Log24

Friday, March 16, 2007

Friday March 16, 2007

Filed under: General,Geometry — Tags: — m759 @ 10:48 am
"Geometry,
 Theology,
 and Politics:

 
Context and Consequences of 

the Hobbes-Wallis Dispute"
(pdf)

 

by Douglas M. Jesseph
Dept. of Philosophy and Religion
North Carolina State University

Excerpt:

"We are left to conclude that there was something significant in Hobbes's philosophy that motivated Wallis to engage in the lengthy and vitriolic denunciation of all things Hobbesian.

In point of fact, Wallis made no great secret of his motivations for attacking Hobbes's geometry, and the presence of theological and political motives is well attested in a 1659 letter to Huygens. He wrote:

But regarding the very harsh diatribe against Hobbes, the necessity of the case, and not my manners, led to it. For you see, as I believe, from other of my writings how peacefully I can differ with others and bear those with whom I differ. But this was provoked by our Leviathan (as can be easily gathered fro his other writings, principally those in English), when he attacks with all his might and destroys our universities (and not only ours, but all, both old and new), and especially the clergy and all institutions and all religion. As if the Christian world knew nothing sound or nothing that was not ridiculous in philosophy or religion; and as if it has not understood religion because it does not understand philosophy, nor philosophy because it does not understand mathematics. And so it seemed necessary that now some mathematician, proceeding in the opposite direction, should show how little he understand this mathematics (from which he takes his courage). Nor should we be deterred from this by his arrogance, which we know will vomit poison and filth against us. (Wallis to Huygens, 11 January, 1659; Huygens 1888-1950,* 2: 296-7)

The threats that Hobbes supposedly posed to the universities, the clergy, and all religion are a consequence of his political and theological doctrines. Hobbes's political theory requires that the power of the civil sovereign be absolute and undivided. As a consequence, such institutions as universities and the clergy must submit to the dictates of the sovereign in all matters. This extends, ironically enough, to geometry, since Hobbes notoriously claimed that the sovereign could ban the teaching of the subject and order 'the burning of all books of Geometry' if he should judge geometric principles 'a thing contrary to [his] right of dominion, or to the interest of men that have dominion' (Leviathan (1651) 1.11, 50; English Works** 3: 91). In the area of church government, Hobbes's doctrines are a decisive rejection of the claims of Presbyterianism, which holds that questions of theological doctrine is [sic] to be decided by the elders of the church– the presbytery– without reference to the claims of the sovereign. As a Presbyterian minister, a doctor of divinity, and professor of geometry at Oxford, Wallis found abundant reason to reject this political theory."

* Huygens, Christiaan. 1888-1950. Les oeuvres complètes de Chrisiaan Huygens. Ed. La Société Hollandaise des Sciences. 22 vols. The Hague: Martinus Nijhoff.

** Hobbes, Thomas. [1839-45] 1966. The English Works of Thomas Hobbes of Malmesbury, now First Collected and Edited by Sir William Molesworth. Edited by William Molesworth. 11 vols. Reprint. Aalen, Germany: Scientia Verlag.

 

Related material:

"But what is it?"
Calvin demanded.
"We know that it's evil,
but what is it?"

"Yyouu hhave ssaidd itt!"
Mrs. Which's voice rang out.
"Itt iss Eevill. Itt iss thee
Ppowers of Ddarrkknesss!"

A Wrinkle in Time

The image “http://www.log24.com/log/pix07/070316-AMScover.jpg” cannot be displayed, because it contains errors.

"After A Wrinkle in Time was finally published, it was pointed out to me that the villain, a naked disembodied brain, was called 'It' because It stands for Intellectual truth as opposed to a truth which involves the whole of us, heart as well as mind.  That acronym had never occurred to me.  I chose the name It intuitively, because an IT does not have a heart or soul.  And I did not understand consciously at the time of writing that the intellect, when it is not informed by the heart, is evil."

 

See also
"Darkness Visible"
in ART WARS.
 

Tuesday, February 6, 2007

Tuesday February 6, 2007

Filed under: General,Geometry — Tags: — m759 @ 8:00 am
The Poetics of Space

The title is from Bachelard.
I prefer Stevens:

The rock is the habitation of the whole,
Its strength and measure, that which is near, point A
In a perspective that begins again

At B:  the origin of the mango's rind.
It is the rock where tranquil must adduce
Its tranquil self, the main of things, the mind,

The starting point of the human and the end,
That in which space itself is contained, the gate
To the enclosure, day, the things illumined

By day, night and that which night illumines,
Night and its midnight-minting fragrances,
Night's hymn of the rock, as in a vivid sleep.

— Wallace Stevens,
   "The Rock," 1954

Joan Ockman in Harvard Design Magazine (Fall 1998):

"'We are far removed from any reference to simple geometrical forms,' Bachelard wrote…."

No, we are not. See Log24, Christmas 2005: 

Compare and contrast:

The image “http://www.log24.com/theory/images/EightfoldCubeCover.jpg” cannot be displayed, because it contains errors.

 

The image “http://www.log24.com/theory/images/EightfoldWayCover.jpg” cannot be displayed, because it contains errors.

 

(Click on pictures for details.)

More on Bachelard from Harvard Design Magazine:

"The project of discerning a loi des quatre éléments would preoccupy him until his death…."

For such a loi, see Theme and Variations and…

The image “http://www.log24.com/log/pix07/070206-Elements.gif” cannot be displayed, because it contains errors.

(Click on design for details.)

Thought for Today:
"If you can talk brilliantly
about a problem, it can create
the consoling illusion that
it has been mastered."
— Stanley Kubrick, American
movie director (1928-1999).

(AP, "Today in History,"
February 6, 2007)

Tuesday, January 9, 2007

Tuesday January 9, 2007

Filed under: General,Geometry — m759 @ 9:00 pm
Logos and Logic
(private, cut from prev. entry)

The diamond is used in modal logic to symbolize possibility.

