Log24

Friday, April 24, 2020

Art at Cologne

Filed under: General — Tags: , , — m759 @ 10:53 pm

This post was suggested by a New York Review of Books  article
on Cologne artist Gerhard Richter in the May 14, 2020, issue —

“The Master of Unknowing,” by Susan Tallman.

Some less random art —

Wednesday, December 14, 2022

“Modern Meets Historic”

Filed under: General — Tags: , — m759 @ 8:07 am

The above title phrase is from the Windows lockscreen
I encountered at 7:59 AM ET today:

Click to enlarge. See also Cologne in this journal.

Friday, July 24, 2020

Social Prisms

Filed under: General — Tags: — m759 @ 5:37 am

IMAGE- 'American Hustle' and Art Cube

Tuesday, July 14, 2020

The Sextet Enigma

Filed under: General — Tags: — m759 @ 1:27 pm

In memory of . . .

“Helene Lovie Aldwinckle,
codebreaker, broadcaster and gallerist,
born 26 October 1920; died 24 April 2020″ —

Other posts now also tagged The Cologne Sextet.

Saturday, April 25, 2020

Form and Order

Filed under: General — Tags: — m759 @ 9:48 am

“Brahms maintained a classical sense of
form and order in his works….” — Wikipedia

For example —

The above Cologne sextet upload date suggests a review.
See posts now tagged The Fano Hallows.

Tuesday, September 24, 2019

Fire and Ice: Dom vs. DOM

Filed under: General — m759 @ 8:56 am

The "Dom" of the title is the cathedral of Cologne.
The DOM is the Document Object Model of HTML:

Monday, September 23, 2019

First and Last Things

Filed under: General — Tags: — m759 @ 7:55 pm

“We shall now give a brief summary of the beginnings of the Glass Bead Game….

The Game was at first nothing more than a witty method for developing memory and ingenuity among students and musicians. And as we have said, it was played both in England and Germany before it was ‘invented’ here in the Musical Academy of Cologne, and was given the name it bears to this day, after so many generations, although it has long ceased to have anything to do with glass beads."

Saturday, January 28, 2012

The Sweet Smell of Avon

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

IMAGE- NY Times on 'Narrowing the Definition of Autism'

The twin topics of autism and of narrowing definitions
suggested the following remarks.

The mystical number "318" in the pilot episode
of Kiefer Sutherland's new series about autism, "Touch,"
is so small that it can easily apply (as the pilot
illustrated) to many different things: a date, a
time, a bus number, an address, etc.

The last 3/18 Log24 post— Defining Configurations
led, after a false start and some further research,
to the writing of the webpage Configurations and Squares.

An image from that page—

IMAGE- Coxeter 3x3 array with rows labeled 287/501/346.

Interpreting this, in an autistic manner, as the number
287501346 lets us search for more specific items
than those labeled simply 318.

The search yields, among other things, an offer of
Night Magic Cologne  (unsold)—

IMAGE- Online offer of Avon Night Magic Cologne- 'The mystery and magic of the night is yours.'

For further mystery and magic, see, from the date
the Night Magic offer closed— May 8, 2010— "A Better Story."
See also the next day's followup, "The Ninth Gate."

Sunday, August 15, 2010

The Game

Filed under: General — Tags: , , — m759 @ 11:07 pm
'Magister Ludi,' or 'The Glass Bead Game,' by Hermann Hesse

We shall now give a brief summary of the beginnings of the Glass Bead Game. It appears to have arisen simultaneously in Germany and in England. In both countries, moreover, it was originally a kind of exercise employed by those small groups of musicologists and musicians who worked and studied in the new seminaries of musical theory. If we compare the original state of the Game with its subsequent developments and its present form, it is much like comparing a musical score of the period before 1500, with its primitive notes and absence of bar lines, with an eighteenth-century score, let alone with one from the nineteenth with its confusing excess of symbols for dynamics, tempi, phrasing, and so on, which often made the printing of such scores a complex technical problem.

The Game was at first nothing more than a witty method for developing memory and ingenuity among students and musicians. And as we have said, it was played both in England and Germany before it was ‘invented’ here in the Musical Academy of Cologne, and was given the name it bears to this day, after so many generations, although it has long ceased to have anything to do with glass beads.

The inventor, Bastian Perrot of Calw, a rather eccentric but clever, sociable, and humane musicologist, used glass beads instead of letters, numerals, notes, or other graphic symbols. Perrot, who incidentally has also bequeathed to us a treatise on the Apogee and Decline of Counterpoint, found that the pupils at the Cologne Seminary had a rather elaborate game they used to play. One would call out, in the standardized abbreviations of their science, motifs or initial bars of classical compositions, whereupon the other had to respond with the continuation of the piece, or better still with a higher or lower voice, a contrasting theme, and so forth. It was an exercise in memory and improvisation quite similar to the sort of thing probably in vogue among ardent pupils of counterpoint in the days of Schütz, Pachelbel, and Bach — although it would then not have been done in theoretical formulas, but in practice on the cembalo, lute, or flute, or with the voice.

