"… the effective work of memory is the very definition of art."
— "In Memoriam: Chris Marker," by Richard Brody,
New Yorker weblog post, July 30, 2012
New York Lottery this evening: 178, 0772.
"… the effective work of memory is the very definition of art."
— "In Memoriam: Chris Marker," by Richard Brody,
New Yorker weblog post, July 30, 2012
New York Lottery this evening: 178, 0772.
(Continued from previous TARDIS posts)
An (initially unauthorized) appearance of his work in the 1995 film
Twelve Monkeys …
… suggests a review of three posts from last August.
Wednesday, August 1, 2012
See also Sherrill Grace on Malcolm Lowry.
† These notably occur in Marker's masterpiece
Wednesday, August 1, 2012
Sunday, August 12, 2012
On Robert A. Heinlein's novel Glory Road—
"Glory Road (1963) included the foldbox , a hyperdimensional packing case that was bigger inside than outside. It is unclear if Glory Road was influenced by the debut of the science fiction television series Doctor Who on the BBC that same year. In Doctor Who , the main character pilots a time machine called a TARDIS, which is built with technology which makes it 'dimensionally transcendental,' that is, bigger inside than out."
From the same exampleproblems.com article—
"The connection pattern of the tesseract's vertices is the same as that of a 4×4 square array drawn on a torus; each cell (representing a vertex of the tesseract) is adjacent to exactly four other cells. See geometry of the 4×4 square."
"It was a dark and stormy night."— A Wrinkle in Time
From AntiChristmas 2010—
Art theorist Rosalind Krauss and The Ninefold Square
"Ennead" means, according to a story on the firm, a "group of nine."
(Continued from this morning's father-son Flynns
and from two other Flynn father-son pairs. See the
fictional Tron pair on Jan. 5, 2011 and Dec. 2, 2011,
and the "Flynn effect" pair from Sept. 23, 2012.)
From a film…
Being Flynn (2012)
Jonathan Flynn: America has produced only three classic writers –
Mark Twain, J. D. Salinger and me. I'm Jonathan Flynn.
Everything I write is a masterpiece.
…and from this journal…
"The mind is its own place, and the places inhabited by the insane
and the exceptionally gifted are so different from the places where
ordinary men and women live, that there is little or no common ground
of memory to serve as a basis for understanding or fellow feeling."
— The Doors of Perception , by Aldous Huxley
"Greet guests with a touch of glass."
— The Perception of Doors , by Google —
For the 2012 film version, see …
(Click image below for a review.)
The cover of the Nick Flynn book shows a green door beneath a tree.
For a different tree, but similar metaphor, see Confirmation (July 16, 2007).
“The voodoo priestess looked across the table at her wealthy client, a man on trial for murder:
‘Now, you know how dead time works. Dead time lasts for one hour– from half an hour
before midnight to half an hour after midnight. The half-hour before midnight is for doin’ good.
The half-hour after midnight is for doin’ evil….’”
– Glenna Whitley, “Voodoo Justice,” The New York Times , March 20, 1994
Sally Forth on September 5th, 2012—
Related religious meditation—
"It wasn't until reading Carl Jung,
Joseph Campbell, and Thomas Merton
that I understood what a symbol really was."
"Nine is a vine."
(See also that phrase in this journal.)
(Continued from July 21, 2012)
USA Today on a Cuban dissident who died this morning:
Born Dec. 8, 1934, in Madrid, Spain, Gutierrez-Menoyo was the son and brother of men who fought against the Spanish dictator Gen. Francisco Franco.
One of his brothers died in combat in Spain as a member of the Spanish Republican forces. The family moved to Cuba in 1945 and another brother, Carlos, was killed in March 1957 during an attack on the presidential palace of Cuban strongman Fulgencio Batista.