  The 3×3 grid may also be used
to illustrate “possibility.”  It leads,
as noted at finitegeometry.org, to
the famed “24-cell,” which may be
pictured either as the diamond
figure from Plato’s Meno

The image “http://www.log24.com/theory/images/poly-24cell-sm.jpg” cannot be displayed, because it contains errors.

Click for details.

  — or as a figure
with 24 vertices:

The image “http://www.log24.com/theory/images/poly-24cell-02sm.jpg” cannot be displayed, because it contains errors.

Click for details.

The “diamond” version of the
24-cell seems unrelated to the
second version that shows all
vertices and edges, yet the
second version is implicit,
or hidden, in the first.
Hence “possibility.”

Neither version of the 24-cell
seems related in any obvious
way to the 3×3 grid, yet both
versions are implicit,
or hidden, in the grid.
Hence “possibility.”

Sunday, December 10, 2006

Sunday December 10, 2006

Filed under: General,Geometry — m759 @ 9:00 am
The Librarian

"Like all men of the Library,
I have traveled in my youth."
— Jorge Luis Borges,
The Library of Babel

"Papá me mandó un artículo
de J. G. Ballard en el que
se refiere a cómo el lugar
de la muerte es central en
nuestra cultura contemporánea
."

— Sonya Walger,
interview dated September 14
(Feast of the Triumph of the Cross),
Anno Domini 2006

The image “http://www.log24.com/log/pix06B/061210-Quest.gif” cannot be displayed, because it contains errors.

Sonya Walger,
said to have been
born on D-Day,
the sixth of June,
in 1974

 

Walger's father is, like Borges,
from Argentina.
She "studied English Literature
at Christ Church College, Oxford,
where she received
    a First Class degree…. "

Wikipedia

"… un artículo de J. G. Ballard…."–

A Handful of Dust
, by J. G. Ballard

(The Guardian, March 20, 2006):

"… The Atlantic wall was only part of a huge system of German fortifications that included the Siegfried line, submarine pens and huge flak towers that threatened the surrounding land like lines of Teutonic knights. Almost all had survived the war and seemed to be waiting for the next one, left behind by a race of warrior scientists obsessed with geometry and death.

Death was what the Atlantic wall and Siegfried line were all about….

… modernism of the heroic period, from 1920 to 1939, is dead, and it died first in the blockhouses of Utah beach and the Siegfried line…

Modernism's attempt to build a better world with the aid of science and technology now seems almost heroic. Bertolt Brecht, no fan of modernism, remarked that the mud, blood and carnage of the first world war trenches left its survivors longing for a future that resembled a white-tiled bathroom.  Architects were in the vanguard of the new movement, led by Le Corbusier and the Bauhaus design school. The old models were thrown out. Function defined form, expressed in a pure geometry that the eye could easily grasp in its entirety."

The image “http://www.log24.com/theory/images/motto2.jpg” cannot be displayed, because it contains errors.
 
The image “http://www.log24.com/theory/images/grid3x3.gif” cannot be displayed, because it contains errors.

"This is the garden of Apollo,
the field of Reason…."
John Outram, architect 

(Click on picture for details.)

The image “http://www.log24.com/log/pix06B/061210-Holl.gif” cannot be displayed, because it contains errors.
The Left Hand of God, by Adolf Holl

Related material:

The Lottery of Babylon
and
the previous entry.
 

Sunday, October 8, 2006

Sunday October 8, 2006

Filed under: General,Geometry — Tags: , — m759 @ 12:00 am
Today’s Birthday:
Matt Damon
 
Enlarge this image

The image “http://www.log24.com/log/pix06A/061008-Departed2.jpg” cannot be displayed, because it contains errors.

“Cubistic”

New York Times review
of Scorsese’s The Departed

Related material:

Log24, May 26, 2006

“The man who lives in contact with what he believes to be a living Church is a man always expecting to meet Plato and Shakespeare to-morrow at breakfast.”

— G. K. Chesterton
 

The image “http://www.log24.com/log/pix06A/060526-JackInTheBox.jpg” cannot be displayed, because it contains errors.
Natasha Wescoat, 2004

Shakespearean
Fool

Not to mention Euclid and Picasso

(Log24, Oct. 6, 2006) —

The image “http://www.log24.com/theory/images/Pythagoras-I47.gif” cannot be displayed, because it contains errors.

The image “http://www.log24.com/log/pix06A/RobertFooteAnimation.gif” cannot be displayed, because it contains errors.

(Click on pictures for details. Euclid is represented by Alexander Bogomolny, Picasso by Robert Foote.)

See also works by the late Arthur Loeb of Harvard’s Department of Visual and Environmental Studies.

“I don’t want to be a product of my environment.  I want my environment to be a product of me.” — Frank Costello in The Departed

For more on the Harvard environment,
see today’s online Crimson:

The Harvard Crimson,
Online Edition
Sunday,
Oct. 8, 2006

POMP AND
CIRCUS-STANCE


CRIMSON/ MEGHAN T. PURDY

Friday, Oct. 6:

The Ringling Bros. Barnum & Bailey Circus has come to town, and yesterday the animals were disembarked near MIT and paraded to their temporary home at the Banknorth Garden.

OPINION

At Last, a
Guiding Philosophy

The General Education report is a strong cornerstone, though further scrutiny is required.

After four long years, the Curricular Review has finally found its heart.

The Trouble
With the Germans

The College is a little under-educated these days.

By SAHIL K. MAHTANI
Harvard College– in the best formulation I’ve heard– promulgates a Japanese-style education, where the professoriate pretend to teach, the students pretend to learn, and everyone is happy.

