Saturday, July 14, 2018

The Form, The Pattern

Filed under: General — m759 @ 2:41 PM

An image from the previous post

Related material — Looking Deeply.

Thursday, February 17, 2011

The Form, the Pattern

Filed under: General,Geometry — m759 @ 1:00 AM

"…  Only by the form, the pattern,     
Can words or music reach
The stillness…."

— T. S. Eliot,
Four Quartets

For further details, see Time Fold.

Sunday, August 8, 2021


Filed under: General — m759 @ 7:48 AM

Remarks by Roberta Smith in the print version of The New York Times
on Friday, August 6, suggest a review . . .

Smith's remarks concerned a show that first opened in 2019
at the Los Angeles Museum of Contemporary Art (MOCA).

A MOCA-related post in this  journal —

The Nachtmantel  above is a painting by Jörg Immendorff,
who reportedly died at 61 in 2007 —

A 'painter with provocative themes'

A less provocative theme from Log24 on the date of Immendorff's death:

The image “http://www.log24.com/log/pix07/070528-Quadric.jpg” cannot be displayed, because it contains errors.

"The form, the pattern" — T. S. Eliot

Monday, June 3, 2019

Jar Story

Filed under: General — Tags: , , — m759 @ 3:41 PM


  “. . . Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.”

— T. S. Eliot, Four Quartets

From Writing Chinese Characters:

“It is practical to think of a character centered
within an imaginary square grid . . . .
The grid can be subdivided, usually to
9 or 16 squares. . . .

The image “http://www.log24.com/log/pix04B/041119-ZhongGuo.jpg” cannot be displayed, because it contains errors.

These “Chinese jars” (as opposed to their contents)
are as follows:

Grids, 3x3 and 4x4 .

See as well Eliot’s 1922 remarks on “extinction of personality”
and the phrase “ego-extinction” in Weyl’s Philosophy of Mathematics

Saturday, May 4, 2019

The Chinese Jars of Shing-Tung Yau

Filed under: General — Tags: , , — m759 @ 11:00 AM

The title refers to Calabi-Yau spaces.

T. S. Eliot —

Four Quartets

. . . Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.

A less "cosmic" but still noteworthy code — The Golay code.

This resides in a 12-dimensional space over GF(2).

Related material from Plato and R. T. Curtis

Counting symmetries with the orbit-stabilizer theorem

A related Calabi-Yau "Chinese jar" first described in detail in 1905

Illustration of K3 surface related to Mathieu moonshine

A figure that may or may not be related to the 4x4x4 cube that
holds the classical  Chinese "cosmic code" — the I Ching


Friday, May 3, 2019

The Structure of Story Space

Filed under: General — Tags: , , — m759 @ 11:11 AM

T. S. Eliot

Four Quartets

. . . Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.


A Permanent Order of Wondertale Elements

In Vol. I of Structural Anthropology , p. 209, I have shown that this analysis alone can account for the double aspect of time representation in all mythical systems: the narrative is both “in time” (it consists of a succession of events) and “beyond” (its value is permanent). With regard to Propp’s theories my analysis offers another advantage: I can reconcile much better than Propp himself  his principle of a permanent order of wondertale elements with the fact that certain functions or groups of functions are shifted from one tale to the next (pp. 97-98. p. 108). If my view is accepted, the chronological succession will come to be absorbed into an atemporal matrix structure whose form is indeed constant. The shifting of functions is then no more than a mode of permutation (by vertical columns or fractions of columns).

Or by congruent quarter-sections.

Saturday, July 14, 2018

Expanding the Spiel

Filed under: General,Geometry — m759 @ 1:15 PM


Cube Dance

The walkerart.org passage above is from Feb. 17, 2011.

See also this  journal on Feb. 17, 2011

"…  Only by the form, the pattern,      
Can words or music reach
The stillness…."

— T. S. Eliot,
Four Quartets

For further details, see Time Fold.

Friday, July 6, 2018


Filed under: General,Geometry — Tags: , — m759 @ 9:48 AM

"… Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness."

— T. S. Eliot, "Burnt Norton," 1936

"Read something that means something."

Advertising slogan for The New Yorker

The previous post quoted some mystic meditations of Octavio Paz
from 1974. I prefer some less mystic remarks of Eddington from
1938 (the Tanner Lectures) published by Cambridge U. Press in 1939 —

"… we have sixteen elements with which to form a group-structure" —

See as well posts tagged Dirac and Geometry.