Bastian Perrot in all probability was a member of the Journeyers to the East. He was partial to handicrafts and had himself built several pianos and clavichords in the ancient style. Legend has it that he was adept at playing the violin in the old way, forgotten since 1800, with a high-arched bow and hand-regulated tension of the bow hairs. Given these interests, it was perhaps only natural that he should have constructed a frame, modeled on a child’s abacus, a frame with several dozen wires on which could be strung glass beads of various sizes, shapes, and colors. The wires corresponded to the lines of the musical staff, the beads to the time-values of the notes, and so on. In this way he could represent with beads musical quotations or invented themes, could alter, transpose, and develop them, change them and set them in counterpoint to one another. In technical terms this was a mere plaything, but the pupils liked it; it was imitated and became fashionable in England too. For a time the game of musical exercises was played in this charmingly primitive manner. And as is so often the case, an enduring and significant institution received its name from a passing and incidental circumstance. For what later evolved out of that students’ sport and Perrot’s bead-strung wires bears to this day the name by which it became popularly known, the Glass Bead Game.

Hermann Hesse

“For although in a certain sense and for light-minded persons non-existent things can be more easily and irresponsibly represented in words than existing things, for the serious and conscientious historian it is just the reverse. Nothing is harder, yet nothing is more necessary, than to speak of certain things whose existence is neither demonstrable nor probable. The very fact that serious and conscientious men treat them as existing things brings them a step closer to existence and to the possibility of being born.”

— “Albertus Secundus,” epigraph to The Glass Bead Game

From DownloadThat.com

(Click to enlarge.)

http://www.log24.com/log/pix10B/100815-ThePaletteSm.jpg

Friday, November 25, 2005

Friday November 25, 2005

Filed under: General,Geometry — m759 @ 9:00 pm

Holy Geometry

What was “the holy geometry book” (“das heilige Geometrie-Büchlein,” p. 10 in the Schilpp book below) that so impressed the young Albert Einstein?

“At the age of 12 I experienced a second wonder of a totally different nature: in a little book dealing with Euclidian plane geometry, which came into my hands at the beginning of a schoolyear.  Here were assertions, as for example the intersection of the three altitudes of a triangle in one point, which– though by no means evident– could nevertheless be proved with such certainty that any doubt appeared to be out of the question.  This lucidity and certainty made an indescribable impression upon me.”

(“Im Alter von 12 Jahren erlebte ich ein zweites Wunder ganz verschiedener Art: An einem Büchlein über Euklidische Geometrie der Ebene, das ich am Anfang eines Schuljahres in die Hand bekam.  Da waren Aussagen wie z.B. das Sich-Schneiden der drei Höhen eines Dreieckes in einem Punkt, die– obwohl an sich keineswegs evident– doch mit solcher Sicherheit bewiesen werden konnten, dass ein Zweifel ausgeschlossen zu sein schien.  Diese Klarheit und Sicherheit machte einen unbeschreiblichen Eindruck auf mich.”)

— Albert Einstein, Autobiographical Notes, pages 8 and 9 in Albert Einstein: Philosopher-Scientist, ed. by Paul A. Schilpp

From a website by Hans-Josef Küpper:

“Today it cannot be said with certainty which book is Einstein’s ‘holy geometry book.’  There are three different titles that come into question:

Theodor Spieker, 1890
Lehrbuch der ebenen Geometrie. Mit Übungsaufgaben für höhere Lehranstalten.

Heinrich Borchert Lübsen, 1870
Ausführliches Lehrbuch der ebenen und sphärischen Trigonometrie. Zum Selbstunterricht. Mit Rücksicht auf die Zwecke des praktischen Lebens.

Adolf Sickenberger, 1888
Leitfaden der elementaren Mathematik.

Young Albert Einstein owned all of these three books. The book by T. Spieker was given to him by Max Talmud (later: Talmey), a Jewish medic. The book by H. B. Lübsen was from the library of his uncle Jakob Einstein and the one of A. Sickenberger was from his parents.”

Küpper does not state clearly his source for the geometry-book information.

According to Banesh Hoffman and Helen Dukas in Albert Einstein, Creator and Rebel, the holy geometry book was Lehrbuch der Geometrie zum Gebrauch an höheren Lehranstalten, by Eduard Heis (Catholic astronomer and textbook writer) and Thomas Joseph Eschweiler.

