“Somehow, a message had been lost on me. Groups act .
The elements of a group do not have to just sit there,
abstract and implacable; they can do things, they can
‘produce changes.’ In particular, groups arise
naturally as the symmetries of a set with structure.”
” ‘The Maori named him Rog,’ Yael continued,
‘because those were the only I.D. letters that could
be made out on the wreck.’ ”
— Alfred Bester, The Deceivers
From The Queen's Gambit , by Walter Tevis (1983) —
"She stopped and turned to Beth. 'There is nohint of a
Protestant ethic in Mexico. They are all Latin Catholics,
and they all live in the here and now.' Mrs.Wheatley
had been reading Alan Watts. 'I think I’ll havejust one
margarita before I go out. Would you call forone, honey?'
Back in Lexington, Mrs. Wheatley’s voice would sometimes
have a distance to it, as though she were speakingfrom
some lonely reach of an interior childhood. Here inMexico City
the voice was distant but the tone was theatrically gay, as though
Alma Wheatley were savoring anincommunicable private mirth.
It made Beth uneasy. Fora moment she wanted to say something
about the expensiveness of room service, even measured in pesos,
butshe didn’t. She picked up the phone and dialed six. Theman
answered in English. She told him to send a margarita and a large
Coke to 713."
Dialogue from the recent Netflix series “Queen’s Gambit” —
Miss Jean Blake, interviewer from LIFE — “The board?”
Beth Harmon — “Yes. It’s an entire world
of just 64 squares. I feel safe in it. I can control it.
I can dominate it. And it’s predictable, so if I get hurt,
I only have myself to blame.”
This passage, and other psychological claptrap in the Netflix version,
does not occur in the original 1983 novel by Walter Tevis.
The location in the title is the opening scene of the new version
of "All Creatures Great and Small." The year in the title suggests
a look at (for instance) The Pentagram Papers.
A "support provided by" credit suggests some related images —
Illustrations from posts now tagged Ved Mehta in this journal —
Epigraph to Fly and the Fly-Bottle: Encounters with British Intellectuals ,
by Ved Mehta , remarks first published in The New Yorker in 1961 and 1962 —
"Somehow, a message had been lost on me. Groups act .
The elements of a group do not have to just sit there,
abstract and implacable; they can do things, they can
'produce changes.' In particular, groups arise
naturally as the symmetries of a set with structure."
"Though the Witch knew the Deep Magic, there is a magic deeper still
which she did not know. Her knowledge goes back only to the dawn
of time. But if she could have looked a little further back, into the
stillness and the darkness before Time dawned…she would have known
that when a willing victim who had committed no treachery was killed
in a traitor’s stead, the Table would crack and Death itself would start
working backwards."
“Honored in the Breach:
Graham Bader on Absence as Memorial”
Artforum International , April 2012
. . . .
“In the wake of a century marked by inconceivable atrocity, the use of emptiness as a commemorative trope has arguably become a standard tactic, a default style of public memory. The power of the voids at and around Ground Zero is generated by their origin in real historical circumstance rather than such purely commemorative intent: They are indices as well as icons of the losses they mark.
Nowhere is the negotiation between these two possibilities–on the one hand, the co-optation of absence as tasteful mnemonic trope; on the other, absence’s disruptive potential as brute historical scar–more evident than in Berlin, a city whose history, as Andreas Huyssen has argued, can be seen as a ‘narrative of voids.’ Writing in 1997, Huyssen saw this tale culminating in Berlin’s post-wall development, defined equally by an obsessive covering-over of the city’s lacunae–above all in the elaborate commercial projects then proliferating in the miles-long stretch occupied until 1989 by the Berlin Wall–and a carefully orchestrated deployment of absence as memorial device, particularly in the ‘voids’ integrated by architect Daniel Libeskind into his addition to the Berlin Museum, now known as the Jewish Museum Berlin.” . . . .
In memory of George Steiner, of Walter Tevis, and of B&B Smoke Shop,
corner of Third Ave. and Liberty St., Warren, Pennsylvania, in the 1950s,
where I purchased . . .