Friday, December 2, 2005

Friday December 2, 2005

Filed under: General,Geometry — m759 @ 5:55 am

Proof 101

From a course description:

“This module aims to introduce the student to rigorous university level mathematics….
    Syllabus: The idea of and need for mathematical statements and proofs…. proof by contradiction… proof by induction…. the infinite number of primes….”

In the December Notices of the American Mathematical Society, Brian (E. B.) Davies, a professor of mathematics at King’s College London, questions the consistency of Peano Arithmetic (PA), which has the following axioms:

From BookRags.com

Axiom 1. 0 is a number.

Axiom 2. The successor of any number is a number.

Axiom 3. If a and b are numbers and if their successors are equal, then a and b are equal.

Axiom 4. 0 is not the successor of any number.

Axiom 5. If S is a set of numbers containing 0 and if the successor of any number in S is also in S, then S contains all the numbers.

It should be noted that the word “number” as used in the Peano axioms means “non-negative integer.”  The fifth axiom deserves special comment.  It is the first formal statement of what we now call the “induction axiom” or “the principle of mathematical induction.”

Peano’s fifth axiom particularly troubles Davies, who writes elsewhere:

I contend that our understanding of number should be placed in an historical context, and that the number system is a human invention.  Elementary arithmetic enables one to determine the number of primes less than twenty as certainly as anything we know.  On the other hand Peano arithmetic is a formal system, and its internal consistency is not provable, except within set-theoretic contexts which essentially already assume it, in which case their consistency is also not provable.  The proof that there exists an infinite number of primes does not depend upon counting, but upon the law of induction, which is an abstraction from our everyday experience…. 
… Geometry was a well developed mathematical discipline based upon explicit axioms over one and a half millennia before the law of induction was first formulated.  Even today many university students who have been taught the principle of induction prefer to avoid its use, because they do not feel that it is as natural or as certain as a purely algebraic or geometric proof, if they can find one.  The feelings of university students may not settle questions about what is truly fundamental, but they do give some insight into our native intuitions.

E. B. Davies in
   “Counting in the real world,”
    March 2003 (word format),
    To appear in revised form in
    Brit. J. Phil. Sci. as
   “Some remarks on
    the foundations
    of quantum mechanics”

Exercise:

Discuss Davies’s claim that

The proof that there exists an infinite number of primes does not depend upon counting, but upon the law of induction.

Cite the following passage in your discussion.

It will be clear by now that, if we are to have any chance of making progress, I must produce examples of “real” mathematical theorems, theorems which every mathematician will admit to be first-rate. 

… I can hardly do better than go back to the Greeks.  I will state and prove two of the famous theorems of Greek mathematics.  They are “simple” theorems, simple both in idea and in execution, but there is no doubt at all about their being theorems of the highest class.  Each is as fresh and significant as when it was discovered– two thousand years have not written a wrinkle on either of them.  Finally, both the statements and the proofs can be mastered in an hour by any intelligent reader, however slender his mathematical equipment.

I. The first is Euclid’s proof of the existence of an infinity of prime numbers.

The prime numbers or primes are the numbers

   (A)   2, 3, 5, 7, 11, 13, 17, 19, 23, 29, … 

which cannot be resolved into smaller factors.  Thus 37 and 317 are prime.  The primes are the material out of which all numbers are built up by multiplication: thus

    666 = 2 . 3 . 3 . 37. 

Every number which is not prime itself is divisible by at least one prime (usually, of course, by several).   We have to prove that there are infinitely many primes, i.e. that the series (A) never comes to an end.

Let us suppose that it does, and that

   2, 3, 5, . . . , P
 
is the complete series (so that P is the largest prime); and let us, on this hypothesis, consider the number

   Q = (2 . 3 . 5 . . . . . P) + 1.

It is plain that Q is not divisible by any of

   2, 3, 5, …, P;

for it leaves the remainder 1 when divided by any one of these numbers.  But, if not itself prime, it is divisible by some prime, and therefore there is a prime (which may be Q itself) greater than any of them.   This contradicts our hypothesis, that there is no prime greater than P; and therefore this hypothesis is false.

The proof is by reductio ad absurdum, and reductio ad absurdum, which Euclid loved so much, is one of a mathematician’s finest weapons.  It is a far finer gambit than any chess gambit: a chess player may offer the sacrifice of a pawn or even a piece, but a mathematician offers the game.

— G. H. Hardy,
   A Mathematician’s Apology,
   quoted in the online guide for
   Clear and Simple as the Truth:
   Writing Classic Prose, by
   Francis-Noël Thomas
   and Mark Turner,
   Princeton University Press

In discussing Davies’s claim that the above proof is by induction, you may want to refer to Davies’s statement that

Geometry was a well developed mathematical discipline based upon explicit axioms over one and a half millennia before the law of induction was first formulated

and to Hardy’s statement that the above proof is due to Euclid.

Friday, June 24, 2005

Friday June 24, 2005

Filed under: General,Geometry — Tags: — m759 @ 4:07 pm
Geometry for Jews
continued:

The image “http://www.log24.com/log/pix05A/050624-Cross.jpg” cannot be displayed, because it contains errors.

People have tried in many ways
to bridge the gap
between themselves and God….
No bridge reaches God, except one…
God's Bridge: The Cross

— Billy Graham Evangelistic Association,
according to messiahpage.com

"… just as God defeats the devil:
this bridge exists;
it is the theory of the field
of algebraic functions over
a finite field of constants
(that is to say, a finite number
of elements: also said to be a Galois
field, or earlier 'Galois imaginaries'
because Galois first defined them
and studied them….)"