"They could win." — Don Michael Corleone
Peggy Noonan today on the President—
"He told staffers that John Boehner,
one of 11 children of a small-town bar owner,
was a 'country club Republican.' "
Related material from The Atlantic
on the late author John O'Hara (1905-1970)—
As the son of a prominent surgeon, O'Hara held a social position far above that of almost all other Irish Catholics. But in a world in which "'foreigner' meant anyone who wasn't Anglo-Saxon," as one longtime Pottsville resident told us when we recently visited the town, O'Hara could never quite attain the status of his friends, members of the WASP "anthracite aristocracy." This predestined immobility gave O'Hara an acute sensitivity to minute yet telling social distinctions. He was fascinated by the pattern of a necktie, the make of a car, the brand of Scotch, the choice of collar pin, the misuse of a pronoun, the club joined, the college attended, and how these define— in fact, determine— character. "To read him on a fashionable bar or the Gibbsville country club," Edmund Wilson wrote of O'Hara's fictionalized Pottsville, "is to be shown on the screen of a fluoroscope gradations of social prestige of which one had not before been aware."
— "John O'Hara's Protectorate," by Benjamin and Christina Schwarz, The Atlantic , March 2000
Today's 11:01 AM post discussed time concepts
in Eliot's Four Quartets.
For the temporally challenged, here is
a somewhat simpler conceptual framework—
From a post of Columbus Day
In a recurring motif in the second Quartet, “East Coker”, Eliot says,
Time future and time past
and, in “Little Gidding”,
… to apprehend
This should read instead…
In a recurring motif in the first Quartet, “Burnt Norton”, Eliot says,
Time present and time past
and, in “The Dry Salvages”,
… to apprehend
Related material from this journal in 2003—
"There's nothing wrong with the system. It's perfect."
— John Anderton in Minority Report
From today's online New York Times —
photos, in memory of an Auschwitz photographer,
of a Polish Catholic victim of the Nazis —
Mathematics and Narrative continues…
"Mein Führer… Steiner…"
"The Mac equivalent to a blue screen is a grey screen.
The info associated with a grey screen is in the kernel.log.
So you may have to look at this."
See also Plan 9.
"The yarns of seamen have a direct simplicity,
the whole meaning of which
lies within the shell of a cracked nut.
But Marlow was not typical
(if his propensity to spin yarns be excepted),
and to him the meaning of an episode
was not inside like a kernel but outside,
enveloping the tale which brought it out
only as a glow brings out a haze,
in the likeness of one of these misty halos
that sometimes are made visible by
the spectral illumination of moonshine."
— Joseph Conrad in Heart of Darkness
For those who prefer less heavenly versions—
is the title of an August 30, 2012, biography
of the late author David Foster Wallace.
(See a Guardian review.)
The title refers to a search (see below)
suggested by three things—
The search— Labyrinth 23.
(Within the search results, note particularly the post "The Infinity Point.")
"… and crown thy good with brotherhood…"
"The brothers are charged with murder,
conspiracy to commit murder,
disposing a body,
and tampering with evidence,
according to police."
A new Wikipedia page was created on Oct. 9—
This, and a long-running musical, suggest…
"Try to remember the kind of September…"
LIFE Magazine for September 6, 1954, provides
one view of the kind of September when I was
twelve years old. (Also that September, Mitt Romney
was seven. President Obama was born later.)
Top of Life Magazine cover, September 6, 1954
This suggests James Joyce's nightmare view of history.
For some other views of 1954, see selected posts in this journal
that mention that year.
For some other remarks touching on religion
and politics, click on "Continued" above.
"Jurtz" is a typo for "Kurtz."
From Penelope Green's New York Times story on Wednesday night's Cooper-Hewitt design awards gala (links added)—
"Then Mr. Wurman went into full curmudgeon mode, fiddling with the two mikes on the podium and questioning the format of the night.
'We should have talked to each other longer,' he said. 'This is the least interesting part.'
When he was done, Gloria Nagy, his wife, recalled how he had critiqued Mrs. Obama’s speech during the awards luncheon in July. (The Huffington Post reported Mrs. Obama as saying Mr. Wurman was 'quite dashing and sassy.') Ms. Nagy said Mrs. Obama had teased her by offering condolences and asking how she put up with her husband. In answer, Ms. Nagy said, she flashed what she called her Hazardous Duty Prize, a blindingly huge diamond ring.
Some designs work subtly. Others are successful through sheer force."
