"Mr. McKinnell, who was a fellow of the American Institute of Architects
and the American Academy of Arts and Sciences, and a member of the
Royal Institute of British Architects, taught for many years at the
Harvard Graduate School of Design and the Massachusetts Institute of
Technology School of Architecture and Planning."
Some ugly rhetoric to go with the ugly architecture —
A gifted storyteller, Mr. McKinnell liked to recount
the response of renowned architect Philip Johnson to
City Hall. “ ‘Absolutely marvelous. … I think it’s wonderful.
… And it’s so ugly!’ ” Mr. McKinnell told Pasnik, adding:
“We thought that was the greatest praise we could get.”
“After consulting with medical experts and receiving guidance from
the World Health Organization, CNN has determined that the term
‘Chinese virus’ is both inaccurate and considered stigmatizing.”
— March 19 coronavirus news
By Jessie Yeung, Helen Regan,
Adam Renton, Emma Reynolds and
Fernando Alfonso III, CNN,
Updated 10:42 p.m. ET, March 19, 2020
The phrase “octad group” discussed here in a post
of March 7 is now a domain name, “octad.group,”
that leads to that post. Remarks by Conway and
Sloane now quoted there indicate how the group
that I defined in 1979 is embedded in the large
Mathieu group M24.
Beckinsale gives Oct. 5, 2001, as the date of the New York
premiere of the film "Serendipity." Synchronology check:
Beckinsale's premiere date — Oct. 5, 2001 — is incorrect.
The film was released on that date, but its New York premiere
was actually on Oct. 3, 2001. See Getty Images.
"What distinguishes humans from other animals, Johann Gottfried Herder
suggested in his essay On the Origin of Language (1772), is not so much
their capacity for language as their capacity for arriving at general reflection
(Besonnenheit ) through language. Few thinkers of the postwar era can be
said to have pursued this reflection with as much range and rigour as George
Steiner.
Ben Hutchinson is Professor of European Literature at the University of Kent
and Director of the Paris School of Arts and Culture. His most recent book is
Comparative Literature: A very short introduction, 2018 ."
The above arrangement of graphic images on cube faces is purely
decorative and static, and of little mathematical interest.
(A less static, but structurally chaotic, artifact might be made by
pasting the above 24 graphic images in the "Cosets in S4" picture
above onto the 24 faces of a 2x2x2 Rubik cube. This suggests the
reflection below on the poet Wallace Stevens, whose "Connoisseur
of Chaos" first appeared on page 90 of Twentieth Century Verse ,
Numbers 12-13, October 1938.)
If mathematically interesting permutations of the graphic images
are to be done, the images should be imagined as situated on parallel planes, as in the permutahedron below —
Click the above permutahedron for an analysis of its structure.
The following figure may help relate labelings of the
truncated octahedron ("permutahedron") to labelings
of its fellow Archimedean solid, the cuboctahedron.
"This presentation of the symmetry groups Gi is
particularly well-adapted for the symmetry surfing
philosophy. In particular it is straightforward to
combine them into an overarching symmetry group G
by combining all the generators. The resulting group is the so-called octad group
G = (Z2)4⋊ A8.
It can be described as a maximal subgroup of M24
obtained by the setwise stabilizer of a particular
'reference octad' in the Golay code, which we take
to be O9 = {3,5,6,9,15,19,23,24} ∈ 𝒢24. The octad
subgroup is of order 322560, and its index in M24
is 759, which is precisely the number of
different reference octads one can choose."
This "octad group" is in fact the symmetry group of the affine 4-space over GF(2),
so described in 1979 in connection not with the Golay code but with the geometry
of the 4×4 square.* Its nature as an affine group acting on the Golay code was
known long before 1979, but its description as an affine group acting on
the 4×4 square may first have been published in connection with the Cullinane diamond theorem and Abstract 79T-A37, "Symmetry invariance in a
diamond ring," by Steven H. Cullinane in Notices of the American Mathematical
Society , February 1979, pages A-193, 194.
"Ulay, the performance artist whose provocative collaborations with
Marina Abramovic often led them to push each other to extremes,
died on Monday at his home in Ljubljana, Slovenia. He was 76."
— Alex Marshall in The New York Times
Ljubljana last appeared in this journal on August 10, 2011, in a post
titled "Objectivity."
— Performance artist who reportedly died today. See . . .
See also https://www.li-ma.nl/lima/sites/default/files/
Concept%20programme%20Transformation%20Digital%20Art%20Symposium
%2019%2620%20March%2C%202020%20-%20LIMA%20%283%29.pdf.
Filed under: General — Tags: Fields — m759 @ 10:00 am
What are you, 12?
I'm 8. What are you reading? Just a Western.
What does that mean? Is it good?
Pretty good.
What's the story?
I haven't finished it yet.
“I held him in the highest respect and was delighted
to find him living in a room above mine on the same
staircase. I frequently met him walking up or down
the stairs, but I was too shy to start a conversation.”