André Weil, 1940 letter to his sister,
Simone Weil, alias Simone Galois
(see previous entry)

Related material:

Billy Graham and the City:
A Later Look at His Words

— New York Times, June 24, 2005

Geometry for Jews
and other art notes

Galois Geometry

Mathematics and Narrative

Tuesday, March 22, 2005

Tuesday March 22, 2005

Filed under: General,Geometry — Tags: , , — m759 @ 4:01 pm

Make a Différance

From Frida Saal's
Lacan The image “http://www.log24.com/log/pix05/050322-Diamond.gif” cannot be displayed, because it contains errors. Derrida:

"Our proposal includes the lozenge (diamond) in between the names, because in the relationship / non-relationship that is established among them, a tension is created that implies simultaneously a union and a disjunction, in the perspective of a theoretical encounter that is at the same time necessary and impossible. That is the meaning of the lozenge that joins and separates the two proper names. For that reason their respective works become totally non-superposable and at the same time they were built with an awareness, or at least a partial awareness, of each other. What prevails between both of them is the différance, the Derridean signifier that will become one of the main issues in this presentation."

 


From a Contemporary Literary Theory website:

"Différance is that which all signs have, what constitutes them as signs, as signs are not that to which they refer: i) they differ, and hence open a space from that which they represent, and ii) they defer, and hence open up a temporal chain, or, participate in temporality. As well, following de Sassure's famous argument, signs 'mean' by differing from other signs. The coined word 'différance' refers to at once the differing and the deferring of signs. Taken to the ontological level†, the differing and deferring of signs from what they mean, means that every sign repeats the creation of space and time; and ultimately, that différance is the ultimate phenomenon in the universe, an operation that is not an operation, both active and passive, that which enables and results from Being itself."

From a text purchased on
Make a Difference Day, Oct. 23, 1999:

The image “http://www.log24.com/log/pix05/050322-Fig39.gif” cannot be displayed, because it contains errors.22. Without using the Pythagorean Theorem prove that the hypotenuse of  an isosceles right triangle will have the length The image “http://www.log24.com/log/pix05/050322-Sqtr2.gif” cannot be displayed, because it contains errors.  if the equal legs have the length 1.  Suggestion: Consider the similar triangles in Fig. 39.
23.  The ancient Greeks regarded the Pythagorean Theorem as involving areas, and they proved it by means of areas.  We cannot do so now because we have not yet considered the idea of area.  Assuming for the moment, however, the idea of the area of a square, use this idea instead of similar triangles and proportion in Ex. 22 above to show that x = The image “http://www.log24.com/log/pix05/050322-Sqtr2.gif” cannot be displayed, because it contains errors. .

 

— Page 98 of Basic Geometry, by George David Birkhoff, Professor of Mathematics at Harvard University, and Ralph Beatley, Associate Professor of Education at Harvard University (Scott, Foresman 1941)



Though it may be true, as the president of Harvard recently surmised, that women are inherently inferior to men at abstract thought — in particular, pure mathematics*  — they may in other respects be quite superior to men:

The image “http://www.log24.com/log/pix05/050322-Reba2.jpg” cannot be displayed, because it contains errors.

The above is from October 1999.
See also Naturalized Epistemology,
from Women's History Month, 2001.

* See the remarks of Frida Saal above and of Barbara Johnson on mathematics (The Shining of May 29, cited in Readings for St. Patrick's Day).


† For the diamond symbol at "the ontological level," see Modal Theology, Feb. 21, 2005.  See also Socrates on the immortality of the soul in Plato's Meno, source of the above Basic Geometry diamond.

Monday, February 28, 2005

Monday February 28, 2005

Filed under: General,Geometry — Tags: — m759 @ 7:00 pm

The Meaning of 3:16

From The New Yorker, issue dated Feb. 28, 2005:

"Time Bandits," by Jim Holt, pages 80-85:

"Wittgenstein once averred that 'there can never be surprises in logic.'"

"Miss Gould," by David Remnick, pages 34-35:

"She was a fiend for problems of sequence and logic…. Her effect on a piece of writing could be like that of a master tailor on a suit; what had once seemed slovenly and overwrought was suddenly trig and handsome."

Suddenly:

See Donald E. Knuth's Diamond Signs, Knuth's 3:16 Bible Texts Illuminated, and the entry of 3:16 PM today.

Trig and handsome:

Remnick on Miss Gould again:

The image “http://www.log24.com/log/pix05/050228-MissGould.gif” cannot be displayed, because it contains errors.
Miss Gould,
photo from
Oberlin site

 

"She shaped the language of the magazine, always striving for a kind of Euclidean clarity– transparent, precise, muscular."

Figure from           
3/16 2004:           
Intersecting altitudes
Einstein on Time cover

Einstein on his
"holy geometry book" —

"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."

The image “http://www.log24.com/log/pix05/050228-Graveyard.jpg” cannot be displayed, because it contains errors.

   "I need a photo opportunity,   
      I want a shot at redemption…."

Sunday, March 14, 2004

Sunday March 14, 2004

Filed under: General,Geometry — m759 @ 3:28 pm

Clarity and Certainty

“At the age of 12 I experienced a second wonder of a totally different nature: in a little book* dealing with Euclidean 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 [Klarheit und Sicherheit] made an indescribable impression upon me….  For example I remember that an uncle told me the Pythagorean theorem before the holy geometry booklet* had come into my hands. After much effort I succeeded in ‘proving’ this theorem on the basis of the similarity of triangles … for anyone who experiences [these feelings] for the first time, it is marvellous enough that man is capable at all to reach such a degree of certainty and purity [Sicherheit und Reinheit] in pure thinking as the Greeks showed us for the first time to be possible in geometry.”

— from “Autobiographical Notes” in Albert Einstein: Philosopher-Scientist, edited by Paul Arthur Schilpp

“Although our intellect always longs for clarity and certainty, our nature often finds uncertainty fascinating.”

— Carl von Clausewitz at Quotes by Clausewitz

For clarity and certainty, consult All About Altitudes (and be sure to click the “pop it up” button).

For murkiness and uncertainty, consult The Fog of War.

Happy birthday, Albert.

