(The crucible in question is from a book by Katherine Neville, The Eight . Any connection with Arthur Miller's play "The Crucible"
is purely coincidental.)
A KUNSTforum.as article online today (translation by Google) —
Update of Sept. 7, 2016: The corrections have been made,
except for the misspelling "Cullinan," which was caused by
Google translation, not by KUNSTforum.
"The quotes create the illusion
that the dead are still speaking
to the reader. Faust writes about
the efforts of spiritualists to believe
in an afterlife for their slain kin, but
she’s the one summoning spirits."
— April Yee, Harvard Crimson
staff writer, February 7, 2008
April 29, 2016, was the opening date for a film
about Ramanujan, "The Man Who Knew Infinity,"
as well as Uma Thurman's birthday. (Uma is
named for a Hindu goddess.)
Today is said to be the 25th anniversary of the
opening to the public of the World Wide Web.
Related material: Click on the above icon for
posts mentioning "Spider Woman."
Remarks on art, contemplation. and Puritanism
from a recent Princeton University Press book —
“Lucy Lippard distinguished Asian art
(ego-less and contemplative)
from New York Minimalism
(moralistic and puritanical).”
— Mathematics and Art ,
Princeton U. Press, Fall 2015
* Update of Aug. 24, 2016 — See also Nov. 2, 2014.
"Mr. Hiller was born on Nov. 13, 1923, in Edmonton, Alberta,
one of three children of Harry Hiller and the former Rose Garfin,
Jewish immigrants from Poland. His father ran a secondhand
musical instrument store in Edmonton.
His first contact with show business came through his parents,
who formed a community theater in Edmonton to present plays
in Yiddish. He helped his parents build and paint sets, and made
his acting debut at age 11."
The images in the previous post do not lend themselves
to any straightforward narrative. Two portions of the
large image search are, however, suggestive —
The improvised cross in the second pair of images
is perhaps being wielded to counteract the
Boole of the first pair of images. See the heading
of the webpage that is the source of the lattice
diagram toward which the cross is directed —
Update of 10 am on August 16, 2016 —
See also Atiyah on the theology of
(Boolean) algebra vs. (Galois) geometry:
"Atle Selberg, who had a major influence in mathematics
and especially in analytic number theory during the 20th century,
died on August 6 [2007]. Born on June 14, 1917, in Langesund,
Norway, he received his Ph.D. in 1943 from the University of Oslo. . . ."
— American Mathematical Society, 2007
See also Selberg in this journal —
Click image for the full version of the above post
and some remarks from the date of Selberg's death.
From Galison's “Structure of Crystal, Bucket of Dust,” in Circles Disturbed: The Interplay of Mathematics and Narrative,
edited by Apostolos Doxiadis and Barry Mazur, pp. 52-78
(Princeton: Princeton U. Press, 2012) …
Galison's final paragraph —
"Perhaps, then, it should not surprise us too much if,
as Wheeler approaches the beginning-end of all things,
there is a bucket of Borelian dust. Out of this filth,
through the proposition machine of quantum mechanics
comes pregeometry; pregeometry makes geometry;
geometry gives rise to matter and the physical laws
and constants of the universe. At once close to and far
from the crystalline story that Bourbaki invoked,
Wheeler’s genesis puts one in mind of Genesis 3:19:
'In the sweat of thy face shalt thou eat bread, till thou
return unto the ground; for out of it wast thou taken:
for dust thou art, and unto dust shalt thou return.' "
For fans of Scientism who prefer more colorful narratives —
"If all that 'matters' are fundamentally mathematical relationships, then there ceases to be any important difference between the actual and the possible. (Even if you aren't a mathematical Platonist, you can always find some collection of particles of dust to fit any required pattern. In Permutation City this is called the 'logic of the dust' theory.)…. … Paul Durham is convinced by the 'logic of the dust' theory mentioned above, and plans to run, just for a few minutes, a complex cellular automaton (Permutation City) started in a 'Garden of Eden' configuration — one which isn't reachable from any other, and which therefore must have been the starting point of a simulation…. I didn't understand the need for this elaborate set-up, but I guess it makes for a better story than 'well, all possible worlds exist, and I'm going to tell you about one of them.' "
"The American mind is not even close to being amenable
to the ideogram principle as yet. The reason is simply this.
America is 100% 18th Century. The 18th century had
chucked out the principle of metaphor and analogy—
the basic fact that as A is to B so is C to D. AB:CD.
It can see AB relations. But relations in four terms are still
verboten. This amounts to deep occultation of nearly all
human thought for the U.S.A.
I am trying to devise a way of stating this difficulty as it exists.
Until stated and publicly recognized for what it is, poetry and
the arts can’t exist in America."
A line for W. S. Miller, taken from "Annie Hall" —
"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."