See also Cartier in this journal.
Click on "gala" above for a New York Times story.
Click on "Wednesday" above for a Log24 post.
A link from the latter may be viewed,
in retrospect, as honoring the late
Sylvia Kristel of the Netherlands,
who reportedly died Wednesday.
The Log24 post was titled Café Society.
Image from http://www.polenvoornederlanders.nl/ .
In memory of Leonard Shlain, author
of The Alphabet Versus the Goddess
Alphabet logo from the website
of a religious publishing company—
A logo for Charlize Theron, who played
a goddess figure in "Hancock"—
Click images for further details.
"I came by chance upon his tombstone,
a massive block of stone lightly covered
with fresh snow."
* Leon Jaroff, who reportedly died Saturday.
"The fundamental unity of the Sequency and Simultaneity
points of view became plain; the concept of interval served
to connect the static and the dynamic aspect of the universe.
How could he have stared at reality for ten years and not
seen it? There would be no trouble at all in going on.
Indeed he had already gone on. He was there."
— Ursula K. Le Guin, The Dispossessed:
An Ambiguous Utopia (1974)
See also Joplin at the Lapin Blanc.
Update of 1 AM Saturday—
On the late Frank Moore Cross, biblical scholar—
"When you walked into his classes, you felt
you were on the frontier of knowledge in the field,"
said Peter Machinist, who studied under Dr. Cross
as an undergraduate at Harvard and now holds
the endowed professorship† there that Dr. Cross
had held until his retirement in 1992.
Barry Schwabsky in The Nation on October 16, 2012:
"… sculpture is the most inconvenient of the fine arts.
Tedious physical labor is often involved in its making—
not necessarily the artist’s, but still, someone’s."
Happy Frigg's Day to Josefine Lyche.
"Hitchcock made movies with many actresses
who had the aloof, Nordic beauty he admired."
— Alessandra Stanley in today's NY Times
For Mitt …
See "A Deskful of Girls" in Fritz Leiber's Selected Stories .
See also the Feast of St. Mary Magdalene in 2009.
… And for Clint—
I quickly settled myself in the chair, not to be gingerly
about it. It was rather incredibly comfortable, almost
as if it had adjusted its dimensions a bit at the last
instant to conform to mine. The back was narrow at
the base but widened and then curled in and over to
almost a canopy around my head and shoulders.
The seat too widened a lot toward the front, where
the stubby legs were far apart. The bulky arms
sprang unsupported from the back and took my own
just right, though curving inwards with the barest
suggestion of a hug. The leather or unfamiliar plastic
was as firm and cool as young flesh and its texture
as mat under my fingertips.
"An historic chair," the Doctor observed, "designed
and built for me by von Helmholtz of the Bauhaus…."
For St. Luke's Day
Part III— The 1998 Denzel Washington film "Fallen."
Kirkus Reviews on the 1977 novel—
"Butler is clearly on to a promising vein—
something like Zenna Henderson's 'People' stories
without their saccharine silliness."
In honor of this year's Nobel Peace Prize
recipients, here are some remarks related
to European ethnicity:
Last Wednesday's 11 PM post mentioned the
adjacency-isomorphism relating the 4-dimensional
hypercube over the 2-element Galois field GF(2) to
the 4×4 array made up of 16 square cells, with
opposite edges of the 4×4 array identified.
A web page illustrates this property with diagrams that
enjoy the Karnaugh property— adjacent vertices, or cells,
differ in exactly one coordinate. A brief paper by two German
authors relates the Karnaugh property to the construction
of a magic square like that of Dürer (see last Wednesday).
In a similar way (search the Web for Karnaugh + cube ),
vertex adjacency in the 6-dimensional hypercube over GF(2)
is isomorphic to cell adjacency in the 4x4x4 cube, with
opposite faces of the 4x4x4 cube identified.
The above cube may be used to illustrate some properties
of the 64-point Galois 6-space that are more advanced
than those studied by enthusiasts of "magic" squares
For Sergeant-Major America—
This instance of the omega point is for a sergeant major
who died at 92 on Wednesday, October 10, 2012.
