See also a figure from 2 AM ET April 26 …
" Partner, anchor, decompose. That's not math.
That's the plot to 'Silence of the Lambs.' "
See also a figure from 2 AM ET April 26 …
" Partner, anchor, decompose. That's not math.
That's the plot to 'Silence of the Lambs.' "
From this journal on April 20 last year —
* See the webpage excerpted below.
See also "Cornerstone" in this journal and …
A sidebar from a Google search today —
This suggests a review of posts now tagged Obelisk,
which include …
From a post of March 16, 2017 —
"Bulk apperception" is defined in the Westworld script
as "basically, overall intelligence." The phrase is apparently
unique to Westworld.
These two words do, however, nearly occur together
in at least one book — Andrew Feffer's The Chicago
Pragmatists and American Progressivism :
A sketch, adapted tonight from Girl Scouts of Palo Alto —
From the April 14 noon post High Concept —
From the April 14 3 AM post Hudson and Finite Geometry —
From the April 24 evening post The Trials of Device —
Note that Hudson's 1905 "unfolding" of even and odd puts even on top of
the square array, but my own 2013 unfolding above puts even at its left.
A cover for his classic book is displayed in
this evening's New York Times obituary for Pirsig.
Related material in this journal —
"A blank underlies the trials of device"
— Wallace Stevens, "An Ordinary Evening in New Haven" (1950)
A possible meaning for the phrase "the trials of device" —
For instance —
… A Scottish Play suggested by …
"The Hegel action is applied to understand creative processes
in two classical compositions — Beethoven’s Hammerklavier
Sonata op. 106, and Liszt’s Mephisto Walzer — but also to
the creation of a small model composition."
— From the abstract of "Hegel’s Conceptual
Group Action on Creative Dynamics in Music," by
Guerino Mazzola and Maria Mannone
Wednesday, April 23, 2014
Connoisseurs of bullshit who enjoyed the previous post
might also enjoy the following:
The previous two posts introduced Mazzola's noxious combination of
category theory and Hegel. The current version (Rev. 254) of the above
nLab "Science of Logic" article, though not by Mazzola, displays this
combination in its full hideous splendor.
Some posts in this journal that might be viewed as leading up to
the original Sept. 2, 2012, "Science of Logic" article are now tagged
Death Warmed Over.
For the music box of the title, see the previous post.
See also "Romancing the Omega" —
Related mathematics — Guitart in this journal —
See also Weyl + Palermo in this journal —
Or: Expanding the Spielraum, continued
Wikipedia on author Michael Connelly —
Connelly had planned on following his father’s early choice of
career in building construction and started out at the
University of Florida in Gainesville as a building construction major.
After earning grades that were lower than expected, Connelly went
to see Robert Altman’s film The Long Goodbye (1973) and was
enchanted by what he saw. The film, based on Raymond Chandler’s
1953 novel of the same name, inspired Connelly to want to become
a mystery writer. Connelly went home and read all of Chandler's
works featuring Philip Marlowe, a detective in Los Angeles during
the 1940s and ‘50s, and decided to switch majors to journalism with
a minor in creative writing. He was a student of Harry Crews.
[See also …
A 2002 novel by Connelly — City of Bones .
Two scenes from a 2014 TV pilot based on the 2002 novel —
The "Bosch" pilot does not state the address, but its location in the
Hollywood Hills suggests a review of Heinlein Lottery in this journal.
* Title suggested by that of the previous post, "Point Zero."
A footnote from page 229 of Sydney Padua's April 21, 2015, book
on Lovelace and Babbage —
"This could be Heaven or this could be Hell." — "Hotel California"
"Some cartoon graveyards are better than others." — Log24
Related material — Another mathematician's death, on April 4 at 64.
In memory of a mathematician who
reportedly died at 64 on April 4
Part I: A review by that mathematician —
Part II: The mathematician's funeral —
"Funeral service will be held at 1:30 p.m. on Friday, April 7, 2017 . . . ."
— See more at: http://www.legacy.com/obituaries/dispatch/
This journal at 1:37 p.m. ET on Friday, April 7, 2017 —
This post's title is from the tags of the previous post —
The title's "shift" is in the combined concepts of …
Space and Number
From Finite Jest (May 27, 2012):
The books pictured above are From Discrete to Continuous ,
by Katherine Neal, and Geometrical Landscapes , by Amir Alexander.
— io9 , July 29, 2016
" 'This man comes from a binary universe
where it’s all about logic,' the actor told us
at San Diego Comic-Con . . . .
'And there’s a lot of humor in the collision
between Easter [ sic ] mysticism and
Western scientific, sort of logical binary.' "
[Typo now corrected, except in a comment.]
For the Church of Synchronology —
. . . pip trapped inside, god’s
knucklebone . . . .
The conclusion of yesterday's Google Image Search for Göpel Inscape —
See also "Pray to Apollo" in this journal.
