April 24, 2013 —
"By groping toward the light we are made to realize
how deep the darkness is around us."
— Arthur Koestler, The Call Girls: A Tragi-Comedy ,
Random House, 1973, page 118
Friday March 31, 2006
|
For Stephen King and the Club Dumas —
Related perceptive remarks by Juliane Ungänz —
Zweig was the author of Schachnovelle .
From the previous post . . .
"This review was filed from the 2020 Sundance Film Festival
on January 30th."
Meanwhile . . .
Click the above image for posts on "Expanding the Spielraum."
See as well . . .
A well in the opening scenes of the 2020 film version of Joan Didion's
1996 novel The Last Thing He Wanted —
From a link in the previous post —
Sorvino in “The Last Templar”
at the Church of the Lost Well:
Consider the source.
An online New York Times obituary today
of a scholar who reportedly died on August 1 —
"In a career that took him to Hong Kong and Taiwan,
as well as a succession of Ivy League universities,
Professor Yu often returned to the theme that China’s
long traditions could be a wellspring, not an enemy,
of enlightenment, individual dignity and democracy."
— Chris Buckley
Cf. Hexagram 48 in this journal and some synonyms:
The structure in the previous post (three trios), though historically significant,
offers less opportunity for contrapuntal variation than . . .
Related remarks for Pleasantly Discursive Day —
Margaret Atwood on Lewis Hyde's "Trickster is among other things the gatekeeper who opens the door into the next world; those who mistake him for a psychopath never even know such a door exists." (159) What is "the next world"? It might be the Underworld…. The pleasures of fabulation, the charming and playful lie– this line of thought leads Hyde to the last link in his subtitle, the connection of the trickster to art. Hyde reminds us that the wall between the artist and that American favourite son, the con-artist, can be a thin one indeed; that craft and crafty rub shoulders; and that the words artifice, artifact, articulation and art all come from the same ancient root, a word meaning "to join," "to fit," and "to make." (254) If it’s a seamless whole you want, pray to Apollo, who sets the limits within which such a work can exist. Tricksters, however, stand where the door swings open on its hinges and the horizon expands: they operate where things are joined together, and thus can also come apart. |
"As a Chinese jar . . . ."
— Four Quartets
Rosalind Krauss "If we open any tract– Plastic Art and Pure Plastic Art or The Non-Objective World , for instance– we will find that Mondrian and Malevich are not discussing canvas or pigment or graphite or any other form of matter. They are talking about Being or Mind or Spirit. From their point of view, the grid is a staircase to the Universal, and they are not interested in what happens below in the Concrete. Or, to take a more up-to-date example…."
"He was looking at the nine engravings and at the circle,
"And it's whispered that soon if we all call the tune
The nine engravings of The Club Dumas
An example of the universal— or, according to Krauss,
"This is the garden of Apollo, |
The "Katz" of the August 7 post Art Angles
is a product of Princeton's
Department of Art and Archaeology.
ART —
ARCHAEOLOGY —
"This pattern is a square divided into nine equal parts.
It has been called the 'Holy Field' division and
was used throughout Chinese history for many
different purposes, most of which were connected
with things religious, political, or philosophical."
– The Magic Square: Cities in Ancient China,
by Alfred Schinz, Edition Axel Menges, 1996, p. 71
Bryan Marquard in The Boston Globe yesterday
on a professor who died on 7 July, 2021 —
" A Harvard Medical School professor emeritus in psychiatry,
Dr. Hobson told the Globe in 2011 that he didn’t 'feel bad about
taking on Sigmund Freud. I think Sigmund Freud has become
politically correct. Psychoanalysis has become the bible, and
I think that’s crazy.'
He also forcefully set aside the theories of Carl Jung, the Swiss
psychiatrist who analyzed dreams and saw them as important
messages sent from the psyche.