At that point in my life, language interested me more than chess.
But I can identify with the protagonist of Walter Tevis's Queen's Gambit ,
(the book, not the film) who visited a similar smoke shop in 1960 —
… There was a long rack of magazines behind her. When she
got the cigarettes, she turnedand began looking. Senator
Kennedy’s picture was on thecoverofTimeandNewsweek : hewasrunningforPresident. . . .
. . . Walking home with the folded [chess] magazine tucked
securely against her flat belly she thought again about that
rook move Morphy hadn’t made. The magazine said
Morphy was “perhaps the most brilliant player in the
history of the game.” The rook could come to bishop seven,
and Black had better not take it with his knight because…
She stopped, halfway down the block. A dog was barking
somewhere, and across the street from her on a well-mowed
lawn two small boys were loudly playing tag. After the
second pawn moved to king knight five, then the remaining
rook could slide over, and if the black player took
the pawn, the bishop could uncover, and if he didn’t…
She closed her eyes. If he didn’t capture it, Morphy
could force a mate in two, starting with the bishop sacrificing
itself with a check. If he did take it, the white pawn
moved again, and then the bishop went the other way
and there was nothing Black could do. There it was. One
of the little boys across the street began crying. There was nothing Black could do. The game would be over in
twenty-nine moves at least. The way it was in the book, it
had taken Paul Morphy thirty-six moves to win. He
hadn’t seen the move with the rook. But she had.
Overhead the sun shone in a blank blue sky. The dog
continued barking. The child wailed. Beth walked slowly
home and replayed the game. Her mind was as lucid as a
perfect, stunning diamond.
“Mr. Breuer’s audiences had to be willing to embrace,
or at least shrug off, some quantity of abstruseness
in his productions. Yet there was often a rapturous,
cacophonous beauty to them. At their best … they
worked on spectators like enchantments.
You can sense that effect in Margo Jefferson’s
New York Times review of “Red Beads” (2005) …
that she called ‘theater as sorcery; it is a crossroads
where artistic traditions meet to invent a marvelous
common language.’ “
“Ms. Young rose to prominence as an executive with Grey Advertising,
where she began in 1959, standing out as one of the few women and
one of the few Asian-Americans at the firm, which was then a power
in its field.”
A quote from the novel on which George Clooney's new Netflix film,
"The Midnight Sky," is based —
"Yet here he was, seventy-eight years old …
and, having come to the terminus of his life’s work,
all he could do was stare into the bleak face of
his own ignorance."
— Brooks-Dalton, Lily. Good Morning, Midnight (p. 5).
Random House Publishing Group. Kindle Edition.
Related material —
For more ignorance, see part of the current New Yorker home page —
* The "Ice Stone" is in the New Year's Eve post tagged "Sixteenth."
Space fans may think of that tag as representing the empty space
(a sort of black hole ) in the classic "15 Puzzle."
An older “Methodist hymnbook” apparently had 1026 hymns — The Methodist Hymn Book, Illustrated with Biography, History, Incident, and Anecdote ,
by George John Stevenson.
Second edition, London, Charles H. Kelly, 1894 —
Hymn 834 — I seek Thy kingdom first
Hymn 625 — Out of the depth of self-despair
Hymn 910 — God of truth, and power, and grace
Hymn 842 — Father, I know that all my life
Hymn 366 — I soon shall hear thy quick’ning voice
“Through his father’s line, Hefner was a descendant of
Plymouth governor William Bradford. He described
his family as ‘conservative, Midwestern, [and] Methodist’.
His mother had wanted him to become a missionary.”
"What's good about KenKen, and Sudoku, and crosswords,
all of those puzzles like that, is that they have grids to be filled in,
empty squares. I think there is something about human nature
that we want to fill up spaces. And if you're a puzzle person,
or almost anybody, and you see an empty grid, you want to
put something in those spaces. It gives a feeling of satisfaction
that you don't get often in life and that really feels good."