See also posts on that date in this journal—
"Mathematics is not the rigid and petrifying schema, as the layman so much likes to view it; with it, we rather stand precisely at the point of intersection of restraint and freedom that makes up the essence of man itself."
— A translated remark by Hermann Weyl, p. 136, "The Current Epistemogical Situation in Mathematics" in Paolo Mancosu (ed.) From Brouwer to Hilbert. The Debate on the Foundations of Mathematics in the 1920s , Oxford University Press, 1998, pp. 123-142, as cited by David Corfield
Corfield once wrote that he would like to know the original German of Weyl's remark. Here it is:
"Die Mathematik ist nicht das starre und Erstarrung bringende Schema, als das der Laie sie so gerne ansieht; sondern wir stehen mit ihr genau in jenem Schnittpunkt von Gebundenheit und Freiheit, welcher das Wesen des Menschen selbst ist."
— Hermann Weyl, page 533 of "Die heutige Erkenntnislage in der Mathematik" (Symposion 1, 1-32, 1925), reprinted in Gesammelte Abhandlungen, Band II (Springer, 1968), pages 511-542
For some context, see a post of January 23, 2006.
"… At the hour of vespers
in a sudden blinding snow,
they entered the harbor…."
— Jorie Graham,
"The Dream of the Unified Field"
Other snow dreams—
Master Class and
In memory of Copenhagen saxophonist John Tchicai,
who reportedly died last Sunday, October 7, 2012—
Quoted in this journal on the reported date of his death—
But passion ever spins our plots,
And Gretchen is my treasure!
— Wolfgang Pauli character in
Faust in Copenhagen
Occurrences of the phrase "magic square" in Lowe-Porter's translation of the Thomas Mann novel Doctor Faustus—
"On the wall above the piano was an arithmetical diagram fastened with drawing-pins, something he had found in a second-hand shop: a so-called magic square, such as appears also in Dürer's Melancolia , along with the hour-glass, the circle, the scale, the polyhedron, and other symbols. Here as there, the figure was divided into sixteen Arabic-numbered fields, in such a way that number one was in the right-hand lower corner, sixteen in the upper left; and the magic, or the oddity, simply consisted in the fact that the sum of these numerals, however you added them, straight down, crosswise, or diagonally, always came to thirty-four. What the principle was upon which this magic uniformity rested I never made out, but by virtue of the prominent place Adrian had given it over the piano, it always attracted the eye, and I believe I never visited his room without giving a quick glance, slanting up or straight down and testing once more the invariable, incredible result."
"Adrian kept without changing during the whole four and a half years he spent in Leipzig his two-room quarters in Peterstrasse near the Collegium Beatae Virginis, where he had again pinned the magic square above his cottage piano."
" 'The decisive factor is that every note, without exception, has significance and function according to its place in the basic series or its derivatives. That would guarantee what I call the indifference to harmony and melody.'
'A magic square,' I said. 'But do you hope to have people hear all that?' "
" 'Extraordinarily Dürerish. You love it. First "how will I shiver after the sun"; and then the houre-glasse of the Melancolia . Is the magic square coming too?' "
"Here I will remind the reader of a conversation I had with Adrian on a long-ago day, the day of his sister's wedding at Buchel, as we walked round the Cow Trough. He developed for me— under pressure of a headache— his idea of the 'strict style,' derived from the way in which, as in the lied 'O lieb Madel, wie schlecht bist du ' melody and harmony are determined by the permutation of a fundamental five-note motif, the symbolic letters h, e, a, e, e-flat. He showed me the 'magic square' of a style of technique which yet developed the extreme of variety out of identical material and in which there is no longer anything unthematic, anything that could not prove itself to be a variation of an ever constant element. This style, this technique, he said, admitted no note, not one, which did not fulfil its thematic function in the whole structure— there was no longer any free note."
Review of related material—
"… the once stable 'father's depression' has been transmuted into a shifting reality that shimmered in a multiplicity of facets."