See also the remarks of a character in Martin Cruz Smith's
novel Stallion Gate on piano keys —
"I hate arguments. I'm a coward. Arguments are full of words,
and each person is sure he's the only one who knows
what the words mean. Each word is a basket of eels,
as far as I'm concerned. Everybody gets to grab just one eel
and that's his interpretation and he'll fight to the death for it….
Which is why I love music. You hit a C and it's a C and that's all it is.
Like speaking clearly for the first time. Like being intelligent.
Like understanding. A Mozart or an Art Tatum sits at the piano
and picks out the undeniable truth."
The late physicist David Ritz Finkelstein on the magic square
in Dürer's "Melencolia I" —
"As a child I wondered why such a square was called magic.
The Occult Philosophy [of Agrippa] answers this question
at least. They were used as magical talismans."
The correspondencein the previous post between
Figures A and B may serve as a devotional talisman
in memory of Finkelstein, a physicist who, in the sort of
magical thinking enjoyed by traditional Catholics, might
still be lingering in Purgatory.
See also this journal on the date of Finkelstein's death —
The above illustration, by the late Harvey D. Heinz,
shows a magic cube* and a corresponding magic hexagram, or Star of David, with the six cube faces
mapped to the six hexagram lines and the twelve
cube edges mapped to the twelve hexagram points.
The eight cube vertices correspond to eight triangles
in the hexagram (six small and two large).
Exercise: Is this noteworthy mapping** of faces to lines,
edges to points, and vertices to triangles an isolated
phenomenon, or can it be viewed in a larger context?
"So there are several different genres and tones
jostling for prominence within Lexicon:
a conspiracy thriller, an almost abstract debate
about what language can do, and an ironic
questioning of some of the things it’s currently used for."
"What has become painfully clear this week
is that there is no Republican campaign for
the presidency. There is only The Donald,
his reflex tweets, the folded pieces of paper
he pulls out of his coat pocket and a crazy
stand-up routine that is part Lenny Bruce
and part professor Irwin Corey."
"Eyes closed, you will feel your body traveling at great speed over the landscape. Somewhere there will be a hole down into the ground. As you go down into that tunnel, there may be creatures that try to stop you, stand in your path. You have to go right through them.
Finally you will come to something down there in the ground, a new place with some kind of gift for you. You just look around for it there, and you will find it."
"And should you glimpse my wandering form out on the borderline
Between death and resurrection and the council of the pines
Do not worry for my comfort, do not sorrow for me so
All your diamond tears will rise up and adorn the sky beside me
when I go"
James Houghton, the founder and, until recently, the artistic director of the Signature Theater Company, one of Off Broadway’s essential nonprofit theaters and perhaps the nation’s leading safe house for playwrights, died on Tuesday at his home in Manhattan. He was 57. ….
From 2006 until his death, he was director of the drama division at the Juilliard School, which was founded in 1968 … by John Houseman. Like Professor Kingsfield, the Harvard law scholar famously played by Houseman in the 1973 film “The Paper Chase,” the drama division was long known for its emphasis on discipline and for upholding rigorous standards that kept the pressure on the small number of students who were admitted after auditions. (In 2016 there 2,000 applicants for 18 spots.)
Mr. Houghton altered the Juilliard audition process and is credited with relaxing the atmosphere of the program. ….
“I don’t think there was anyone in the theater community more beloved than Jim,” the playwright Tony Kushner… wrote in an email ….
The doors open slowly. I step into a hangar. From the rafters high above, lights blaze down, illuminating a twelve-foot cube the color of gunmetal. My pulse rate kicks up. I can’t believe what I’m looking at. Leighton must sense my awe, because he says, “Beautiful, isn’t it?” It is exquisitely beautiful. At first, I think the hum inside the hangar is coming from the lights, but it can’t be. It’s so deep I can feel it at the base of my spine, like the ultralow-frequency vibration of a massive engine. I drift toward the box, mesmerized.
— Crouch, Blake. Dark Matter: A Novel
(Kindle Locations 2004-2010).
Crown/Archetype. Kindle Edition.
Related reading —
"Do you know there is a deliberate sinister conspiracy at work?"
From a novel published July 26, 2016, and reviewed
in yesterday's (print) New York Times Book Review —
The doors open slowly. I step into a hangar. From the rafters high above, lights blaze down, illuminating a twelve-foot cube the color of gunmetal. My pulse rate kicks up. I can’t believe what I’m looking at. Leighton must sense my awe, because he says, “Beautiful, isn’t it?” It is exquisitely beautiful. At first, I think the hum inside the hangar is coming from the lights, but it can’t be. It’s so deep I can feel it at the base of my spine, like the ultralow-frequency vibration of a massive engine. I drift toward the box, mesmerized.
— Crouch, Blake. Dark Matter: A Novel
(Kindle Locations 2004-2010).
Crown/Archetype. Kindle Edition.