Thursday, January 4, 2018

Perspectives from a Chinese Jar

Filed under: General,Geometry — Tags: , — m759 @ 4:40 PM

" . . . Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness."

— T. S. Eliot, Four Quartets

"The Grand Valley spirit never dies."

— Adapted from the Tao Te Ching

Tuesday, September 26, 2017

Happy Birthday, T. S. Eliot

Filed under: General — m759 @ 2:56 AM

" . . . Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness."

Four Quartets

See posts now tagged Myspace China.

Thursday, June 30, 2016

Rubik vs. Galois: Preconception vs. Pre-conception

Filed under: General,Geometry — Tags: , — m759 @ 1:20 PM

From Psychoanalytic Aesthetics: The British School ,
by Nicola Glover, Chapter 4  —

In his last theoretical book, Attention and Interpretation  (1970), Bion has clearly cast off the mathematical and scientific scaffolding of his earlier writings and moved into the aesthetic and mystical domain. He builds upon the central role of aesthetic intuition and the Keats's notion of the 'Language of Achievement', which

… includes language that is both
a prelude to action and itself a kind of action;
the meeting of psycho-analyst and analysand
is itself an example of this language.29.

Bion distinguishes it from the kind of language which is a substitute  for thought and action, a blocking of achievement which is lies [sic ] in the realm of 'preconception' – mindlessness as opposed to mindfulness. The articulation of this language is possible only through love and gratitude; the forces of envy and greed are inimical to it..

This language is expressed only by one who has cast off the 'bondage of memory and desire'. He advised analysts (and this has caused a certain amount of controversy) to free themselves from the tyranny of the past and the future; for Bion believed that in order to make deep contact with the patient's unconscious the analyst must rid himself of all preconceptions about his patient – this superhuman task means abandoning even the desire to cure . The analyst should suspend memories of past experiences with his patient which could act as restricting the evolution of truth. The task of the analyst is to patiently 'wait for a pattern to emerge'. For as T.S. Eliot recognised in Four Quartets , 'only by the form, the pattern / Can words or music reach/ The stillness'.30. The poet also understood that 'knowledge' (in Bion's sense of it designating a 'preconception' which blocks  thought, as opposed to his designation of a 'pre -conception' which awaits  its sensory realisation), 'imposes a pattern and falsifies'

For the pattern is new in every moment
And every moment is a new and shocking
Valuation of all we have ever been.31.

The analyst, by freeing himself from the 'enchainment to past and future', casts off the arbitrary pattern and waits for new aesthetic form to emerge, which will (it is hoped) transform the content of the analytic encounter.

29. Attention and Interpretation  (Tavistock, 1970), p. 125

30. Collected Poems  (Faber, 1985), p. 194.

31. Ibid., p. 199.

See also the previous posts now tagged Bion.

Preconception  as mindlessness is illustrated by Rubik's cube, and
"pre -conception" as mindfulness is illustrated by n×n×n Froebel  cubes
for n= 1, 2, 3, 4. 

Suitably coordinatized, the Froebel  cubes become Galois  cubes,
and illustrate a new approach to the mathematics of space .

Monday, October 31, 2005

Monday October 31, 2005

Filed under: General — Tags: , , , — m759 @ 2:00 AM


The image “http://log24.com/log/pix03/030109-gridsmall.gif” cannot be displayed, because it contains errors.

“An asymmetrical balance is sought since it possesses more movement. This is achieved by the imaginary plotting of the character upon a nine-fold square, invented by some ingenious writer of the Tang dynasty. If the square were divided in half or in four, the result would be symmetrical, but the nine-fold square permits balanced asymmetry.”– Chiang Yee, Chinese Calligraphy,
quoted in Aspen no. 10, item 8“‘Burnt Norton’ opens as a meditation on time. Many comparable and contrasting views are introduced. The lines are drenched with reminiscences of Heraclitus’ fragments on flux and movement….  the chief contrast around which Eliot constructs this poem is that between the view of time as a mere continuum, and the difficult paradoxical Christian view of how man lives both ‘in and out of time,’ how he is immersed in the flux and yet can penetrate to the eternal by apprehending timeless existence within time and above it. But even for the Christian the moments of release from the pressures of the flux are rare, though they alone redeem the sad wastage of otherwise unillumined existence. Eliot recalls one such moment of peculiar poignance, a childhood moment in the rose-garden– a symbol he has previously used, in many variants, for the birth of desire. Its implications are intricate and even ambiguous, since they raise the whole problem of how to discriminate between supernatural vision and mere illusion. Other variations here on the theme of how time is conquered are more directly apprehensible. In dwelling on the extension of time into movement, Eliot takes up an image he had used in ‘Triumphal March’: ‘at the still point of the turning world.’ This notion of ‘a mathematically pure point’ (as Philip Wheelwright has called it) seems to be Eliot’s poetic equivalent in our cosmology for Dante’s ‘unmoved Mover,’ another way of symbolising a timeless release from the ‘outer compulsions’ of the world. Still another variation is the passage on the Chinese jar in the final section. Here Eliot, in a conception comparable to Wallace Stevens’ ‘Anecdote of the Jar,’ has suggested how art conquers time:

       Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.”

— F. O. Matthiessen,
The Achievement of T.S. Eliot,
Oxford University Press, 1958,
as quoted in On “Burnt Norton”

Sunday, February 27, 2005

Sunday February 27, 2005

Filed under: General — Tags: — m759 @ 3:00 PM


The image “http://www.log24.com/log/pix05/050227-Tie4.jpg” cannot be displayed, because it contains errors.

Above: Detail from an editor’s necktie
on the New York Times  obituary page
of Sunday, Feb. 27, 2005:

The image “http://www.log24.com/log/pix05/050227-Obits.jpg” cannot be displayed, because it contains errors.

The form, the pattern
T. S. Eliot

“We symbolize logical necessity
with the box (box.gif (75 bytes))….”
Keith Allen Korcz

“4 x 4 = 16”

“Es muss sein!”

Saturday, February 26, 2005

Saturday February 26, 2005

Filed under: General — m759 @ 1:23 PM

Four Quartets

"The form, the pattern"
— T. S. Eliot

"4 x 4 = 16"
— Anonymous

The image “http://www.log24.com/log/pix05/050226-Quartets.jpg” cannot be displayed, because it contains errors.

Related material:
The Form, the Pattern
  1. Opus   18 no. 1:
    String Quartet No.  1 in F major
  2. Opus   18 no. 2:
    String Quartet No.  2 in G major
  3. Opus   18 no. 3:
    String Quartet No.  3 in D major
  4. Opus   18 no. 4:
    String Quartet No.  4 in C minor
  5. Opus   18 no. 5:
    String Quartet No.  5 in A major
  6. Opus   18 no. 6:
    String Quartet No.  6 in B flat major
  7. Opus   59 no. 1:
    String Quartet No.  7 in F major "Rasumovsky 1"
  8. Opus   59 no. 2:
    String Quartet No.  8 in E minor "Rasumovsky 2"
  9. Opus   59 no. 3:
    String Quartet No.  9 in C major "Rasumovsky 3"
  10. Opus   74:        
    String Quartet No. 10 in E flat major "Harp"
  11. Opus   95:        
    String Quartet No. 11 in F minor "Serioso"
  12. Opus 127:        
    String Quartet No. 12 in E flat major
  13. Opus 130:        
    String Quartet No. 13 in B flat major
  14. Opus 131:        
    String Quartet No. 14 in C sharp minor
  15. Opus 132:        
    String Quartet No. 15 in A minor
  16. Opus 135:        
    String Quartet No. 16 in F major

Friday, February 25, 2005

Friday February 25, 2005

Filed under: General — m759 @ 10:53 AM

Mr. Holland’s Week,

“Philosophers ponder the idea of identity: what it is to give something a name on Monday and have it respond to that name on Friday regardless of what might have changed in the interim. Medical science tells us that the body’s cells replace themselves wholesale within every seven years, yet we tell ourselves that we are what we were.

The question is widened and elongated in the case of the Juilliard String Quartet.”

Bernard Holland in the New York Times,
    Monday, May 20, 1996

“Robert Koff, a founding member of the Juilliard String Quartet and a concert violinist who performed on modern and Baroque instruments, died on Tuesday at his home in Lexington, Mass. He was 86….

Mr. Koff, along with the violinist Robert Mann, the violist Raphael Hillyer and the cellist Arthur Winograd, formed the Juilliard String Quartet in 1946….”

Allan Kozinn in the New York Times,
    Friday, February 25, 2005

“One listened, for example, to the dazed, hymnlike beauty of the F Major’s Lento assai, and then to the acid that Beethoven sprinkles all around it. It is a wrestling match, awesome but also poignant. Schubert at the end of his life had already passed on to another level of spirit. Beethoven went back and forth between the temporal world and the world beyond right up to his dying day.”

