The geometry of the 15 point-pairs in the previous post suggests a review:
From "Exploring Schoolgirl Space," July 8 —
The date in the previous post — Oct. 9, 2018 — also suggests a review
of posts from that date now tagged Gen-Z:

The geometry of the 15 point-pairs in the previous post suggests a review:
From "Exploring Schoolgirl Space," July 8 —
The date in the previous post — Oct. 9, 2018 — also suggests a review
of posts from that date now tagged Gen-Z:

"In the fantasy, Owen is still working on his Rubik’s Cube.
Finally, he finishes — he’s put together all 6 sides."
— "Maniac" Season 1, Episode 9 recap: ‘Utangatta’
by Cynthia Vinney at showsnob.com, Oct. 9, 2018
Related material —
See also Exploded in this journal.
See the above title in this journal. See also . . .
From a news article featured on the American Mathematical Society
home page today —
A joint Vietnam-USA mathematical meeting in Vietnam on
June 10-13, 2019:
This journal on June 12, 2019:
Wednesday, June 12, 2019
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See also the Twentieth of May, 2008 —
Suggested by the previous post, "The Swarm" —
“‘Oracle, why did you write
The Grasshopper Lies Heavy?
What are we supposed to learn?'”
— Philip K. Dick
“She began throwing the coins.“
Related images —
See also other posts tagged Arti Facts.
This post was suggested by those posts and by the following
attempt at humor —
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https://languagelog.ldc.upenn.edu/nll/?p=22045 . . . the ancient Chinese made music the pinnacle of wisdom. There was a Classic of Music (Yuè jīng 樂經), but it was lost already by the Han Dynasty (206 BC-220 AD). Yet we know the esteem in which music was held by the ancient Chinese from passages in the classics like the following: The Master heard the Shao in Qi and for three months did not notice the taste of the meat he ate. He said, 'I never dreamt the joys of music could reach such heights.'(D.C. Lau) Analects 7.14 Shao is the music of the mythical emperor, Shun 舜. Qi one of the Warring States. Extensive commentary here. Another instance of the sublimity of music in ancient China is the description of the performance of the Yellow Emperor's "The Pond of Totality" in chapter 14 of the Zhuang Zi (see Victor H. Mair, tr., Wandering on the Way [Bantam, 1994; University of Hawaii Press, 1998], pp. 132-136, available here). Conversely, language studies in traditional China were referred to as "minor learning" (xiǎoxué 小學). November 5, 2015 @ 4:05 pm · Filed by Victor Mair under Language and music, Language and philosophy |
See also Ervin Wilson in Wikipedia, and a Log24 post from
the date of his death — December 8, 2016.
See also Just Intonation.
“For the Renaissance musician, a sharp multiplied a musical frequency
by the fraction 25/24 – and so does it in Ben’s music.”
— “Regarding Ben: A Keynote Address for the Microtonal Conference
[2010] at Wright State University,” by Kyle Gann
See too my own note from 2001: Harmony, Schoenberg, and The Last Samurai .
From "110 in the Shade" —
A quote from "Marshall, Meet Bagger," July 29, 2011:
"Time for you to see the field."
_________________________________________________________
From a Log24 search for "To See the Field" —
For further details, see the 1985 note
"Generating the Octad Generator."
See "The Batty Farewell" (yesterday's eulogy for Rutger Hauer) and . . .
Click the above fake seal for a related story.
For Harlan Kane . . .
A related word in this journal: Irvine.
Adam Rogers today on "Rutger Hauer in Blade Runner , playing
the artificial* person Roy Batty in his death scene."
* See the word "Artifice" in this journal,
as well as Tears in Rain . . .
"Games provide frameworks that miniaturize
and represent idealized realities; so do narratives."
— Adam Rogers, Sunday, July 21, 2019, at Wired
Reviewing yesterday's post Word Magic —
See also a technological framework (the microwave at left) vs. a
purely mathematical framework (the pattern on the towel at right)
in the image below:
For some backstory about the purely mathematical framework,
see Octad Generator in this journal.
https://www.cnet.com/news/first-time-comic-con-cosplay-is-
terrifying-complicated-and-exhilarating/ —
"San Diego Comic-Con 2019 [July 18-21] will witness my plunge
into cosplay. Here's how I tackled my Chilling Adventures of Sabrina
costume."