* Einstein’s “holy geometry booklet” was, according to Banesh Hoffman, Lehrbuch der Geometrie zum Gebrauch an höheren Lehranstalten, by Eduard Heis (Catholic astronomer and textbook writer) and Thomas Joseph Eschweiler.

Wednesday, March 10, 2004

Wednesday March 10, 2004

Filed under: General,Geometry — Tags: — m759 @ 4:07 am

Ennui of the First Idea

The ennui of apartments described by Stevens in "Notes Toward a Supreme Fiction" (see previous entry) did not, of course, refer to the "apartments" of incidence geometry.  A more likely connection is with the apartments — the "ever fancier apartments and furnishings" — of Stéphane Mallarmé, described by John Simon as the setting for what might plausibly be called, in Stevens's words, "an ennui of the first idea":

"Language was no more than a collection of meaningless conventional signs, and life could absurdly end at any moment. He [Mallarmé] became aware, in Millan’s* words, 'of the extremely fine line

separating absence and presence, being and nothingness, life and death, which later … he could place at the very centre of his work and make the cornerstone of his personal philosophy and his mature poetics.' "

— John Simon, Squaring the Circle

* A Throw of the Dice: The Life of Stéphane Mallarmé, by Gordon Millan

The illustration of the "fine line" is not by Mallarmé but by myself.  (See Songs for Shakespeare, March 5, where the line separates being from nothingness, and Ridgepole, March 7, where the line represents the "great primal beginning" of Chinese philosophy (or, equivalently, Stevens's "first idea" or Mallarmé's line "separating absence and presence, being and nothingness, life and death.")

Monday, August 18, 2003

Monday August 18, 2003

Filed under: General,Geometry — Tags: , — m759 @ 3:09 pm

Entries since Xanga’s
August 10 Failure:


Sunday, August 17, 2003  2:00 PM

A Thorny Crown of…

West Wing's Toby Ziegler

From the first episode of
the television series
The West Wing“:

 

Original airdate: Sept. 22, 1999
Written by Aaron Sorkin

MARY MARSH
That New York sense of humor. It always–

CALDWELL
Mary, there’s absolutely no need…

MARY MARSH
Please, Reverend, they think they’re so much smarter. They think it’s smart talk. But nobody else does.

JOSH
I’m actually from Connecticut, but that’s neither here nor there. The point is that I hope…

TOBY
She meant Jewish.

[A stunned silence. Everyone stares at Toby.]

TOBY (CONT.)
When she said “New York sense of humor,” she was talking about you and me.

JOSH
You know what, Toby, let’s just not even go there.

 

Going There, Part I

 

Crown of Ideas

Kirk Varnedoe, 57, art historian and former curator of the Museum of Modern Art, died Thursday, August 14, 2003.

From his New York Times obituary:

” ‘He loved life in its most tangible forms, and so for him art was as physical and pleasurable as being knocked down by a wave,’ said Adam Gopnik, the writer and a former student of his who collaborated on Mr. Varnedoe’s first big show at the Modern, ‘High & Low.’ ‘Art was always material first — it was never, ever bound by a thorny crown of ideas.’ ”

For a mini-exhibit of ideas in honor of Varnedoe, see

Fahne Hoch.

Verlyn Klinkenborg on Varnedoe:

“I was always struck by the tangibility of the words he used….  It was as if he were laying words down on the table one by one as he used them, like brushes in an artist’s studio. That was why students crowded into his classes and why the National Gallery of Art had overflow audiences for his Mellon Lectures earlier this year. Something synaptic happened when you listened to Kirk Varnedoe, and, remarkably, something synaptic happened when he listened to you. You never knew what you might discover together.”

Perhaps even a “thorny crown of ideas“?

“Crown of Thorns”
Cathedral, Brasilia

Varnedoe’s death coincided with
the Great Blackout of 2003.

“To what extent does this idea of a civic life produced by sense of adversity correspond to actual life in Brasília? I wonder if it is something which the city actually cultivates. Consider, for example the cathedral, on the monumental axis, a circular, concrete framed building whose sixteen ribs are both structural and symbolic, making a structure that reads unambiguously as a crown of thorns; other symbolic elements include the subterranean entrance, the visitor passing through a subterranean passage before emerging in the light of the body of the cathedral. And it is light, shockingly so….”

Modernist Civic Space: The Case of Brasilia, by Richard J. Williams, Department of History of Art, University of Edinburgh, Scotland

 

Going There, Part II

Simple, Bold, Clear

Art historian Kirk Varnedoe was, of course, not the only one to die on the day of the Great Blackout.

Claude Martel, 34, a senior art director of The New York Times Magazine, also died on Thursday, August 14, 2003.

Janet Froelich, the magazine’s art director, describes below a sample of work that she and Martel did together:

“A new world of ideas”

Froelich notes that “the elements are simple, bold, and clear.”

For another example of elements with these qualities, see my journal entry

Fahne Hoch.

The flag design in that entry
might appeal to Aaron Sorkin’s
Christian antisemite:

 

Fahne,
S. H. Cullinane,
Aug. 15, 2003

Dr. Mengele,
according to
Hollywood

 

Note that the elements of the flag design have the qualities described so aptly by Froelich– simplicity, boldness, clarity:

They share these qualities with the Elements of Euclid, a treatise on geometrical ideas.

For the manner in which such concepts might serve as, in Gopnik’s memorable phrase, a “thorny crown of ideas,” see

“Geometry for Jews” in

ART WARS: Geometry as Conceptual Art.

See also the discussion of ideas in my journal entry on theology and art titled

Understanding: On Death and Truth

and the discussion of the wordidea” (as well as the word, and the concept, “Aryan”) in the following classic (introduced by poet W. H. Auden):

 

 

Saturday, August 16, 2003  6:00 AM

Varnedoe’s Crown

Kirk Varnedoe, 57, art historian and former curator of the Museum of Modern Art, died Thursday, August 14, 2003.