'If you’re a pure scientist, Jung is just deadly,' Dr. Hobson said
in [a] 2005 interview. 'The collective unconscious, the anima …
these are literary constructs. You can’t do any science on that
kind of stuff.' ”
See as well this journal on 7 July 2021 —
"Nice work if you can get it." — Classic song lyric
Photo credit: Peter Lindbergh
See also . . . Sunset Boulevard Revisited and . . .
“Do not block intersection.” — City of Los Angeles
"Bowden applied what he viewed as the lessons of the battlefield
to the football field. While bedridden with rheumatic fever at age 13,
he had listened to radio broadcasts telling of World War II battles,
and he later studied the campaigns of Patton, MacArthur and
Germany’s Erwin Rommel.
'They all demonstrate discipline,' Bowden once said, 'and that you
need reserves so that if you’re getting annihilated on one front, you
can attack somewhere else.' ” — Richard Goldstein
Amen.
See as well "Geometry Battlefield" in this morning's previous post.
Remarks by Roberta Smith in the print version of The New York Times
on Friday, August 6, suggest a review . . .
Smith's remarks concerned a show that first opened in 2019
at the Los Angeles Museum of Contemporary Art (MOCA).
A MOCA-related post in this journal —
The Nachtmantel above is a painting by Jörg Immendorff,
who reportedly died at 61 in 2007 —
A less provocative theme from Log24 on the date of Immendorff's death:
|
"The form, the pattern" — T. S. Eliot
And then there is Bardo College . . .
"Katz approaches her subject from every angle,
its relationship to feminism, multiculturalism and
the counterculture, as well as its (now questionable)
cultural appropriation and even its underlying debt
to Minimalism (the use of repetition and the grid)."
This is from a Roberta Smith piece yesterday morning
in The New York Times print version:
"A version of this article appears in print on Aug. 6, 2021,
Section C, Page 6 of the New York edition with the headline:
Celebrating a Riotous Decor That Keeps Eyes Moving."
Well, perhaps not every angle.
A play by George Bernard Shaw is the source of the book title at
the end of the previous post — "Music is the brandy of the damned ."
This suggests a corresponding song title . . .
From the album "The Time of the Assassins."
The above image is not of the singer's own background.
"How old is the 'Big Spider Beck' joke?"
From "Blackboard Jungle" (1955) —
Teacher:
– You see, music is based on mathematics,
and it's just that the next class …
is a little more advanced.
Students:
– We're advanced, teach.
– Two times two is four.
– Are four.
See also Damnation Morning in this journal and . . .
"One, two, three . . . but where is the fourth?"
— Socrates
Click for Daimon Theory posts.
* Fishman, an abstract expressionist painter,
reportedly died in Manhattan at 82 on July 26.
(Continued from Math Rights, July 25.)
For Bob Moses, see the July 25 post Math Rights.
For Math in the Media, see the remarks below.
For another perspective on rings, see Square Space.
A scene for Nietzsche's Sils Maria —
A midrash for Freud, from Kate Beckinsale tonight —
Risin' Up to the Challenge of Her Rival
An older generation's Rimmer —
The torch is passed to a new generation —
Then there is the X of Paul Fussell —
Mature adults only —
For a more realistic (and straight ) X-scene, search for
ph5dadfa97d2cc1 . (See esp. the 10 seconds starting at 07:04).
http://www.wallacestevens.com/concordance/
savage
Your query matched 15 lines
An Ordinary Evening in New Haven (iv)
Stanza: 61; Line Number: 7
They only know a savage assuagement cries
Stanza: 62; Line Number: 8
With a savage voice; and in that cry they hear
Stanza: 64; Line Number: 10
In a savage and subtle and simple harmony,
Credences of Summer (vii)
Stanza: 101; Line Number: 11
The object, grips it in savage scrutiny,
Examination of the Hero in a Time of War (ii)
Stanza: 26; Line Number: 12
And rainbow sortilege, the savage weapon
Exposition of the Contents of a Cab (OP)
Line Number: 12
And savage blooms;
From the Journal of Crispin (II) (OP)
Stanza: 114; Line Number: 20
Into a savage color he goes on.