— Haim Omer, Tel-Aviv University, on Milanese ambiguation therapy,
p. 321 in "Three Styles of Constructive Therapy,"
Constructive Therapies, Vol. 2 , pp. 319-333,
ed. by Michael F. Hoyt (Guilford Press paperback, 1998)
The subtitle of Jack Kerouac's novel Doctor Sax
is Faust Part Three.
Types of Ambiguity— Galois Meets Doctor Faustus
(this journal, December 14, 2010).
Wikipedia disambiguation page—
For another "shifting reality that shimmered
in a multiplicity of facets," see The Diamond Theorem.
A new Wikipedia disambiguation page for "Diamond theorem"—
History of the above new Wikipedia page—
See also a Google search for "diamond theorem."
(Continued from August 29.)
movies.broadwayworld.com, Friday, Oct, 5, 2012; 1:13 PM
"Bradley Cooper, Jeremy Renner, and Amy Adams will be joined by Christian Bale in David O. Russell’s ensemble drama….
The Untitled David O. Russell Project is based on the true story of a notorious financial con artist (Bale) and his mistress/partner in crime (Adams), who were forced to work with an out of control federal agent (Cooper) to turn the tables on other con artists, mobsters, and politicians."
"Put on your red dress, baby
Ya know we're goin' out tonight
Put on your red dress, baby
Lord, we're goin' out tonight
And-a bring along some boxin' gloves
In case some fool might wanna fight"
"We’ll build in sonnets pretty roomes;
As well a well wrought urne becomes
The greatest ashes, as half-acre tombes."
Last night's post discussed ways of draining the world of meaning.
For some tastes, poets like Dante do the opposite, supplying too much meaning.
"… assertion that Beatrice herself 'was this number [nine],' since nine is the square of three, the number belonging to the Trinity. Dante’s fantastic reasoning requires pages of annotation, which Frisardi, drawing on a number of commentators, furnishes to the bewildered reader. The theological elaboration of the number nine— merely one instance of how far from our own* are Dante’s habits of thought— will convince any doubting reader that the Vita Nuova requires annotation far beyond what its pages might seem to demand."
Some background from today's New York Times—
From DeLillo's novel Mao II in the paragraph immediately preceding
the Ritz-hat passage quoted by Soltan—
"He could have told George he was writing about the hostage to bring him back, to return a meaning that had been lost to the world when they locked him in that room. Maybe that was it. When you inflict punishment on someone who is not guilty, when you fill rooms with innocent victims, you begin to empty the world of meaning and erect a separate mental state, the mind consuming what's outside itself, replacing real things with plots and fictions. One fiction taking the world narrowly into itself, the other fiction pushing out toward the social order, trying to unfold into it. He could have told George a writer creates a character as a way to reveal consciousness, increase the flow of meaning. This is how we reply to power and beat back our fear. By extending the pitch of consciousness and human possibility. This poet you've snatched. His detention drains the world of one more thimble of meaning."
IAE has a distinctive lexicon: aporia , radically , space , proposition , biopolitical , tension , transversal , autonomy . An artist’s work inevitably interrogates, questions, encodes, transforms, subverts, imbricates, displaces—though often it doesn’t do these things so much as it serves to, functions to, or seems to (or might seem to) do these things. [Alix Rule and David Levine, July 30, 2012]
See also this evening's post Issue 16.
From triplecanopy, Issue 16 —
International Art English, by Alix Rule and David Levine (July 30, 2012)
… In what follows, we examine some of the curious lexical, grammatical, and stylistic features of what we call International Art English. We consider IAE’s origins, and speculate about the future of this language through which contemporary art is created, promoted, sold, and understood. Some will read our argument as an overelaborate joke. But there’s nothing funny about this language to its users. And the scale of its use testifies to the stakes involved. We are quite serious….*
Space is an especially important word in IAE and can refer to a raft of entities not traditionally thought of as spatial (the space of humanity ) as well as ones that are in most circumstances quite obviously spatial (the space of the gallery ). An announcement for the 2010 exhibition “Jimmie Durham and His Metonymic Banquet,” at Proyecto de Arte Contemporáneo Murcia in Spain, had the artist “questioning the division between inside and outside in the Western sacred space”—the venue was a former church—“to highlight what is excluded in order to invest the sanctum with its spatial purity. Pieces of cement, wire, refrigerators, barrels, bits of glass and residues of ‘the sacred,’ speak of the space of the exhibition hall … transforming it into a kind of ‘temple of confusion.’”
