Tuesday, January 23, 2024
Thursday, April 28, 2022
Friday, April 29, 2022
Code Bleu
From The New York Times on May 5, 2011 —
"… What Paris says to me is love story, awash with painters,
shots of the Seine, Champagne. Thank God I have a
can’t-miss notion to sell you. I call it ‘Midnight in Paris.’ ”
“Romantic title,” I had to admit. “Is there a script?”
“Actually, there’s nothing on paper yet, but I can spitball
the main points,” he said, slipping on his tap shoes.
“Maybe some other time,” I said, mindful of Cubbage’s
unbroken string of theatrical Hiroshimas.
— Woody Allen
The above passage is in memory of a French film director
who, like the reporter in yesterday's post Primary Colors,
reportedly died on April 21, 2022.
See also Aitchison at Hiroshima and Easter for Aitchison.
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Tuesday, October 27, 2020
Japanese Bed*
The reported death on Monday of the Random House editor of the 1996
book Primary Colors: A Novel of Politics suggests a search in this journal
for “primary colors.” From that search, some non-political quotations —
| From “The Relations between Poetry and Painting,” by Wallace Stevens:“The theory of poetry, that is to say, the total of the theories of poetry, often seems to become in time a mystical theology or, more simply, a mystique. The reason for this must by now be clear. The reason is the same reason why the pictures in a museum of modern art often seem to become in time a mystical aesthetic, a prodigious search of appearance, as if to find a way of saying and of establishing that all things, whether below or above appearance, are one and that it is only through reality, in which they are reflected or, it may be, joined together, that we can reach them. Under such stress, reality changes from substance to subtlety, a subtlety in which it was natural for Cézanne to say: ‘I see planes bestriding each other and sometimes straight lines seem to me to fall’ or ‘Planes in color. . . . The colored area where shimmer the souls of the planes, in the blaze of the kindled prism, the meeting of planes in the sunlight.’ The conversion of our Lumpenwelt went far beyond this. It was from the point of view of another subtlety that Klee could write: ‘But he is one chosen that today comes near to the secret places where original law fosters all evolution. And what artist would not establish himself there where the organic center of all movement in time and space—which he calls the mind or heart of creation— determines every function.’ Conceding that this sounds a bit like sacerdotal jargon, that is not too much to allow to those that have helped to create a new reality, a modern reality, since what has been created is nothing less.”
|
* Title suggested in part by Monday evening’s post Annals of Artspeak
and the related Microsoft lockscreen photo credit —
.
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Wednesday, July 17, 2019
The Artsy Quantum Realm
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arXiv.org > quant-ph > arXiv:1905.06914 Quantum Physics Placing Kirkman's Schoolgirls and Quantum Spin Pairs on the Fano Plane: A Rainbow of Four Primary Colors, A Harmony of Fifteen Tones J. P. Marceaux, A. R. P. Rau (Submitted on 14 May 2019) A recreational problem from nearly two centuries ago has featured prominently in recent times in the mathematics of designs, codes, and signal processing. The number 15 that is central to the problem coincidentally features in areas of physics, especially in today's field of quantum information, as the number of basic operators of two quantum spins ("qubits"). This affords a 1:1 correspondence that we exploit to use the well-known Pauli spin or Lie-Clifford algebra of those fifteen operators to provide specific constructions as posed in the recreational problem. An algorithm is set up that, working with four basic objects, generates alternative solutions or designs. The choice of four base colors or four basic chords can thus lead to color diagrams or acoustic patterns that correspond to realizations of each design. The Fano Plane of finite projective geometry involving seven points and lines and the tetrahedral three-dimensional simplex of 15 points are key objects that feature in this study. Comments:16 pages, 10 figures Subjects:Quantum Physics (quant-ph) Cite as:arXiv:1905.06914 [quant-ph] (or arXiv:1905.06914v1 [quant-ph] for this version) Submission history
From: A. R. P. Rau [view email] |
See also other posts tagged Tetrahedron vs. Square.