Gubbinal
Line Number: 9
That savage of fire,
Less and Less Human, O Savage Spirit
Title
Less and Less Human, O Savage Spirit
Page from a Tale
Line Number: 20
They looked back at Hans’ look with savage faces.
Sunday Morning (vii)
Stanza: 95; Line Number: 5
Naked among them, like a savage source.
The Comedian as the Letter C, ii: Concerning the Thunderstorms of Yucatan
Stanza: 14; Line Number: 14
Into a savage color he went on.
The Man with the Blue Guitar (iii)
Stanza: 29; Line Number: 9
To bang it from a savage blue,
The Pediment of Appearance
Line Number: 10
The savage transparence. They go crying
The World as Meditation
Line Number: 6
Whose mere savage presence awakens the world in which she dwells.
_________________________________________________________________________
Online Concordance to Wallace Stevens’s Poetry
See also Big Time in this journal.
The title refers to a record played during math class
in the 1955 film "Blackboard Jungle."
Related posts: Bix and Mira. See as well . . .
"Savage ('wild,' 'undomesticated') modes of thought are primary
in human mentality. They are what we all have in common."
— "The Cerebral Savage: On the Work of Claude Lévi-Strauss,"
by Clifford Geertz (Encounter, vol. 28 no. 4, April 1967, pp. 25-32)
For more Geertz and some related art, see The Kaleidoscope Puzzle,
which lets you picture twin sixteens .
"Can you imagine the mathematical possibilities?"
— Line from "Annie Hall" (1977)
From a search in this journal for Ronna.
"It’ll drive you crazy or make you sane
Moment by moment
It’s a brand new game
The more I learn
The less I understand about love"
— Ronna Reeves, 1992
"Can you imagine the mathematical possibilities?"
— Line from "Annie Hall"
Related joke —
The Catherine Hardwicke version —
More fun . . . A 26-year old Cara Delevingne.
Hans Freudenthal in 1962 on the axiomatic approach to geometry
of Fano and Hilbert —
"The bond with reality is cut."
Some philosophical background —
For Weyl's "few isolated relational concepts," see (for instance)
Projective Geometries over Finite Fields , by
J. W. P. Hirschfeld (first published by Oxford University Press in 1979).
Weyl in 1932 —
Mathematics is the science of the infinite , its goal the symbolic comprehension of the infinite with human, that is finite, means. It is the great achievement of the Greeks to have made the contrast between the finite and the infinite fruitful for the cognition of reality. The intuitive feeling for, the quiet unquestioning acceptance of the infinite, is peculiar to the Orient; but it remains merely an abstract consciousness, which is indifferent to the concrete manifold of reality and leaves it unformed, unpenetrated. Coming from the Orient, the religious intuition of the infinite, the apeiron , takes hold of the Greek soul in the Dionysiac-Orphic epoch which precedes the Persian wars. Also in this respect the Persian wars mark the separation of the Occident from the Orient. This tension between the finite and the infinite and its conciliation now become the driving motive of Greek investigation; but every synthesis, when it has hardly been accomplished, causes the old contrast to break through anew and in a deepened sense. In this way it determines the history of theoretical cognition to our day. — "The Open World: Three Lectures on the Metaphysical Implications of Science," 1932 |
In memory of a Harvard professor who reportedly died on
St. Peter's Day, 2021 (June 29).
"You may be flying through the air
Wrapped up in how high you can go
And no one will be there to bring you down
Just stop — take a look around"
— Patti LaBelle, "Space Children"
(No. 204 on Cara Delevingne's Wall of Sound)
* See also St. Peter's College in "His Dark Materials."
The "eschaton" phrase above is from the works of Robert Anton Wilson.
That Robert A. Wilson should not be confused with
the Robert A. Wilson who is a GL(2,3) enthusiast.
Nor should immanentizing be confused with coordinatizing . . .
"Coordinatizing the Deathly Hallows" —
Related geometric remarks — Hashtag as Well —
* A phrase from Disney in a July 30 film:
See as well other examples of form, and of "Page 194," in this journal.