Bernard Holland in the New York Times,
    Monday, May 20, 1996

Words move, music moves
Only in time; but that which is only living
Can only die. Words, after speech, reach
Into the silence. Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.
Not the stillness of the violin, while the note lasts,
Not that only, but the co-existence,
Or say that the end precedes the beginning,
And the end and the beginning were always there
Before the beginning and after the end.
And all is always now.

T. S. Eliot, Four Quartets

Related material: Elegance and the following description of Beethoven’s last quartet.

Program note by Eric Bromberger:

String Quartet in F major, Op. 135

Born December 16, 1770, Bonn
Died March 26, 1827, Vienna

This quartet – Beethoven’s last complete composition – comes from the fall of 1826, one of the blackest moments in his life. During the previous two years, Beethoven had written three string quartets on commission from Prince Nikolas Galitzin, and another, the Quartet in C-sharp minor, Op. 131, composed between January and June 1826. Even then Beethoven was not done with the possibilities of the string quartet: he pressed on with yet another, making sketches for the Quartet in F major during the summer of 1826.

At that point his world collapsed. His twenty-year-old nephew Karl, who had become Beethoven’s ward after a bitter court fight with the boy’s mother, attempted suicide. The composer was shattered: friends reported that he suddenly looked seventy years old. When the young man had recovered enough to travel, Beethoven took him – and the sketches for the new quartet – to the country home of Beethoven’s brother Johann in Gneixendorf, a village about thirty miles west of Vienna. Here, as he nursed Karl back to health, Beethoven’s own health began to fail. He would get up and compose at dawn, spend his days walking through the fields, and then resume composing in the evening. In Gneixendorf he completed the Quartet in F major in October and wrote a new finale to his earlier Quartet in B-flat major, Op. 130. These were his final works. When Beethoven return to Vienna in December, he took almost immediately to bed and died the following March.

One would expect music composed under such turbulent circumstances to be anguished, but the Quartet in F major is radiant music, full of sunlight – it is as if Beethoven achieved in this quartet the peace unavailable to him in life. This is the shortest of the late quartets, and many critics have noted that while this music remains very much in Beethoven’s late style, it returns to the classical proportions (and mood) of the Haydn quartets.

The opening movement, significantly marked Allegretto rather than the expected Allegro, is the one most often cited as Haydnesque. It is in sonata form – though a sonata form without overt conflict – and Beethoven builds it on brief thematic fragments rather than long melodies. This is poised, relaxed music, and the finale cadence – on the falling figure that has run throughout the movement – is remarkable for its understatement. By contrast, the Vivace bristles with energy. Its outer sections rocket along on a sharply-syncopated main idea, while the vigorous trio sends the first violin sailing high above the other voices. The very ending is impressive: the music grows quiet, comes to a moment of stasis, and then Beethoven wrenches it to a stop with a sudden, stinging surprise.

The slow movement – Beethoven carefully marks it Lento assai, cantante e tranquillo – is built on the first violin’s heartfelt opening melody; the even slower middle section, full of halting rhythms, spans only ten measures before the return of the opening material, now elaborately decorated. The final movement has occasioned the most comment. In the manuscript, Beethoven noted two three-note mottoes at its beginning under the heading Der schwer gefasste Entschluss: “The Difficult Resolution.” The first, solemnly intoned by viola and cello, asks the question: “Muss es sein?” (“Must it be?”). The violins’ inverted answer, which comes at the Allegro, is set to the words “Es muss sein!” (“It must be!”). Coupled with the fact that this quartet is virtually Beethoven’s last composition, these mottoes have given rise to a great deal of pretentious nonsense from certain commentators, mainly to the effect that they must represent Beethoven’s last thoughts, a stirring philosophical affirmation of life’s possibilities. The actual origins of this motto are a great deal less imposing, for they arose from a dispute over an unpaid bill, and as a private joke for friends Beethoven wrote a humorous canon on the dispute, the theme of which he then later adapted for this quartet movement. In any case, the mottoes furnish material for what turns out to be a powerful but essentially cheerful movement. The coda, which begins pizzicato, gradually gives way to bowed notes and a cadence on the “Es muss sein!” motto.

Saturday, January 22, 2005

Saturday January 22, 2005

Filed under: General — m759 @ 9:00 AM

Go Tigers!

