The German mathematician Wolf Barth in the above post is not the
same person as the Swiss artist Wolf Barth in today's previous post.
An untitled, undated, picture by the latter —
Compare and contrast with an "elements" picture of my own —
— and with . . .
“Lord Arglay had a suspicion that the Stone would be
purely logical. Yes, he thought, but what, in that sense,
were the rules of its pure logic?”
—Many Dimensions (1931), by Charles Williams
German mathematician Wolf Barth reportedly died
on December 30, 2016.
Flashback to this journal on that date * —
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From "The Man Who Tried to Redeem the World with Logic" —
"The following June, 1945, von Neumann penned Image from von Neumann's report —
Version converted to text —
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* And, of course, to the later post Easy E for Cullinan (Feb. 28, 2017).
Cullinan, second from left below, is the now-famous Oscars accountant.
For the title, see Icon Parking in a search for 54th in this journal.
For related iconic remarks, click on either image below.
.
This post was suggested by the Dec. 30, 2016, date of the
death in Nuremberg of mathematician Wolf Barth. The first
image above is from a mathematics-related work by
John von Neumann discussed here on that date.
See also Wolf Barth in this journal for posts that largely
concern not the above Barth, but an artist of the same name.
For posts on the mathematician only, see Barth + Kummer.
Continues, in memory of chess grandmaster Viktor Korchnoi,
who reportedly died at 85 yesterday in Switzerland —
The coloring of the 4×4 "base" in the above image
suggests St. Bridget's cross.
From this journal on St. Bridget's Day this year —
"Possible title:
A new graphic approach
to an old geometric approach
to a new combinatorial approach
to an old algebraic approach
to M24"
The narrative leap from image to date may be regarded as
an example of "knight's move" thinking.
"We tell ourselves stories in order to live." — Joan Didion
A post from St. Augustine's day, 2015, may serve to
illustrate this.
The post started with a look at a painting by Swiss artist
Wolf Barth, "Spielfeld." The painting portrays two
rectangular arrays, of four and of twelve subsquares,
that sit atop a square array of sixteen subsquares.
To one familiar with Euclid's "bride's chair" proof of the
Pythagorean theorem, "Spielfeld" suggests a right triangle
with squares on its sides of areas 4, 12, and 16.
That image in turn suggests a diagram illustrating the fact
that a triangle suitably inscribed in a half-circle is a right
triangle… in this case, a right triangle with angles of 30, 60,
and 90 degrees… Thus —
In memory of screenwriter John Gregory Dunne (husband
of Joan Didion and author of, among other things, The Studio )
here is a cinematric approach to the above figure.
The half-circle at top suggests the dome of an observatory.
This in turn suggests a scene from the 2014 film "Magic in
the Moonlight."
As she gazes at the silent universe above
through an opening in the dome, the silent
Emma Stone is perhaps thinking,
prompted by her work with Spider-Man …
"Drop me a line."
As he gazes at the crack in the dome,
Stone's costar Colin Firth contrasts the vastness
of the Universe with the smallness of Man, citing …
"the tiny field F2 with two elements."
In conclusion, recall the words of author Norman Mailer
that summarized his Harvard education —
"At times, bullshit can only be countered
with superior bullshit."
Observatory scene from "Magic in the Moonlight"
"The sixteen nodes… can be parametrized
by the sixteen points in affine four-space
over the tiny field F2 with two elements."
Some context for yesterday's post on a symplectic polarity —
This 1986 note may or may not have inspired some remarks
of Wolf Barth in his foreword to the 1990 reissue of Hudson's
1905 Kummer's Quartic Surface .
See also the diamond-theorem correlation.
The previous post's link to The Lindbergh Manifesto
and Thursday's post on Basel-born artist Wolf Barth
suggest the following —
See as well a June 14 New York Times
piece on Art Basel.
The logo of the University of Basel …
… suggests a review of The Holy Field —
.
(Continued from Feb. 3, 2015)
The above artist Wolf Barth is not the same person
as the mathematician Wolf Barth quoted in the
previous post. For further background on the artist, see
an article in Neue Zürcher Zeitung from Nov. 15, 2013.
The title of the previous post, "Slow Art," is a phrase
of the late art critic Robert Hughes.
Example from mathematics:
Click the Barth passage to see it with its surrounding text.
Related material:
Mathematics:
A review of posts from earlier this month —
Wednesday, September 4, 2013
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Narrative:
Aooo.
Happy birthday to Stephen King.
(Continued from yesterday)
The foreword by Wolf Barth in the 1990 Cambridge U. Press
reissue of Hudson's 1905 classic Kummer's Quartic Surface
covers some of the material in yesterday's post Moonshine.
The distinction that Barth described in 1990 was also described, and illustrated,
in my 1986 note "Picturing the smallest projective 3-space." The affine 4-space
over the the finite Galois field GF(2) that Barth describes was earlier described—
within a 4×4 array like that pictured by Hudson in 1905— in a 1979 American
Mathematical Society abstract, "Symmetry invariance in a diamond ring."
"The distinction between Rosenhain and Goepel tetrads
is nothing but the distinction between isotropic and
non-isotropic planes in this affine space over the finite field."
The 1990 paragraph of Barth quoted above may be viewed as a summary
of these facts, and also of my March 17, 2013, note "Rosenhain and Göpel
Tetrads in PG(3,2)."
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