— Will Shortz, New York Times puzzle editor
"I can't get no… satisfaction…." — The Rolling Stones
The New Yorker recently restarted the Weiner story,
which includes —
"… the fall of 2017, when he began a twenty-one-month
prison sentence for sexting with a minor."
"You want to put something in those spaces."
— Will Shortz, New York Times puzzle editor
Yes, you do.
Weiner is now with a Brooklyn countertops company called IceStone.
“Take ‘Pale Fire,’ his 1962 poem-as-novel
bursting with butterfly as theme:
‘I can do what only a true artist can do —
pounce upon the forgotten butterfly of revelation …
see the web of the world,
and the warp and the weft of that web.’ “
” There’s a line from the movie ‘The Paper Chase’, in which
the fearsome Professor Kingsfield tells a room of first-year
law-school students ‘You come in here with a skull full of mush …
and you leave thinking like a lawyer.’ “
“A quick note on terminology. Members of the Circle
were logical empiricists, sometimes called logical positivists.
Positivism is the view that our knowledge derives from
the natural world and includes the idea that we can have
positive knowledge of it. The Circle combined this position
with the use of modern logic; the aim was to build a new
philosophy.”
The “Change Arises” part of the title refers to the previous post.
The 1905 “geometric object” there, a 4×4 square, appeared earlier,
in 1869, in a paper by Camille Jordan. For that paper, and the
“literary example” of the title, see “Ici vient M. Jordan .”
This post was suggested by the appearance of Jordan in today’s memorial post for Peter M. Neumann by Peter J. Cameron.
Related remarks on Jordan and “geometrical objects” from 2016 —
“The bureaucratic innovations of the New Deal
fed into the powerful associative logic
of commonsense reasoning,
leading a number of Americans to equate science
with the technocratic, managerial liberalism
of Roosevelt and his allies.”
“Logos and logic, crystal hypothesis,
Incipit and a form to speak the word
And every latent double in the word….”
— Wallace Stevens,
“Notes Toward a Supreme Fiction“
"Each of us has something to offer the Creator...
the bridging of
masculine and feminine,
life and death.
It's redemption.... nothing else matters."
-- Martha Cooley in The Archivist (1998)
The central aim of Western philosophy–
Dualities of Pythagoras
as reconstructed by Aristotle:
Limited Unlimited
Odd Even
Male Female
Light Dark
Straight Curved
... and so on ....
“Of these dualities, the first is the most important; all the others may be seen as different aspects of this fundamental dichotomy. To establish a rational and consistent relationship between the limited [man, etc.] and the unlimited [the cosmos, etc.] is… the central aim of all Western philosophy.”
— Jamie James in The Music of the Spheres (1993)
“In the garden of Adding
live Even and Odd…
And the song of love’s recision
is the music of the spheres.”
— The Midrash Jazz Quartet in City of God, by E. L. Doctorow (2000)
A quotation today at art critic Carol Kino’s website, slightly expanded:
“Art inherited from the old religion
the power of consecrating things
and endowing them with
a sort of eternity;
museums are our temples,
and the objects displayed in them
are beyond history.”
— Octavio Paz,”Seeing and Using: Art and Craftsmanship,” in Convergences: Essays on Art and Literature (New York: Harcourt Brace Jovanovich 1987), 52
From Brian O’Doherty’s 1976 Artforum essays– not on museums, but rather on gallery space:
“We have now reached
a point where we see
not the art but the space first….
An image comes to mind
of a white, ideal space
that, more than any single picture,
may be the archetypal image
of 20th-century art.”
Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance , Ch. 6 (italics are mine):
“A classical understanding sees the world primarily as underlying form itself.
A romantic understanding sees it primarily in terms of immediate appearance .”
In the altered headline above, " Q******* " may, if you like,
be interpreted as " Quellers ," an invented term for scholars
who investigate the origins of Christianity.
* De Corpore had a negative effect on Hobbes’s scholarly reputation.
The inclusion of a claimed solution for squaring the circle, an apparent
afterthought rather than a systematic development, led to an extended
pamphlet war in the Hobbes-Wallis controversy. — Wikipedia
Composer Harold Budd reportedly died at 84 on December 8
in Arcadia, California.