See too "Page 293" in this journal.
This journal on May 27, 2021 —
Downstream:
Upriver:
"There grows a tree in Paradise
And the pilgrims call it the Tree of Life"
The "secret, subterranean river" of Shulevitz is
a flow of thought favorable to the cause of feminism,
but not necessarily to other "revolutionary" ideas.
Compare and contrast:
"Where Alph, the sacred river, ran"
— Coleridge, Kubla Khan
"Where Aleph the sacred symbol ran"
— Cullinane, "The Coxeter Aleph"
For group discussion:
How (if at all) is the "finitude" of Heidegger related to
mathematical finitude and The King of Infinite Space ?
"Go away — I'm asleep."
— Epitaph of the late Joan Hackett.
Hackett is at top center
in the poster below.
“… Which makes it a gilt-edged priority that one of us
gets into that Krell lab and takes that brain boost.”
— American adaptation of Shakespeare’s Tempest , 1956
“Propriation1 gathers the rift-design2 of the saying
— p. 415 of Heidegger‘s Basic Writings ,
“Das Ereignis versammelt den Aufriß der Sage — Heidegger, Weg zur Sprache 1. “Mirror-Play of the Fourfold” |
The two previous posts suggest a review.
And then there is the perspective of the above date — May 22, 2017 —
in this journal:
". . . and just as God defeats the devil . . . ."
— André Weil to his sister.
Accompanied by Elton John music?
Instagram screenshot with added note.
Easy E for an Accountant:
Not So Easy: E-Operators
"A great many other properties of E-operators
have been found, which I have not space
to examine in detail."
— Sir Arthur Eddington, New Pathways in Science ,
Cambridge University Press, 1935, page 271.
(This book also presents Eddington's unfortunate
speculations on the fine-structure constant.)
Update of 4:04 AM ET:
Here is the not-so-tiny-dancer in
the above Instagram screenshot.
"Like a child in wild anticipation . . ." — Song lyric
"The Algebra Project was born.
The project was a five-step philosophy of teaching
that can be applied to any concept, he wrote,
including physical experience, pictorial representation,
people talk (explain it in your own words), feature talk
(put it into proper English) and symbolic representation."
"He wrote" —
See pages 120-122 in . . .
In memory of Ed Wood:
"Such a brilliant director, a fucking powerhouse…."
— Recent Instagram comment
"Twilight was theatrically released on November 21, 2008;
it grossed over US$393 million worldwide. It was released
on DVD March 21, 2009 and became the most purchased
DVD of the year." — Wikipedia
See also November 21, 2008, in posts tagged Olaf Gate.
Related material —
As inquisitions go, I prefer the Holy Office of Philip Pullman.
Before thir eyes in sudden view appear The secrets of the hoarie deep, a dark Illimitable Ocean without bound, Without dimension, where length, breadth, and highth, And time and place are lost; where eldest Night And Chaos, Ancestors of Nature, hold Eternal Anarchie, amidst the noise Of endless warrs and by confusion stand. For hot, cold, moist, and dry, four Champions fierce Strive here for Maistrie, and to Battel bring amidst the noise Thir embryon Atoms.... ... Into this wilde Abyss, The Womb of nature and perhaps her Grave, Of neither Sea, nor Shore, nor Air, nor Fire, But all these in thir pregnant causes mixt Confus'dly, and which thus must ever fight, Unless th' Almighty Maker them ordain His dark materials to create more Worlds, Into this wilde Abyss the warie fiend Stood on the brink of Hell and look'd a while, Pondering his Voyage.... -- John Milton, Paradise Lost , Book II
“Suck any sense from that who can” — Gerard Manley Hopkins
Related architecture:
From posts tagged Marfa Day —
"Den Kopf benützen ist besser als ihn verlieren."
Cover illustration:
Spies returning from the land of
Canaan with a cluster of grapes.
Colored woodcut from
Biblia Sacra Germanica ,
Nuremberg, Anton Koberger, 1483.
Victoria and Albert Museum, London.