Frank Close on Ron Shaw:
“Shaw arrived there in 1949 and moved into room K9,
overlooking Jesus Lane. There is nothing particularly
special about this room other than the coincidence that
its previous occupant was Freeman Dyson.”
If Minimalist artist Donald Judd is known as a writer at all, it’s likely for one important text— his 1965 essay “Specific Objects,” in which he observed the rise of a new kind of art that collapsed divisions between painting, sculpture, and other mediums. But Judd was a prolific critic, penning shrewd reviews for various publications throughout his career—including ARTnews . With a Judd retrospective going on view this Sunday at the Museum of Modern Art in New York, ARTnews asked New York Times co-chief art critic Roberta Smith— who, early in her career, worked for Judd as his assistant— to comment on a few of Judd’s ARTnews reviews. How would she describe his critical style? “In a word,” she said, “great.” . . . .
And then there is Temple Eight, or Ex Fano Apollinis —
He reached Delos. There one night he secretly 46
carried off, from the much-revered sanctuary of
Apollo, several ancient and beautiful statues, and
had them put on board his own transport. Next
day, when the inhabitants of Delos saw their sanc-
tuary stripped of its treasures, they were much
distressed . . . .
Delum venit. Ibi ex fano Apollinis religiosissimo
noctu clam sustulit signa pulcherrima atque anti-
quissima, eaque in onerariam navem suam conicienda
curavit. Postridie cum fanum spoliatum viderent ii
qui Delum incolebant, graviter ferebant . . . .
"I know then that the story is there, buried in what I call
my magma. It’s absolute chaos but the novel is in there,
lost in a mass of dead elements, superfluous scenes
that will disappear or scenes that are repeated several
times from different perspectives, with different characters.
It’s very chaotic and makes sense only to me. But the story
is born under there."
"Dirk Pitt is a fictional character created by American novelist Clive Cussler
and featured in a series of novels published from 1976 to 2009. Pitt is a
larger-than-life hero reminiscent of pulp magazine icon Doc Savage."
Author Clive Cussler, who reportedly died Monday at 88 —
“I detested school,” he told Publishers Weekly in 1994.
“I was always the kid who was staring out the window.
While the teacher was lecturing on algebra, I was on
the deck of a pirate ship or in an airplane shooting down
the Red Baron.”
"Although art is fundamentally everywhere and always the same,
nevertheless two main human inclinations, diametrically opposed
to each other, appear in its many and varied expressions. ….
The first aims at representing reality objectively, the second subjectively."
"At the point of convergence
the play of similarities and differences
cancels itself out in order that identity alone may shine forth.
The illusion of motionlessness, the play of mirrors of the one:
identity is completely empty;
it is a crystallization and
in its transparent core
the movement of analogy
begins all over once again."
“Continue to exercise caution with stories that can only be
corroborated by dead guys. Fabricated stories are almost
never made up out of whole cloth, but are made by stitching
together generally known facts with bits of uncheckable fantasy.”
— Intelligence officer Frank Anderson, who reportedly
died on January 27, 2020.
A March 9, 2018, construction by Iain Aitchison* pictures the
759 octads on the faces of a cube , with octad elements the
24 edges of a cuboctahedron :
The Curtis octads are related to symmetries of the square.
Aitchison's octads are instead related to symmetries of the cube.
Note that essentially the same model as Aitchison's can be pictured
by using, instead of the 24 edges of a cuboctahedron, the 24 outer
faces of subcubes in the eightfold cube .
See as well the Roman Polanski film "The Ninth Gate" and an obituary reporting a death on February Ninth.
"… while at the end I didn't yearn for spectacular special effects,
I did wish for spectacular information–something awesome,
not just a fade to white." — Roger Ebert, March 10, 2000
"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,
checking strange correspondences between them."
– The Club Dumas , 1993
"And it's whispered that soon if we all call the tune
Then the piper will lead us to reason."
– Robert Plant, 1971
The nine engravings of The Club Dumas
(filmed as "The Ninth Gate") are perhaps more
an example of the concrete than of the universal.
An example of the universal— or, according to Krauss,
a "staircase" to the universal— is the ninefold square:
“Pure mathematics is, in its way, the poetry of logical ideas.
One seeks the most general ideas of operation which will
bring together in simple, logical and unified form the largest
possible circle of formal relationships. In this effort toward
logical beauty spiritual formulas are discovered necessary
for the deeper penetration into the laws of nature.”
On Feb. 11, Christian Lawson-Perfect posed an interesting question
about mappings between square and triangular grids:
For the same question posed about non -continuous bijections,
see "Triangles are Square."
I posed the related non– continuous question in correspondence in
the 1980's, and later online in 2012. Naturally, I wondered in the
1980's about the continuous question and conformal mappings,
but didn't follow up that line of thought.