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Monday, May 23, 2005
Monday May 23, 2005
From the J. Paul Getty Trust:
"I've recently had it brought to my attention that the current accepted primary colors are magenta, cyan, and yellow. I teach elementary art and I'm wondering if I really need to point out that fact or if I should continue referring to the primary colors the way I always have — red, yellow, and blue! Anyone have an opinion?"
Color vs. Pigment
("CMYK" at Whatis.com):
("CMYK" at Whatis.com):
"There is a fundamental difference between color and pigment. Color represents energy radiated…. Pigments, as opposed to colors, represent energy that is not absorbed…."
Illustrations from
Color Box Applet:
Color Box Applet:
Another good background page
for elementary color education:Colored Shadow Explorations.A good starting point for
non-elementary education:
for elementary color education:Colored Shadow Explorations.A good starting point for
non-elementary education:
The "Color" category in Wikipedia.Further background:
From "The Relations between
Poetry and Painting," by Wallace Stevens:
"The theory of poetry, that is to say, the total of the theories of poetry, often seems to become in time a mystical theology or, more simply, a mystique. The reason for this must by now be clear. The reason is the same reason why the pictures in a museum of modern art often seem to become in time a mystical aesthetic, a prodigious search of appearance, as if to find a way of saying and of establishing that all things, whether below or above appearance, are one and that it is only through reality, in which they are reflected or, it may be, joined together, that we can reach them. Under such stress, reality changes from substance to subtlety, a subtlety in which it was natural for Cézanne to say: 'I see planes bestriding each other and sometimes straight lines seem to me to fall' or 'Planes in color. . . . The colored area where shimmer the souls of the planes, in the blaze of the kindled prism, the meeting of planes in the sunlight.' The conversion of our Lumpenwelt went far beyond this. It was from the point of view of another subtlety that Klee could write: 'But he is one chosen that today comes near to the secret places where original law fosters all evolution. And what artist would not establish himself there where the organic center of all movement in time and space—which he calls the mind or heart of creation— determines every function.' Conceding that this sounds a bit like sacerdotal jargon, that is not too much to allow to those that have helped to create a new reality, a modern reality, since what has been created is nothing less."
|
From Bester's The Deceivers (1981):
He stripped, went to his Japanese bed in the monk's cell,
p a t t e r n s |
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Wednesday, December 4, 2002
Wednesday December 4, 2002
Symmetry and a Trinity
From a web page titled Spectra:
"What we learn from our whole discussion and what has indeed become a guiding principle in modern mathematics is this lesson:
Whenever you have to do with a structure-endowed entity S try to determine its group of automorphisms, the group of those element-wise transformations which leave all structural relations undisturbed. You can expect to gain a deep insight into the constitution of S in this way. After that you may start to investigate symmetric configurations of elements, i.e., configurations which are invariant under a certain subgroup of the group of all automorphisms . . ."
— Hermann Weyl in Symmetry, Princeton University Press, 1952, page 144
"… any color at all can be made from three different colors, in our case, red, green, and blue lights. By suitably mixing the three together we can make anything at all, as we demonstrated . . .
Further, these laws are very interesting mathematically. For those who are interested in the mathematics of the thing, it turns out as follows. Suppose that we take our three colors, which were red, green, and blue, but label them A, B, and C, and call them our primary colors. Then any color could be made by certain amounts of these three: say an amount a of color A, an amount b of color B, and an amount c of color C makes X:
Now suppose another color Y is made from the same three colors:
Then it turns out that the mixture of the two lights (it is one of the consequences of the laws that we have already mentioned) is obtained by taking the sum of the components of X and Y:
It is just like the mathematics of the addition of vectors, where (a, b, c ) are the components of one vector, and (a', b', c' ) are those of another vector, and the new light Z is then the "sum" of the vectors. This subject has always appealed to physicists and mathematicians."
— According to the author of the Spectra site, this is Richard Feynman in Elementary Particles and the Laws of Physics, The 1986 Dirac Memorial Lectures, by Feynman and Steven Weinberg, Cambridge University Press, 1989.
These two concepts — symmetry as invariance under a group of transformations, and complicated things as linear combinations (the technical name for Feynman's sums) of simpler things — underlie much of modern mathematics, both pure and applied.
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