In memory of cinematographer Michael Ballhaus, who reportedly
died at 81 in Berlin on Tuesday evening, April 11, the first full day
of Passover, 2017.
From a New York Times description of his work —
"The sinuous shot, which shows people parting …
like the Red Sea. . . ." — Margalit Fox tonight
From Log24 on the reported date of Ballhaus's death:
The twin-column illustration above is
adapted from Shakespeare's Birthday 2013.
The above four-element sets of black subsquares of a 4×4 square array
are 15 of the 60 Göpel tetrads , and 20 of the 80 Rosenhain tetrads , defined
by R. W. H. T. Hudson in his 1905 classic Kummer's Quartic Surface .
Hudson did not view these 35 tetrads as planes through the origin in a finite
affine 4-space (or, equivalently, as lines in the corresponding finite projective
In order to view them in this way, one can view the tetrads as derived,
via the 15 two-element subsets of a six-element set, from the 16 elements
of the binary Galois affine space pictured above at top left.
This space is formed by taking symmetric-difference (Galois binary)
sums of the 15 two-element subsets, and identifying any resulting four-
element (or, summing three disjoint two-element subsets, six-element)
subsets with their complements. This process was described in my note
"The 2-subsets of a 6-set are the points of a PG(3,2)" of May 26, 1986.
The space was later described in the following —
The New York Times online today:
" The famous flowchart of Modern art's evolution simply doesn't apply
in 'Making Space: Women Artists and Postwar Abstraction.' "
From The Boston Globe on Monday, February 27, 2017 —
See also this journal on the above date — Feb. 27, 2017.
"The state of the universe, physicists say, is a cosmological
relic—a glass ark with hammered-gold seams, pip trapped inside, god’s
knucklebone, nanosecond high-energy outward burst—kaboom!—
and space fills up with proto-stars . . . ."
— "A Natural History of Light," a poem by Marsha de la O,
The New Yorker , issue of December 12, 2016
The contraction of the title is from group actions on
the ninefold square (with the center subsquare fixed)
to group actions on the eightfold cube.
From a post of June 4, 2014 …
At math.stackexchange.com on March 1-12, 2013:
The above illustration, though neatly drawn, appeared under the
cloak of anonymity. No source was given for the illustrated group actions.
Possibly they stem from my Log24 posts or notes such as the Jan. 4, 2012,
note on quaternion actions at finitegeometry.org/sc (hence ultimately
from my note “GL(2,3) actions on a cube” of April 5, 1985).
"Cézanne ignores the laws of classical perspective . . . ."
— Voorhies, James. “Paul Cézanne (1839–1906).”
In Heilbrunn Timeline of Art History . New York:
The Metropolitan Museum of Art, 2000–. (October 2004)
Some others do not.
This is what I called "the large Desargues configuration"
in posts of April 2013 and later.
For the title, see Crimson + Abyss in this journal.
Yin Yang Yung
* See also earlier posts on Bullshit Studies.
From this journal on August 7, 2010 (footnotes added today) —
The title of this post, "Rift Designs," … is taken from Heidegger.
"Robinson is eloquent in her defense of the mind’s prerogatives, but her call for a renewed metaphysics might be better served by rereading Heidegger than by dusting off the Psalms."
Following this advice, we find—
"Das Ereignis versammelt den Aufriß der Sage und entfaltet ihn zum Gefüge des vielfältigen Zeigens."
— Heidegger, Weg zur Sprache
1. "Mirror-Play of the Fourfold"
2. "Christ descending into the abyss"
3. Barrancas of Cuernavaca
4. Combinatorics, Philosophy, Geometry
From "Raiders of the Inarticulate" (March 22, 2017) —
"I guess I found my future through Billy Name’s eye.
I saw his pictures of the Warhol Factory when I was
in college and thought, 'Oh that’s the place to get to.
Everyone is so beautiful and it looks brilliant and
complicated – art, music, film, but most of all a kind
of wild life.' It looked like the future as I imagined it."
"… through Billy Name's eye …."
Then there is Kurt Seligmann's eye …
The above-mentioned Billy Name appeared in this journal
in July 2016 in the post "Coterie (for Philip Rieff)." Also
featured in that post was artist Kurt Seligmann.
A Google Search sidebar on Seligmann today:
Synchronology check of this journal on the above Guardian date:
Saturday, November 8, 2014
Filed under: Uncategorized — m759 @ 11:59 PM
*For the title, see Enormous Changes.
See also an 11:59 PM ET post on Thursday, April 6, titled
"Where Entertainment Is God (continues)."
Some related entertainment:
I do not recommend any of the above entertainments,
but they do supply some background for the article
"Fantasy and the Buffered Self" (which is recommended.)
The title is from Hume:
"And were all my perceptions removed by death,
and could I neither think, nor feel, nor see, nor love,
nor hate, after the dissolution of my body, I should
be entirely annihilated, nor do I conceive what is
further requisite to make me a perfect nonentity."