An argument for Sickenberger from The Young Einstein: The Advent of Relativity (pdf), by Lewis Pyenson, published by Adam Hilger Ltd., 1985:

   Throughout Einstein’s five and a half years at the Luitpold Gymnasium, he was taught mathematics from one or another edition of the separately published parts of Sickenberger’s Textbook of Elementary Mathematics.  When it first appeared in 1888 the book constituted a major contribution to reform pedagogy.  Sickenberger based his book on twenty years of experience that in his view necessarily took precedence over ‘theoretical doubts and systematic scruples.’  At the same time Sickenberger made much use of the recent pedagogical literature, especially that published in the pages of Immanuel Carl Volkmar Hoffmann’s Zeitschrift für mathematischen und naturwissenschaftlichen Unterricht, the leading pedagogical mathematics journal of the day.  Following in the tradition of the reform movement, he sought to present everything in the simplest, most intuitive way possible.  He opposed introducing scientific rigour and higher approaches in an elementary text.  He emphasised that he would follow neither the synthesis of Euclidean geometry nor the so-called analytical-genetic approach.  He opted for a great deal of freedom in the form of presentation because he believed that a textbook was no more than a crutch for oral instruction.  The spoken word, in Sickenberger’s view, could infuse life into the dead forms of the printed text.  Too often, he insisted in the preface to his text, mathematics was seen and valued ‘as the pure science of reason.’  In reality, he continued, mathematics was also ‘an essential tool for daily work.’  In view of the practical dimension of mathematics Sickenberger sought most of all to present basic propositions clearly rather than to arrive at formal conciseness.   Numerous examples took the place of long, complicated, and boring generalities.  In addition to the usual rules of arithmetic Sickenberger introduced diophantine equations.  To solve three linear, homogeneous, first-order equations with three unknowns he specified determinants and determinant algebra.  Then he went on to quadratic equations and logarithms.  In the second part of his book, Sickenberger treated plane geometry.
     According to a biography of Einstein written by his step-son-in-law, Rudolf Kayser– one that the theoretical physicist described as ‘duly accurate’– when he was twelve years old Einstein fell into possession of the ‘small geometry book’ used in the Luitpold Gymnasium before this subject was formally presented to him.  Einstein corroborated Kayser’s passage in autobiographical notes of 1949, when he described how at the age of twelve ‘a little book dealing with Euclidean plane geometry’ came into his hands ‘at the beginning of a school year.’  The ‘lucidity and certainty’ of plane geometry according to this ‘holy geometry booklet’ made, Einstein wrote, ‘an indescribable impression on me.’  Einstein saw here what he found in other texts that he enjoyed: it was ‘not too particular’ in logical rigour but ‘made up for this by permitting the main thoughts to stand out clearly and synoptically.’  Upon working his way through this text, Einstein was then presented with one of the many editions of Theodor Spieker’s geometry by Max Talmey, a medical student at the University of Munich who dined with the Einsteins and who was young Einstein’s friend when Einstein was between the ages of ten and fifteen.  We can only infer from Einstein’s retrospective judgment that the first geometry book exerted an impact greater than that produced by Spieker’s treatment, by the popular science expositions of Aaron Bernstein and Ludwig Büchner also given to him by Talmey, or by the texts of Heinrich Borchert Lübsen from which Einstein had by the age of fourteen taught himself differential and integral calculus.
     Which text constituted the ‘holy geometry booklet’?  In his will Einstein gave ‘all his books’ to his long-time secretary Helen Dukas.  Present in this collection are three bearing the signature ‘J Einstein’: a logarithmic and trigonometric handbook, a textbook on analysis, and an introduction to infinitesimal calculus.  The signature is that of Einstein’s father’s brother Jakob, a business partner and member of Einstein’s household in Ulm and Munich.  He presented the books to his nephew Albert.  A fourth book in Miss Dukas’s collection, which does not bear Jakob Einstein’s name, is the second part of a textbook on geometry, a work of astronomer Eduard Heis’s which was rewritten after his death by the Cologne schoolteacher Thomas Joseph Eschweiler.  Without offering reasons for his choice Banesh Hoffmann has recently identified Heis and Eschweiler’s text as the geometry book that made such an impression on Einstein.  Yet, assuming that Kayser’s unambiguous reporting is correct, it is far more likely that the geometrical part of Sickenberger’s text was what Einstein referred to in his autobiographical notes.  Sickenberger’s exposition was published seven years after that of Heis and Eschweiler, and unlike the latter it appeared with a Munich press.  Because it was used in the Luitpold Gymnasium, copies would have been readily available to Uncle Jakob or to whoever first acquainted Einstein with Euclidean geometry.”

What might be the modern version of a “holy geometry book”?

I suggest the following,
first published in 1940:

The image “http://www.log24.com/log/pix05B/BasicGeometry.gif” cannot be displayed, because it contains errors.

Click on picture for details.