From his New York Times obituary:

” ‘He loved life in its most tangible forms, and so for him art was as physical and pleasurable as being knocked down by a wave,’ said Adam Gopnik, the writer and a former student of his who collaborated on Mr. Varnedoe’s first big show at the Modern, ‘High & Low.’ ‘Art was always material first — it was never, ever bound by a thorny crown of ideas.’ “

For a mini-exhibit of ideas in honor of Varnedoe, see

Fahne Hoch. 

Verlyn Klinkenborg on Varnedoe:

“I was always struck by the tangibility of the words he used….  It was as if he were laying words down on the table one by one as he used them, like brushes in an artist’s studio. That was why students crowded into his classes and why the National Gallery of Art had overflow audiences for his Mellon Lectures earlier this year. Something synaptic happened when you listened to Kirk Varnedoe, and, remarkably, something synaptic happened when he listened to you. You never knew what you might discover together.”

Perhaps even a “thorny crown of ideas”?

“Crown of Thorns”
Cathedral, Brasilia

Varnedoe’s death coincided with
the Great Blackout of 2003.

“To what extent does this idea of a civic life produced by sense of adversity correspond to actual life in Brasília? I wonder if it is something which the city actually cultivates. Consider, for example the cathedral, on the monumental axis, a circular, concrete framed building whose sixteen ribs are both structural and symbolic, making a structure that reads unambiguously as a crown of thorns; other symbolic elements include the subterranean entrance, the visitor passing through a subterranean passage before emerging in the light of the body of the cathedral. And it is light, shockingly so….”

Modernist Civic Space: The Case of Brasilia, by Richard J. Williams, Department of History of Art, University of Edinburgh, Scotland


Friday, August 15, 2003  3:30 PM

ART WARS:

The Boys from Brazil

It turns out that the elementary half-square designs used in Diamond Theory

 

also appear in the work of artist Nicole Sigaud.

Sigaud’s website The ANACOM Project  has a page that leads to the artist Athos Bulcão, famous for his work in Brasilia.

From the document

Conceptual Art in an
Authoritarian Political Context:
Brasilia, Brazil
,

by Angélica Madeira:

“Athos created unique visual plans, tiles of high poetic significance, icons inseparable from the city.”

As Sigaud notes, two-color diagonally-divided squares play a large part in the art of Bulcão.

The title of Madeira’s article, and the remarks of Anna Chave on the relationship of conceptual/minimalist art to fascist rhetoric (see my May 9, 2003, entries), suggest possible illustrations for a more politicized version of Diamond Theory:

 

Fahne,
S. H. Cullinane,
Aug. 15, 2003

Dr. Mengele,
according to
Hollywood

 

Is it safe?

These illustrations were suggested in part by the fact that today is the anniversary of the death of Macbeth, King of Scotland, and in part by the following illustrations from my journal entries of July 13, 2003 comparing a MOMA curator to Lady Macbeth:

 

Die Fahne Hoch,
Frank Stella,
1959


Dorothy Miller,
MOMA curator,
died at 99 on
July 11, 2003
.

 


Thursday, August 14, 2003  3:45 AM

Famous Last Words

The ending of an Aug. 14 Salon.com article on Mel Gibson’s new film, “The Passion”:

” ‘The Passion’ will most likely offer up the familiar puerile, stereotypical view of the evil Jew calling for Jesus’ blood and the clueless Pilate begging him to reconsider. It is a view guaranteed to stir anew the passions of the rabid Christian, and one that will send the Jews scurrying back to the dark corners of history.”

— Christopher Orlet

“Scurrying”?!  The ghost of Joseph Goebbels, who famously portrayed Jews as sewer rats doing just that, must be laughing — perhaps along with the ghost of Lady Diana Mosley (née Mitford), who died Monday.

This goes well with a story that Orlet tells at his website:

“… to me, the most genuine last words are those that arise naturally from the moment, such as

 

Joseph Goebbels

 

Voltaire’s response to a request that he foreswear Satan: ‘This is no time to make new enemies.’ ”

For a view of Satan as an old, familiar, acquaintance, see the link to Prince Ombra in my entry last October 29 for Goebbels’s birthday.


Wednesday, August 13, 2003  3:00 PM

Best Picture

For some reflections inspired in part by

click here.


Tuesday, August 12, 2003  4:44 PM

Atonement:

A sequel to my entry “Catholic Tastes” of July 27, 2003.

Some remarks of Wallace Stevens that seem appropriate on this date:

“It may be that one life is a punishment
For another, as the son’s life for the father’s.”

—  Esthétique du Mal, Wallace Stevens

Joseph Patrick Kennedy, Jr.

“Unless we believe in the hero, what is there
To believe? ….
Devise, devise, and make him of winter’s
Iciest core, a north star, central
In our oblivion, of summer’s
Imagination, the golden rescue:
The bread and wine of the mind….”

Examination of the Hero in a Time of War, Wallace Stevens

Etymology of “Atonement”:

Middle English atonen, to be reconciled, from at one, in agreement

At One

“… We found,
If we found the central evil, the central good….
… we and the diamond globe at last were one.”

Asides on the Oboe, Wallace Stevens


Tuesday, August 12, 2003  1:52 PM

Franken & ‘Stein,
Attorneys at Law

Tue August 12, 2003 04:10 AM ET
NEW YORK (Reuters) – Fox News Network is suing humor writer Al Franken for trademark infringement over the phrase ‘fair and balanced’ on the cover of his upcoming book, saying it has been ‘a signature slogan’ of the network since 1996.”

Franken:
Fair?

‘Stein:
Balanced?

For answers, click on the pictures
of Franken and ‘Stein.