MICHENER: Returning in the dark from a routine mission my pilot kept missing the poorly lit New Caledonia air strip. We braced for a crash landing, just made it, and were badly shaken. If I had died, I would have left nothing behind. I was approaching 40, mind you. That near crash prompted me to draft South Pacific stories running through my mind. QUESTIONER: Your first draft was written on the island of Espiritu Santo, New Hebrides, south of Guadalcanal, in a Quonset hut, by pecking at a typewriter with your two index fingers. What was the story line? MICHENER: Tales of the South Pacific consisted of 18 loosely connected stories about the comedy, boredom, shenanigans of Navy life on a Pacific island between military battles. The stories showed the interplay of Navy men, Navy nurses, and conniving natives; the funny aspects of military planes, jeeps, bulldozers, canned goods imposed on simple people living on beautiful islands. |
Comedy and Boredom —
Shenanigans —
The author of remarks on Frisette in the previous post —
Other South Pacific material —
"If you try, you'll find me
Where the sky meets the sea."
— Song lyic inspired by James Michener,
quoted here yesterday afternoon
Tréguer Today —
(Suggested by a recent Instagram post.)
https://wordhistories.net/2017/07/10/ Box and Cox is largely based on Frisette , a one-act vaudeville by the French playwrights Eugène Labiche (1815-88) and Auguste Lefranc (1814-78), first staged at the Théâtre du Palais-Royal, Paris, on Tuesday 28th April 1846. In this play, Madame Ménachet, the housekeeper, rents out, without their knowledge, the same room to Gabriel Gaudrion, a baker’s assistant, who uses it during the day, and to Frisette, a lace-maker, who uses it during the night. . . . . |
A scene from Frisette —
"If you try, you'll find me
Where the sky meets the sea."
— Song lyic inspired by James Michener
Who can pick up the weight of Britain, Who can move the German load Or say to the French here is France again? Imago. Imago. Imago. — Wallace Stevens
Lunchtime update —
Real quiche for Wallace Stevens ( i.e., an imaginary man )—
The above ball date — April 14, 2018 — suggests a review
of Log24 posts from that date that are now tagged
The Jerusalem Transformation .
The title refers to a recent Ariana Grande video.
Academics may prefer . . .
For a purely mathematical approach to switching the positions see . . .
For related philosophical remarks, see "Arrowy, Still Strings."
This afternoon's online New York Times reports a July 9
death at a memory-care facility —
Requiem for a Wechsler —
"Lighting for the Met is particularly challenging because —
unlike on Broadway, for instance — the shows change
on a weekly or even daily basis. One of Mr. Wechsler’s
accomplishments, Mr. Sardo said, was to develop
accurate records of the lighting schemes for each production,
so that one show could be swapped for another more efficiently.
“Before Gil was involved, there were no reference manuals as to
how that should be done,” Mr. Sardo said.
“Someone kinda remembered how the lighting was supposed to be.”
— Neil Genzlinger
https://terebess.hu/zen/mesterek/dtsuzuki.html —
From Larry A. Fader, “D. T. Suzuki's Contribution to the West,” In contrast to Jung's approach is the humanistic psychology of Erich Fromm. Fromm was also influenced by Suzuki, but in different ways. Whereas Jung dealt with Zen Buddhism as an aspect of his psychological thought, Suzuki's influence touches closer to the core of Fromm's thought. Fromm organized an influential workshop on Zen Buddhism and psychoanalysis in Cuernavaca, Mexico, and incorporated many concepts which resemble Suzuki's interpretation of Zen into his psychoanalytic writings. The Cuernavaca workshop of 1957, held at Fromm's Mexico home, brought together eminent psychologists expressly for the purpose of exploring Zen Buddhism and psychoanalysis. As such, it marks an important point of contact between thinkers in the field of psychology and D. T. Suzuki's interpretation of Zen. Suzuki addressed the gathering, and his speeches were later published as “Lectures in Zen Buddhism” together with Fromm's address entitled “Psychoanalysis and Zen Buddhism” and that of Richard DeMartino entitled “The Human Situation and Zen Buddhism,” in a volume which Fromm edited and called Zen Buddhism and Psychoanalysis. Fromm organized the Mexico meeting and issued the invitations to its participants as a result of his feeling that psychotherapists—and in particular, psychoanalysts—were at that time “not just interested, but deeply concerned” with Zen. This “concern,” Fromm believed, was a new and potentially important development in the attitude of psychologists. His own address to the workshop, reformulated, as he says, because of “the stimulation of the conference,” includes language and ideas that may be traced to Dr. Suzuki's Cuernavaca lectures. |
See as well Fromm and Frère Jacques, Cuernavaca in this journal.