Recommended reading for the
Princeton Evangelical Fellowship (PEF):

Walter Kirn, Lost in the Meritocracy,
Atlantic Monthly Jan.-Feb. 2005

The PEF in action:

The image “http://www.log24.com/log/pix05/050122-PEF.jpg” cannot be displayed, because it contains errors.

"Only by the form, the pattern,
Can words or music reach
The stillness."

— T. S. Eliot 

Friday, November 19, 2004

Friday November 19, 2004

Filed under: General,Geometry — Tags: — m759 @ 11:00 PM

From Tate to Plato
In honor of Allen Tate's birthday (today)
and of the MoMA re-opening (tomorrow)

"For Allen Tate the concept of tension was the most useful formal tool at the critic’s disposal, as irony and paradox were for Brooks. The principle of tension sustains the whole structure of meaning, and, as Tate declares in Tension in Poetry (1938), he derives it from lopping the prefixes off the logical terms extension and intension (which define the abstract and denotative aspect of the poetic language and, respectively, the concrete and connotative one). The meaning of the poem is 'the full organized body of all the extension and intension that we can find in it.'  There is an infinite line between extreme extension and extreme intension and the readers select the meaning at the point they wish along that line, according to their personal drives, interests or approaches. Thus the Platonist will tend to stay near the extension end, for he is more interested in deriving an abstraction of the object into a universal…."

— from Form, Structure, and Structurality,
   by Radu Surdulescu

"Eliot, in a conception comparable to Wallace Stevens' 'Anecdote of the Jar,' has suggested how art conquers time:

        Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness."

F. O. Matthiessen
   in The Achievement of T.S. Eliot,
   Oxford University Press, 1958

From Writing Chinese Characters:

"It is practical to think of a character centered within an imaginary square grid…. The grid can… be… subdivided, usually to 9 or 16 squares…."

The image “http://www.log24.com/log/pix04B/041119-ZhongGuo.jpg” cannot be displayed, because it contains errors.

These "Chinese jars"
(as opposed to their contents)
are as follows:

The image “http://www.log24.com/log/pix04B/041119-Grids.gif” cannot be displayed, because it contains errors.

Various previous Log24.net entries have
dealt with the 3×3 "form" or "pattern"
(to use the terms of T. S. Eliot).

For the 4×4 form, see Poetry's Bones
and Geometry of the 4×4 Square.

Saturday, September 20, 2003

Saturday September 20, 2003

Filed under: General — m759 @ 11:59 PM

Contrapuntal Structure

Click here for a web page based on my Sept. 16 entry The Form, the Pattern.

Tuesday, September 16, 2003

Tuesday September 16, 2003

Filed under: General,Geometry — Tags: — m759 @ 2:56 PM

The Form, the Pattern

"…the sort of organization that Eliot later called musical, in his lecture 'The Music of Poetry', delivered in 1942, just as he was completing Four Quartets: 'The use of recurrent themes is as natural to poetry as to music,' Eliot says:

There are possibilities for verse which bear some analogy to the development of a theme by different groups of instruments [‘different voices’, we might say]; there are possibilities of transitions in a poem comparable to the different movements of a symphony or a quartet; there are possibilities of contrapuntal arrangement of subject-matter."

— Louis L. Martz, from
"Origins of Form in Four Quartets,"
in Words in Time: New Essays on Eliot’s Four Quartets, ed. Edward Lobb, University of Michigan Press, 1993

"…  Only by the form, the pattern,     
Can words or music reach
The stillness…."

— T. S. Eliot,
Four Quartets

Four Quartets

For a discussion of the above
form, or pattern, click here.

Saturday, July 20, 2002

Saturday July 20, 2002

Filed under: General,Geometry — Tags: , , — m759 @ 10:13 PM

ABSTRACT: Finite projective geometry explains the surprising symmetry properties of some simple graphic designs– found, for instance, in quilts. Links are provided for applications to sporadic simple groups (via the "Miracle Octad Generator" of R. T. Curtis), to the connection between orthogonal Latin squares and projective spreads, and to symmetry of Walsh functions.
We regard the four-diamond figure D above as a 4×4 array of two-color diagonally-divided square tiles.

Let G be the group of 322,560 permutations of these 16 tiles generated by arbitrarily mixing random permutations of rows and of columns with random permutations of the four 2×2 quadrants.

THEOREM: Every G-image of D (as at right, below) has some ordinary or color-interchange symmetry.


For an animated version, click here.