BY ERIN CARSON JULY 18, 2019 8:20 PM PDT
"Sabrina, now played by Kiernan Shipka, still speaks to me.
Modern-day Sabrina isn't just trying to make it to the dance
on time, she's questioning the unquestioned gender roles of
her belief system, raising the dead and taking on the Devil himself.
May every teenage girl have that kind of confidence."
Or not. See this journal on July 18 and a related passage . . .
"Business-wise, Magic is working—Bloomberg reported
that the game brought in $500 million in revenue last year.
Hasbro owns Monopoly and Scrabble, but Magic is its top
game brand. . . .
The idea of using a card mechanic to generate story has
precedent—the Italian postmodern writer Italo Calvino
generated an entire novel based on drawing from a
tarot card deck. Games provide frameworks that miniaturize
and represent idealized realities; so do narratives."
— Adam Rogers, Sunday, July 21, 2019, at Wired
"The Esper party began . . ." —
|
Life of the Party From Stephen King's Dreamcatcher :
From Alfred Bester's The Demolished Man :
From Anne McCaffrey's To Ride Pegasus :
"… it's going to be accomplished in steps, this |
Adam Rogers at Wired as quoted above —
"The idea of using a card mechanic to generate story
has precedent. . . ."
See The Greater Trumps .
"The Tian'anmen (also Tiananmen or Tienanmen)
([tʰjɛ́n.án.mə̌n]), or the Gate of Heavenly Peace, is
a monumental gate in the centre of Beijing, widely
used as a national symbol of China. First built during
the Ming dynasty in 1420, Tiananmen was the entrance
to the Imperial City . . . ."
A related article on Chinese history, The Critical Moment,
suggests an associated (if only by title) webpage —
See as well The Painted Word .
|
“All right, Jessshica. It’s time to open the boxsssschhh.” “Gahh,” she said. She began to walk toward the box, but her heart failed her and she retreated back to the chair. “Fuck. Fuck.” Something mechanical purred. The seam she had found cracked open and the top of the box began to rise. She squeezed shut her eyes and groped her way into a corner, curling up against the concrete and plugging her ears with her fingers. That song she’d heard the busker playing on the train platform with Eliot, “Lucy in the Sky with Diamonds”; she used to sing that. Back in San Francisco, before she learned card tricks. It was how she’d met Benny: He played guitar. Lucy was the best earner, Benny said, so that was mainly what she sang. She must have sung it five times an hour, day after day. At first she liked it but then it was like an infection, and there was nothing she could do and nowhere she could go without it running across her brain or humming on her lips, and God knew she tried; she was smashing herself with sex and drugs but the song began to find its way even there. One day, Benny played the opening chord and she just couldn’t do it. She could not sing that fucking song. Not again. She broke down, because she was only fifteen, and Benny took her behind the mall and told her it would be okay. But she had to sing. It was the biggest earner. She kind of lost it and then so did Benny and that was the first time he hit her. She ran away for a while. But she came back to him, because she had nothing else, and it seemed okay. It seemed like they had a truce: She would not complain about her bruised face and he would not ask her to sing “Lucy.” She had been all right with this. She had thought that was a pretty good deal. Now there was something coming out of a box, and she reached for the most virulent meme she knew. “Lucy in the sky!” she sang. “With diamonds!” • • •
Barry, Max. Lexicon: A Novel (pp. 247-248). |
From this journal on September 16, 2013 —
|
"La modernité, c’est le transitoire, le fugitif, le contingent, la moitié de l’art, dont l’autre moitié est l’éternel et l’immuable." — Baudelaire, "Le Peintre de la Vie Moderne," IV (1863) "By 'modernity' I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable." — Baudelaire, "The Painter of Modern Life," IV (1863), translated by Jonathan Mayne (in 1964 Phaidon Press book of same title) |
Also on September 16, 2013 —
* See that term in this journal.
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