Thursday, August 18, 2005

Thursday August 18, 2005

Filed under: General — m759 @ 12:48 am
Sermon for
World Youth Day
 

(Cologne, Aug. 16-21, 2005)

“And the light shineth in darkness;
and the darkness comprehended it not.”
— The Gospel according to St. John,
Chapter 1, Verse 5 

Part I: The Light

The Shining of May 29
and
Diamond Theory

Part II: The Darkness

Mathematics and Narrative
and
Reply to My Fan Mail

Wednesday, August 17, 2005

Wednesday August 17, 2005

Filed under: General — Tags: — m759 @ 12:00 pm
At Cologne

The image “http://www.log24.com/log/pix05B/050817-Ludi.jpg” cannot be displayed, because it contains errors.

    “The Game was at first nothing more than a witty method for developing memory and ingenuity among students and musicians.
     The inventor, Bastian Perrot of Calw… found that the pupils at the Cologne Seminary had a rather elaborate game they used to play. One would call out, in the standardized abbreviations of their science, motifs or initial bars of classical compositions, whereupon the other had to respond with the continuation of the piece, or better still with a higher or lower voice, a contrasting theme, and so forth. It was an exercise in memory and improvisation quite similar to the sort of thing probably in vogue among the ardent pupils of counterpoint in the days of Schütz, Pachelbel, and Bach….
     Bastian Perrot… constructed a frame, modeled on a child’s abacus, a frame with several dozen wires on which could be strung glass beads of various sizes, shapes, and colors….”

Hermann Hesse at The Glass Bead Game Defined

Friday, October 18, 2002

Friday October 18, 2002

Filed under: General — m759 @ 5:55 am

Readings for the Oct. 18
Feast of St. Luke

A fellow Xangan is undergoing a spiritual crisis. Well-meaning friends are urging upon her all sorts of advice. The following is my best effort at religious counsel, meant more for the friends than for the woman in crisis.

Part I… Wallace Stevens 

From Brewer’s Dictionary of Phrase and Fable:

Ox Emblematic of St. Luke. It is one of the four figures which made up Ezekiel’s cherub (i. 10). The ox is the emblem of the priesthood….

   The dumb ox. St. Thomas Aquinas; so named by his fellow students at Cologne, on account of his dulness and taciturnity. (1224-1274.)
   Albertus said, “We call him the dumb ox, but he will give one day such a bellow as shall be heard from one end of the world to the other.” (Alban Butler.)

From Wallace Stevens, “The Latest Freed Man“:

It was how the sun came shining into his room:
To be without a description of to be,
For a moment on rising, at the edge of the bed, to be,
To have the ant of the self changed to an ox
With its organic boomings, to be changed
From a doctor into an ox, before standing up,
To know that the change and that the ox-like struggle
Come from the strength that is the strength of the sun,
Whether it comes directly or from the sun.
It was how he was free. It was how his freedom came.
It was being without description, being an ox.

Part II… The Rosy Cross

Readings:

  • Brautigan, Richard, The Hawkline Monster, Simon and Schuster, 1974…
    Just for the pleasure of reading it… A compelling work of fiction on spiritual matters that includes a conversion to Rosicrucianism in its concluding chapter.
  • Browning, Vivienne (Betty Coley, ed).
    My Browning Family Album. With a Foreword by Ben Travers, and a Poem by Jack Lindsay Springwood, London, 1979…
    The Rosicrucian tradition in Australia (highly relevant background reading for the 1994 film “Sirens”). Includes a mention of Aleister Crowley, dark mage, who also figures (prominently) in….
  • Wilson, Robert Anton, Masks of the Illuminati, Pocket Books, April 1981…
    James Joyce and Albert Einstein join in a metaphysical investigation.

    “He recited from the anonymous Muses Threnody of 1648:

    For we be brethren of the Rosy Cross
    We have the Mason Word and second sight
    Things for to come we can see aright.”

Part III… Stevens Again

A major critical work on Wallace Stevens that is not unrelated to the above three works on the Rosicrucian tradition:

Leonora Woodman, Stanza My Stone: Wallace Stevens and the Hermetic Tradition, West Lafayette, Indiana: Purdue University Press, 1983

From the Department of English, Purdue University:

Leonora Woodman came to Purdue in 1976. In 1979, she became Director of Composition, a position she held until 1986…. At the time of her death in 1991, she was in the midst of an important work on modernist poetry, Literary Modernism and the Fourth Dimension: The Visionary Poetics of D.H. Lawrence, H.D., and Hart Crane.

For more on Gnostic Christianity, see

  • Elaine Pagels, The Gnostic Gospels (Random House, 1979), and
  • Harold Bloom, Omens of Millenium: The Gnosis of Angels, Dreams, and Resurrection (Riverhead Books, 1996).

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