Some of the patterns resulting from the action of G on D have been known for thousands of years. (See Jablan, Symmetry and Ornament, Ch. 2.6.) It is perhaps surprising that the patterns' interrelationships and symmetries can be explained fully only by using mathematics discovered just recently (relative to the patterns' age)– in particular, the theory of automorphism groups of finite geometries.

Using this theory, we can summarize the patterns' properties by saying that G is isomorphic to the affine group A on the linear 4-space over GF(2) and that the 35 structures of the 840 = 35 x 24 G-images of D are isomorphic to the 35 lines in the 3-dimensional projective space over GF(2).

This can be seen by viewing the 35 structures as three-sets of line diagrams, based on the three partitions of the four-set of square two-color tiles into two two-sets, and indicating the locations of these two-sets of tiles within the 4×4 patterns. The lines of the line diagrams may be added in a binary fashion (i.e., 1+1=0). Each three-set of line diagrams sums to zero– i.e., each diagram in a three-set is the binary sum of the other two diagrams in the set. Thus, the 35 three-sets of line diagrams correspond to the 35 three-point lines of the finite projective 3-space PG(3,2).

For example, here are the line diagrams for the figures above:

Shown below are the 15 possible line diagrams resulting from row/column/quadrant permutations. These 15 diagrams may, as noted above, be regarded as the 15 points of the projective 3-space PG(3,2).

The symmetry of the line diagrams accounts for the symmetry of the two-color patterns. (A proof shows that a 2nx2n two-color triangular half-squares pattern with such line diagrams must have a 2×2 center with a symmetry, and that this symmetry must be shared by the entire pattern.)

Among the 35 structures of the 840 4×4 arrays of tiles, orthogonality (in the sense of Latin-square orthogonality) corresponds to skewness of lines in the finite projective space PG(3,2). This was stated by the author in a 1978 note. (The note apparently had little effect. A quarter-century later, P. Govaerts, D. Jungnickel, L. Storme, and J. A. Thas wrote that skew (i.e., nonintersecting) lines in a projective space seem "at first sight not at all related" to orthogonal Latin squares.)

We can define sums and products so that the G-images of D generate an ideal (1024 patterns characterized by all horizontal or vertical "cuts" being uninterrupted) of a ring of 4096 symmetric patterns. There is an infinite family of such "diamond" rings, isomorphic to rings of matrices over GF(4).

The proof uses a decomposition technique for functions into a finite field that might be of more general use.

The underlying geometry of the 4×4 patterns is closely related to the Miracle Octad Generator of R. T. Curtis– used in the construction of the Steiner system S(5,8,24)– and hence is also related to the Leech lattice, which, as Walter Feit has remarked, "is a blown up version of S(5,8,24)."

For a movable JavaScript version of these 4×4 patterns, see The Diamond 16 Puzzle.

The above is an expanded version of Abstract 79T-A37, "Symmetry invariance in a diamond ring," by Steven H. Cullinane, Notices of the American Mathematical Society, February 1979, pages A-193, 194.

For a discussion of other cases of the theorem, click here.

Related pages:

The Diamond 16 Puzzle

Diamond Theory in 1937:
A Brief Historical Note

Notes on Finite Geometry

Geometry of the 4×4 Square

Binary Coordinate Systems

The 35 Lines of PG(3,2)

Map Systems:
Function Decomposition over a Finite Field

The Diamond Theorem–
The 2×2, the 2x2x2, the 4×4, and the 4x4x4 Cases

Diamond Theory

Latin-Square Geometry

Walsh Functions


The Diamond Theory of Truth

Geometry of the I Ching

Solomon's Cube and The Eightfold Way

Crystal and Dragon in Diamond Theory

The Form, the Pattern

The Grid of Time

Block Designs

Finite Relativity

Theme and Variations

Models of Finite Geometries

Quilt Geometry

Pattern Groups

The Fano Plane Revisualized,
or the Eightfold Cube

The Miracle Octad Generator


Visualizing GL(2,p)

Jung's Imago

Author's home page

AMS Mathematics Subject Classification:

20B25 (Group theory and generalizations :: Permutation groups :: Finite automorphism groups of algebraic, geometric, or combinatorial structures)

05B25 (Combinatorics :: Designs and configurations :: Finite geometries)

51E20 (Geometry :: Finite geometry and special incidence structures :: Combinatorial structures in finite projective spaces)

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Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

Page created Jan. 6, 2006, by Steven H. Cullinane      diamondtheorem.com


Initial Xanga entry.  Updated Nov. 18, 2006.

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