Friday, April 25, 2003

Friday April 25, 2003

Filed under: General,Geometry — Tags: , , — m759 @ 7:59 pm

Mark

Today is the feast of Saint Mark.  It seems an appropriate day to thank Dr. Gerald McDaniel for his online cultural calendar, which is invaluable for suggesting blog topics.

Yesterday's entry "Cross-Referenced" referred to a bizarre meditation of mine titled "The Matthias Defense," which combines some thoughts of Nabokov on lunacy with some of my own thoughts on the Judeo-Christian tradition (i.e., also on lunacy).  In this connection, the following is of interest:

From a site titled Meaning of the Twentieth Century —

"Freeman Dyson has expressed some thoughts on craziness. In a Scientific American article called 'Innovation in Physics,' he began by quoting Niels Bohr. Bohr had been in attendance at a lecture in which Wolfgang Pauli proposed a new theory of elementary particles. Pauli came under heavy criticism, which Bohr summed up for him: 'We are all agreed that your theory is crazy. The question which divides us is whether it is crazy enough to have a chance of being correct. My own feeling is that is not crazy enough.' To that Freeman added: 'When a great innovation appears, it will almost certainly be in a muddled, incomplete and confusing form. To the discoverer, himself, it will be only half understood; to everyone else, it will be a mystery. For any speculation which does not at first glance look crazy, there is no hope!' "

Kenneth Brower, The Starship and the Canoe, 1979, pp. 146, 147

It is my hope that the speculation, implied in The Matthias Defense, that the number 162 has astonishing mystical properties (as a page number, article number, etc.) is sufficiently crazy to satisfy Pauli and his friend Jung as well as the more conventional thinkers Bohr and Dyson.  It is no less crazy than Christianity, and has a certain mad simplicity that perhaps improves on some of that religion's lunatic doctrines. 

Some fruits of the "162 theory" —

Searching on Google for muses 162, we find the following Orphic Hymn to Apollo and a footnote of interest:

27 Tis thine all Nature's music to inspire,
28 With various-sounding, harmonising lyre;
29 Now the last string thou tun'ft to sweet accord,
30 Divinely warbling now the highest chord….

"Page 162 Verse 29…. Now the last string…. Gesner well observes, in his notes to this Hymn, that the comparison and conjunction of the musical and astronomical elements are most ancient; being derived from Orpheus and Pythagoras, to Plato. Now, according to the Orphic and Pythagoric doctrine, the lyre of Apollo is an image of the celestial harmony…."

For the "highest chord" in a metaphorical sense, see selection 162 of the 1919 edition of The Oxford Book of English Verse (whose editor apparently had a strong religious belief in the Muses (led by Apollo)).  This selection contains the phrase "an ever-fixèd mark" — appropriately enough for this saint's day.  The word "mark," in turn, suggests a Google search for the phrase "runes to grave" Hardy, after a poem quoted in G. H. Hardy's A Mathematician's Apology.

Such a search yields a website that quotes Housman as the source of the "runes" phrase, and a further search yields what is apparently the entire poem:

Smooth Between Sea and Land

by A. E. Housman

Smooth between sea and land
Is laid the yellow sand,
And here through summer days
The seed of Adam plays.

Here the child comes to found
His unremaining mound,
And the grown lad to score
Two names upon the shore.

Here, on the level sand,
Between the sea and land,
What shall I build or write
Against the fall of night?

Tell me of runes to grave
That hold the bursting wave,
Or bastions to design
For longer date than mine.

Shall it be Troy or Rome
I fence against the foam
Or my own name, to stay
When I depart for aye?

Nothing: too near at hand
Planing the figured sand,
Effacing clean and fast
Cities not built to last
And charms devised in vain,
Pours the confounding main.

(Said to be from More Poems (Knopf, 1936), p. 64)

Housman asks the reader to tell him of runes to grave or bastions to design.  Here, as examples, are one rune and one bastion.

 


The rune known as
"Dagaz"

Represents
the balance point or "still point."


The Nike Bastion

 Dagaz: (Pronounced thaw-gauze, but with the "th" voiced as in "the," not unvoiced as in "thick") (Day or dawn.)

From Rune Meanings:

 Dagaz means "breakthrough, awakening, awareness. Daylight clarity as opposed to nighttime uncertainty. A time to plan or embark upon an enterprise. The power of change directed by your own will, transformation. Hope/happiness, the ideal. Security and certainty. Growth and release. Balance point, the place where opposites meet."

Also known as "the rune of transformation."

For the Dagaz rune in another context, see Geometry of the I Ching.  The geometry discussed there does, in a sense, "hold the bursting wave," through its connection with Walsh functions, hence with harmonic analysis.

 Temple of Athena Nike on the Nike Bastion, the Acropolis, Athens.  Here is a relevant passage from Paul Valéry's Eupalinos ou L'Architecte about another temple of four columns:

Et puis… Écoute, Phèdre (me disait-il encore), ce petit temple que j'ai bâti pour Hermès, à quelques pas d'ici, si tu savais ce qu'il est pour moi ! — Où le passant ne voit qu'une élégante chapelle, — c'est peu de chose: quatre colonnes, un style très simple, — j'ai mis le souvenir d'un clair jour de ma vie. Ô douce métamorphose ! Ce temple délicat, nul ne le sait, est l'image mathématique d'une fille de Corinthe que j'ai heureusement aimée. Il en reproduit fidèlement les proportions particulières. Il vit pour moi !

Four columns, in a sense more suited to Hardy's interests, are also a recurrent theme in The Diamond 16 Puzzle and Diamond Theory.

Apart from the word "mark" in The Oxford Book of English Verse, as noted above, neither the rune nor the bastion discussed has any apparent connection with the number 162… but seek and ye shall find.
 