"The way I work is that
I focus entirely on a small thing
and try to milk that for all it's worth,
to find everything in it
that makes musical sense,"
Budd explained in a 1997 interview….
Hurt’s dies natalis (date of death, in the saints’ sense) was,
it now seems, 25January 2017, not 27.
A connection, for fantasy fans, between the Philosopher’s Stone
(represented by the eightfold cube) and the Deathly Hallows
(represented by the usual Fano-plane figure) —
“Together with Tolkien and Lewis, this group forms
the Oxford School of children’s fantasy literature. . . .
They all celebrate the purported wisdom of old stories,
and follow the central tenet that Tolkien set out
for fairy-stories: ‘one thing must not be made fun of,
the magic itself. That must in the story be taken seriously,
neither laughed at nor explained away.’ “
"He gave various explanations for how he chose his nom de plume —
le Carré means 'the square' in French —
before ultimately admitting he didn’t really know."
"Together with Tolkien and Lewis, this group forms
the Oxford School of children’s fantasy literature. . . .
They all celebrate the purported wisdom of old stories,
and follow the central tenet that Tolkien set out
for fairy-stories: ‘one thing must not be made fun of,
the magic itself. That must in the story be taken seriously,
neither laughed at nor explained away.’ "
“Opus esse uno, unum cognoscendi,” the arch-narcissist Veidt
haughtily declares before he does this, which he translates to mean,
“It takes one to know one.”
“Oh, you also find out the chip has meshed with
your nervous system, so you can’t take it out, and
that Silverhand’s consciousness will eventually
overtake yours, meaning your body will live on
but not your mind, soul or spirit.
In the above Wikipedia revision today, the anonymous user “Redactedentity”
found that the article Kummer surface omitted Kummer’s first name
and so changed “authorlink=Ernst Kummer|last=Kummer” to
“authorlink=Ernst Kummer|last=Ernst Kummer.” This fixed the
omission but makes no sense as a statement of parameters.
“Redactedentity” was apparently unable to read the following page,
which explains that “last=” is for the author’s last name —
Of course, this revision may be merely an instance of trolling or of
the sort of humor sometimes found among people with the following
interests:
The revision, which improved the article, was undone later today
by a clueless retired academic, one William “Bill” Cherowitzo,
a professor emeritus of mathematics at U. of Colorado at Denver.
(See his article “Adventures of a Mathematician in Wikipedia-land,” MAA Focus , December 2014/January 2015.)
See my earlier remarks on this topic . . . specifically, on this passage —
“A 3-(16,4,1) block design has 140 blocks
of size 4 on 16 points, such that each triplet
of points is covered exactly once. Pick any
single point, take only the 35 blocks
containing that point, and delete that point.
The 35 blocks of size 3 that remain comprise
a PG(3,2) on the 15 remaining points.”
As I noted on November 17, this is bullshit. Apparently Cherowitzo
never bothered to find out that an arbitrary “3-(16,4,1) block design”
(an example of a Steiner quadruple system ) does not yield a PG(3,2).
PG(3,2) is derived from the classical 3-(16,4,1) block design formed by the affine
space of 4 dimensions over GF(2). That design has 322,560 automorphisms.
In contrast, see a 3-(16,4,1) block design that is automorphism-free.
The title phrase is ambiguous and should be avoided.
It is used indiscriminately to denote any system of coordinates
written with 0 ‘s and 1 ‘s, whether these two symbols refer to
the Boolean-algebra truth values false and true , to the absence
or presence of elements in a subset , to the elements of the smallest
Galois field, GF(2) , or to the digits of a binary number .
The deprecated “binary coordinates” phrase occurs in both
old and new versions of the “Square representation” section
on PG(3,2), but at least the misleading remark about Steiner quadruple systems has been removed.
"The usual translation is 'downfall,' although
the various implications of the word—
literally, “going-under”—are difficult to capture
in English. In some contexts, Untergang simply
means descent: a sunset is a Sonnenuntergang .