Einstein, "Geometry and Experience," lecture before the
Prussian Academy of Sciences, January 27, 1921–
… This view of axioms, advocated by modern axiomatics, purges mathematics of all extraneous elements, and thus dispels the mystic obscurity, which formerly surrounded the basis of mathematics. But such an expurgated exposition of mathematics makes it also evident that mathematics as such cannot predicate anything about objects of our intuition or real objects. In axiomatic geometry the words "point," "straight line," etc., stand only for empty conceptual schemata. That which gives them content is not relevant to mathematics.
Yet on the other hand it is certain that mathematics generally, and particularly geometry, owes its existence to the need which was felt of learning something about the behavior of real objects. The very word geometry, which, of course, means earth-measuring, proves this. For earth-measuring has to do with the possibilities of the disposition of certain natural objects with respect to one another, namely, with parts of the earth, measuring-lines, measuring-wands, etc. It is clear that the system of concepts of axiomatic geometry alone cannot make any assertions as to the behavior of real objects of this kind, which we will call practically-rigid bodies. To be able to make such assertions, geometry must be stripped of its merely logical-formal character by the coordination of real objects of experience with the empty conceptual schemata of axiomatic geometry. To accomplish this, we need only add the proposition: solid bodies are related, with respect to their possible dispositions, as are bodies in Euclidean geometry of three dimensions. Then the propositions of Euclid contain affirmations as to the behavior of practically-rigid bodies.
Geometry thus completed is evidently a natural science; we may in fact regard it as the most ancient branch of physics. Its affirmations rest essentially on induction from experience, but not on logical inferences only. We will call this completed geometry "practical geometry," and shall distinguish it in what follows from "purely axiomatic geometry." The question whether the practical geometry of the universe is Euclidean or not has a clear meaning, and its answer can only be furnished by experience. ….
Later in the same lecture, Einstein discusses "the theory of a finite
universe." Of course he is not using "finite" in the sense of the field
of mathematics known as "finite geometry " — geometry with only finitely
many points.
Nevertheless, his remarks seem relevant to the Fano plane , an
axiomatically defined entity from finite geometry, and the eightfold cube,
a physical object embodying the properties of the Fano plane.
I want to show that without any extraordinary difficulty we can illustrate the theory of a finite universe by means of a mental picture to which, with some practice, we shall soon grow accustomed.
First of all, an observation of epistemological nature. A geometrical-physical theory as such is incapable of being directly pictured, being merely a system of concepts. But these concepts serve the purpose of bringing a multiplicity of real or imaginary sensory experiences into connection in the mind. To "visualize" a theory therefore means to bring to mind that abundance of sensible experiences for which the theory supplies the schematic arrangement. In the present case we have to ask ourselves how we can represent that behavior of solid bodies with respect to their mutual disposition (contact) that corresponds to the theory of a finite universe.
The reader may contrast the above Squarespace.com logo
(a rather serpentine version of the acronym SS) with a simpler logo
for a square space (the Galois window ):
The title refers to an image reproduced here in a post of August 1st, 2017. That post also included
the following quotation —
"Remembering speechlessly we seek
the great forgotten language,
the lost lane-end into heaven,
a stone, a leaf, an unfound door. Where? When?" — Thomas Wolfe
Douglas Rain, the voice of HAL in Kubrick's 2001 , reportedly
died at 90 on Sunday, Nov. 11, 2018. A piece from the Sunday,
April 1, 2018, print edition of The New York Times recalls that . . .
When HAL says, “I know I’ve made some very poor decisions recently, but I can give you my complete assurance that my work will be back to normal,” Mr. Rain somehow manages to sound both sincere and not reassuring. And his delivery of the line “I think you know what the problem is just as well as I do” has the sarcastic drip of a drawing-room melodrama and also carries the disinterested vibe of a polite sociopath.
Kubrick had Mr. Rain sing the 1892 love song “Daisy Bell” (“I’m half crazy, all for the love of you”) almost 50 times, in uneven tempos, in monotone, at different pitches and even just by humming it. In the end, he used the very first take. Sung as HAL’s brain is being disconnected, it’s from his early programming days, his computer childhood. It brings to an end the most affecting scene in the entire film.
— Gerry Flahive in the online New York Times ,
"A version of this article appears in print on , on Page AR13 of the New York edition with the headline: HAL 9000 Wasn’t Always So Eerily Calm."
"Yet if this Denkraum , this 'twilight region,' is where the artist and
emblem-maker invent, then, as Gombrich well knew, Warburg also
constantly regrets the 'loss' of this 'thought-space,' which he also
dubs the Zwischenraum and Wunschraum ."
"Vincent B. Sherry, writing in The Cambridge Companion to the Literature of the First World War , called Mr. Fussell’s book 'the fork in the road for Great War criticism.'" — Christopher Lehmann-Haupt in The New York Times
Actually, the writing was by James Campbell. Sherry was the book's editor. See Campbell's "Interpreting the War," pp. 261-279 of the 2005 (first) printing. The fork is on page 267.
Update of 9:26 PM— In the latest version of Lehmann-Haupt's article, the fork has disappeared. But Campbell's writing is still misidentified as Sherry's.
"Judith’s oldest sister is Antonia Fraser, the biographer
and novelist and widow of the playwright Harold Pinter."
"Her [Judith’s] death was confirmed by Andy Croft, who runs
Smokestack Books, the publisher of 'Sister Intervention' [sic* ]
(2014), Ms. Kazantzis’ last collection of poetry. He did not
specify the cause or where she died."
Notable lines from that book's poem "In the Garden" —
Two trees of life, not in the woods,
but in the garden.
See also the post "Death Day" in this journal on Sept. 18.
Earlier posts have discussed the "story theory of truth"
versus the "diamond theory of truth," as defined by
Richard Trudeau in his 1987 book The Non-Euclidean Revolution.
In a New York Timesopinion piece for tomorrow's print edition,*
novelist Dara Horn touched on what might be called
"the space theory of truth."
When they return to synagogue, mourners will be greeted
with more ancient words: “May God comfort you
among the mourners of Zion and Jerusalem.”
In that verse, the word used for God is hamakom—
literally, “the place.” May the place comfort you.
"The Day of the Dead (Spanish: Día de Muertos ) is
a Mexican holiday celebrated throughout Mexico,
in particular the Central and South regions,
and by people of Mexican heritage elsewhere.
The multi-day holiday focuses on gatherings
of family and friends to pray for and remember
friends and family members who have died, and
help support their spiritual journey. . . .
The holiday is sometimes called Día de los Muertos
in Anglophone countries, a back-translation of its
original name, Día de Muertos .
Shown below is a "Story Circle" based on the work of Joseph Campbell.
The author of this particular version is unknown.
Note that there are 12 steps in the above Story Circle. This suggests
some dialogue from a recent film. . .
Donnie —"We can't ask for help if we don't think there's anyone out there to give it. You have to grasp this concept. And that doesn't have to be fucking Jesus Christ or Buddha or Vanna White."
John — "So, can I choose the genitalia of Raquel Welch?"
Donnie — "I would advise against that, Callahan."
John — "Why?"
Donnie — "'Cause it's not a fucking joke. If you can't look outside yourself and you can't find a higher power, you're fucked."