Spatial and nonspatial space are interchangeable in IAE. The critic John Kelsey, for instance, writes that artist Rachel Harrison “causes an immediate confusion between the space of retail and the space of subjective construction.” The rules for space in this regard also apply to field , as in “the field of the real”—which is where, according to art historian Carrie Lambert-Beatty, “the parafictional has one foot.” (Prefixes like para -, proto -, post -, and hyper – expand the lexicon exponentially and Germanly, which is to say without adding any new words.) It’s not just that IAE is rife with spacey terms like intersection , parallel , parallelism , void , enfold , involution , and platform ….
* Footnote not in the original—
See also Geometry and Death from the date of the above article.
Today's Harvard Crimson—
In an effort to break the silence on an often-stigmatized topic,
members of the Harvard community gathered to share
experiences with mental illness through spoken word,
interpretive dance, and candid conversations at Friday night’s
second-annual “Words on the Mind” open mic night.
Related material from this journal on Friday—
The Hallowed Crucible—
Some related symbolism (headings added Oct. 7)—
Today's (Sunday, Oct. 7, 2012) Google Doodle for Bohr's birthday—
Log24, Dec. 18, 2006:
“I did a column in Scientific American on minimal art,
“… the entire profession has received a very public
Related posts— See "Bad Black Mark" in this journal.
See also two items from St. Patrick's Day, March 17, 2005—
Click McCarthy photo for some more recent material.
"At Cambridge, where he studied in the 30s, he had
a reputation for omniscience. Running the local
Communist party cell from the set of college rooms
beneath Wittgenstein's, the youthful Hobsbawm was
invited to join the exclusive Apostles society."
* See related posts from Oct. 1, 2, and 5, 2012.
(Continued from Tuesday, Oct. 2)
"The Schoenberg proved the highlight of the evening,
sandwiched between polished but otherwise routine
performances of Bach’s Keyboard Concerto No. 1
in D minor and Mozart’s Symphony No. 36 ('Linz'),
which ended the evening."
From a Wikipedia article—
The Jew of Linz is a controversial 1998 book by Australian writer Kimberley Cornish. It alleges that the Austrian philosopher Ludwig Wittgenstein had a profound effect on Adolf Hitler when they were both pupils at the Realschule (lower secondary school) in Linz, Austria, in the early 1900s.
One section of the article—
No-ownership theory of mind
See also Dreamcatcher in this journal.
For the late Helen Nicoll—
The Owl looked up to the stars above,
— Edward Lear
The Hallowed Crucible—
Some related symbolism—
See also Stallion Gate (a novel) in this journal.
From an obituary for Helen Nicoll, author
of a popular series of British children's books—
"They feature Meg, a witch whose spells
always seem to go wrong, her cat Mog,
and their friend Owl."
For some (very loosely) related concepts that
have been referred to in this journal, see…
See, too, "Kids grow up" (Feb. 13, 2012).
Some literary background— Doctor Sax
"In the master's bedroom, they gathered for the feast…."
— Suggested by the current film Hotel Transylvania
"For every kind of vampire, there is a kind of cross."
– Thomas Pynchon, Gravity's Rainbow
Related material— the Feast of Saint Patrick in 2009.
"And how do we keep our balance?
That I can tell you in one word!"
— Tevye in Fiddler on the Roof
"Who knows where madness lies?"
— Man of La Mancha
(linked to here Monday morning)
Commoner reportedly died on Sunday.
Update of 5:42 PM ET—
Another academic death, this one from today—
This, together with this morning's post involving the squares 16 and 9,
suggests a review of Conceit at Harvard (October 25, 2006), which
contains the following figure involving the squares 16, 9, and 25—
"If you have built castles in the air,
your work need not be lost;
that is where they should be.
Now put the foundations under them.”
— Henry David Thoreau
Powered by WordPress