A post from January 21, 2003, now also tagged Big Sur,
suggested a search for the source of that post's
Shih Te poem. The result of the search —
Related Fredonia material, from posts tagged Church and Temple —
Update, from six minutes later, on related entertainment —
Update of 12:38 PM ET on the next day — July 20, 2021 —
**********************************************************************
Crystal Poem by Shide (Shih Te, etc.)
at https://terebess.hu/zen/chang/shide.html
from "Comparative List of Shide's Poems" —
Traditional Chinese:
無去無來本湛然,
不居內外及中間。
一顆水精絕瑕翳,
光明透滿出人天。
Simplified Chinese:
无去无来本湛然,
不居内外及中间。
一颗水精绝瑕翳,
光明透满出人天。
Romanization:
wú qù wú lái běn zhàn rán ,
bù jū nèi wài jí zhōng jiān 。
yī kē shuǐ jīng jué xiá yì ,
guāng míng tòu mǎn chū rén tiān 。
English Translation by Paul Rouzer:
No goings, no comings, originally tranquil;
No dwelling within or without, or at the point between.
A single crystal of purity without flaw or crack;
Its light penetrates and fills up the worlds of men and gods.
English Translation by Red Pine:
Not waxing or waning essentially still
not inside or outside and nowhere between
a single flawless crystal
whose light shines through to gods and men
*******************************************************************
Or: Dreaming of Dinner-Party-Gate
An Ordinary Evening in New Haven, XXII
Professor Eucalyptus said, “The search
For an interior made exterior
With the Inhalations of original cold
Not the predicate of bright origin.
The cold and earliness and bright origin
That it is wholly an inner light, that it shines — Wallace Stevens |
For those who prefer not-so-sleepy bosoms, here are two
interior/exterior design notes suggested by the previous post —
Interior:
Exterior:
An advertisement in the online New York Times this evening:
The black rectangle refers to a floor mat —
.
From Ulysses , by James Joyce —
Strong curtain. He found in the world without as actual what was in his world within as possible. Maeterlinck says: If Socrates leave his house today he will find the sage seated on his doorstep, If Judas go forth tonight it is to Judas his steps will tend . Every life is many days, day after day. We walk through ourselves, meeting robbers, ghosts, giants, old men, young men, wives, widows, brothers-in-love. But always meeting ourselves. The playwright who wrote the folio of this world and wrote it badly (He gave us light first and the sun two days later), the lord of things as they are whom the most Roman of catholics call dio boia , hangman god, is doubtless all in all in all of us…. |
The title is from Sir Thomas Browne:
"To enlarge this contemplation unto all the mysteries and secrets,
accomodable unto this number, were inexcusable Pythagorisme,
yet cannot omit the ancient conceit of five surnamed the number
of justice; as justly dividing between the digits, and hanging in
the centre of Nine . . . ."
"Separately." — Ben Franklin
"To demonstrate standing, a claimant must first show
he has incurred concrete, particularized and actual
or imminent injury; that the injury can be fairly traced
back to what is being challenged in court and that
the remedy sought can redress the issue."
— https://yaledailynews.com/
blog/2018/02/27/law-clinic-pushes-for-
fisa-court-transparency/
The above Yale date suggests a review of . . .
Raiders of the Lost Images . . .
which in turn suggests a review of Square Space.
Soundtrack (condensed) —
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