"What is further requisite" — Perhaps …
This four-dot notation ("as") is from a search for Lévi-Strauss in this journal.
See also "That I Am."
Alah — עָלָה
Aliyah — עֲלִיָּה
Olah — עֹלָה
Related reading —
"Then a 12-14-day Trans-Siberian train ride to Vladivostok . . . ."
— "My First Halloween After Escaping the Nazis,"
By Masha Leon, October 29, 2015.
Other related reading:
From "The Most Notorious Section Phrases," by Sophie G. Garrett
in The Harvard Crimson on April 5, 2017 —
This passage reminds me of (insert impressive philosophy
that was not in the reading).
This student is just being a show off. We get that they are smart
and well read. Congrats, but please don’t make the rest of the us
look bad in comparison. It should be enough to do the assigned
reading without making connections to Hume’s theory of the self.
For my part, when I enter most intimately into what I call myself, I always stumble on some particular perception or other, of heat or cold, light or shade, love or hatred, pain or pleasure. I never can catch myself at any time without a perception, and never can observe any thing but the perception. When my perceptions are removed for any time, as by sound sleep, so long am I insensible of myself, and may truly be said not to exist. And were all my perceptions removed by death, and could I neither think, nor feel, nor see, nor love, nor hate, after the dissolution of my body, I should be entirely annihilated, nor do I conceive what is further requisite to make me a perfect nonentity.
I may venture to affirm of the rest of mankind, that they are nothing but a bundle or collection of different perceptions, which succeed each other with an inconceivable rapidity, and are in a perpetual flux and movement. Our eyes cannot turn in their sockets without varying our perceptions. Our thought is still more variable than our sight; and all our other senses and faculties contribute to this change: nor is there any single power of the soul, which remains unalterably the same, perhaps for one moment. The mind is a kind of theatre, where several perceptions successively make their appearance; pass, repass, glide away, and mingle in an infinite variety of postures and situations. There is properly no simplicity in it at one time, nor identity in different, whatever natural propension we may have to imagine that simplicity and identity. The comparison of the theatre must not mislead us. They are the successive perceptions only, that constitute the mind; nor have we the most distant notion of the place where these scenes are represented, or of the materials of which it is composed.
Related material —
Imago Dei in this journal.
" Nature Physics highlights the Bender et al. paper
with 'Carl Bender and colleagues have paved the way
to a possible solution [of the RH ] by exploiting a
connection with physics.' Some wag there has categorized
this work as work with subject term 'interstellar medium.' "
Not the answer you're looking for?
Browse other questions tagged
or ask your own question.
See also Autistic Enchantment in this journal.
"Projective Geometry and PT-Symmetric Dirac Hamiltonian,"
Y. Jack Ng and H. van Dam,
Physics Letters B , Volume 673, Issue 3,
23 March 2009, Pages 237–239
A recent physics article discussed today by Peter Woit in a 4:12 PM ET
post — "Some Math and Physics Interactions" — is available in the arXiv …
"If the analysis presented here can be made rigorous . . .
the Riemann hypothesis holds true."
As Woit notes, this is a rather large "if."
A note at the end of an article on architecture historian
Christopher Gray in the current online New Yorker —
This article appears in other versions
of the April 10, 2017, issue, with
the headline “Dem Bones.”
"Defeated, you will rise to your feet as is said of Dry Bones .
These bones will rise again." — Agnes Martin, 1973
Accounting for Taste —
Faye Dunaway and Warren Beatty at the Oscars:
Ben Affleck, star of "The Accountant," at the Oscars:
See also Prisoner + Bones in this journal.
"Do you know what he called this place? A museum."
Update of 11:06 PM ET —
A search for background on the "Holiday" screenplay leads,
via a useful historical website, to …
Other Hollywood material —
— Bill Murray in "Ed Wood"
From a post on March 13, 2017 —
Shafarevich was not the only one with a legacy . . .
See also posts in this journal
now tagged The Gray Legacy.
"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."
"Space: what you
damn well have to see."
— James Joyce, Ulysses
— Caption to a cartoon by Sidney Harris,
American Scientist , November-December 1977
"If any perfection is indicated in the work
it is recognized by the artist as truly miraculous
so he feels that he can take no credit for its
“You need firm ground to stand on,”
Mr. Bolles told an interviewer in 2000.
“From there you can deal with the change.”
Mr. Bolles, who reportedly died Friday (March 31, 2017),
was the author of What Color Is Your Parachute? .
See also a Log24 search for Lyche + Rainbow.
Related material — A poster for "Dead Reckoning" (1947).
“Show me all the blueprints.”
— Howard Hughes, according to Hollywood
From an old Dick Tracy strip —
This journal in April 2006 —
Cleaning out her studio, Oslo artist Josefine Lyche
has found some frames from an old art-school audition video —
(Click to enlarge.)
* Search for "st.+peter"+eve+adam+"first+words"
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