Thursday, December 5, 2002

Thursday December 5, 2002

Sacerdotal Jargon

From the website

Abstracts and Preprints in Clifford Algebra [1996, Oct 8]:

Paper:  clf-alg/good9601
From:  David M. Goodmanson
Address:  2725 68th Avenue S.E., Mercer Island, Washington 98040

Title:  A graphical representation of the Dirac Algebra

Abstract:  The elements of the Dirac algebra are represented by sixteen 4×4 gamma matrices, each pair of which either commute or anticommute. This paper demonstrates a correspondence between the gamma matrices and the complete graph on six points, a correspondence that provides a visual picture of the structure of the Dirac algebra.  The graph shows all commutation and anticommutation relations, and can be used to illustrate the structure of subalgebras and equivalence classes and the effect of similarity transformations….

Published:  Am. J. Phys. 64, 870-880 (1996)


The following is a picture of K6, the complete graph on six points.  It may be used to illustrate various concepts in finite geometry as well as the properties of Dirac matrices described above.

The complete graph on a six-set


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."

Friday, November 29, 2002

Friday November 29, 2002

Filed under: General,Geometry — Tags: , — m759 @ 1:06 pm

A Logocentric Archetype

Today we examine the relativist, nominalist, leftist, nihilist, despairing, depressing, absurd, and abominable work of Samuel Beckett, darling of the postmodernists.

One lens through which to view Beckett is an essay by Jennifer Martin, "Beckettian Drama as Protest: A Postmodern Examination of the 'Delogocentering' of Language." Martin begins her essay with two quotations: one from the contemptible French twerp Jacques Derrida, and one from Beckett's masterpiece of stupidity, Molloy. For a logocentric deconstruction of Derrida, see my note, "The Shining of May 29," which demonstrates how Derrida attempts to convert a rather important mathematical result to his brand of nauseating and pretentious nonsense, and of course gets it wrong. For a logocentric deconstruction of Molloy, consider the following passage:

"I took advantage of being at the seaside to lay in a store of sucking-stones. They were pebbles but I call them stones…. I distributed them equally among my four pockets, and sucked them turn and turn about. This raised a problem which I first solved in the following way. I had say sixteen stones, four in each of my four pockets these being the two pockets of my trousers and the two pockets of my greatcoat. Taking a stone from the right pocket of my greatcoat, and putting it in my mouth, I replaced it in the right pocket of my greatcoat by a stone from the right pocket of my trousers, which I replaced by a stone from the left pocket of my trousers, which I replaced by a stone from the left pocket of my greatcoat, which I replaced by the stone which was in my mouth, as soon as I had finished sucking it. Thus there were still four stones in each of my four pockets, but not quite the same stones….But this solution did not satisfy me fully. For it did not escape me that, by an extraordinary hazard, the four stones circulating thus might always be the same four."

Beckett is describing, in great detail, how a damned moron might approach the extraordinarily beautiful mathematical discipline known as group theory, founded by the French anticleric and leftist Evariste Galois. Disciples of Derrida may play at mimicking the politics of Galois, but will never come close to imitating his genius. For a worthwhile discussion of permutation groups acting on a set of 16 elements, see R. D. Carmichael's masterly work, Introduction to the Theory of Groups of Finite Order, Ginn, Boston, 1937, reprinted by Dover, New York, 1956.

There are at least two ways of approaching permutations on 16 elements in what Pascal calls "l'esprit géométrique." My website Diamond Theory discusses the action of the affine group in a four-dimensional finite geometry of 16 points. For a four-dimensional euclidean hypercube, or tesseract, with 16 vertices, see the highly logocentric movable illustration by Harry J. Smith. The concept of a tesseract was made famous, though seen through a glass darkly, by the Christian writer Madeleine L'Engle in her novel for children and young adults, A Wrinkle in Tme.

This tesseract may serve as an archetype for what Pascal, Simone Weil (see my earlier notes), Harry J. Smith, and Madeleine L'Engle might, borrowing their enemies' language, call their "logocentric" philosophy.

For a more literary antidote to postmodernist nihilism, see Archetypal Theory and Criticism, by Glen R. Gill.

For a discussion of the full range of meaning of the word "logos," which has rational as well as religious connotations, click here.

Wednesday, November 27, 2002

Wednesday November 27, 2002

Filed under: General,Geometry — Tags: , — m759 @ 11:30 pm

Waiting for Logos

Searching for background on the phrase "logos and logic" in yesterday's "Notes toward a Supreme Fact," I found this passage:

"…a theory of psychology based on the idea of the soul as the dialectical, self-contradictory syzygy of a) soul as anima and b) soul as animus. Jungian and archetypal psychology appear to have taken heed more or less of only one half of the whole syzygy, predominantly serving an anima cut loose from her own Other, the animus as logos and logic (whose first and most extreme phenomenological image is the killer of the anima, Bluebeard). Thus psychology tends to defend the virginal innocence of the anima and her imagination…"

— Wolfgang Giegerich, "Once More the Reality/Irreality Issue: A Reply to Hillman's Reply," website 

The anima and other Jungian concepts are used to analyze Wallace Stevens in an excellent essay by Michael Bryson, "The Quest for the Fiction of an Absolute." Part of Bryson's motivation in this essay is the conflict between the trendy leftist nominalism of postmodern critics and the conservative realism of more traditional critics:

"David Jarraway, in his Stevens and the Question of Belief, writes about a Stevens figured as a proto-deconstructionist, insisting on 'Steven's insistence on dismantling the logocentric models of belief' (311) in 'An Ordinary Evening in New Haven.' In opposition to these readings comes a work like Janet McCann's Wallace Stevens Revisited: 'The Celestial Possible', in which the claim is made (speaking of the post-1940 period of Stevens' life) that 'God preoccupied him for the rest of his career.'"

Here "logocentric" is a buzz word for "Christian." Stevens, unlike the postmodernists, was not anti-Christian. He did, however, see that the old structures of belief could not be maintained indefinitely, and pondered what could be found to replace them. "Notes toward a Supreme Fiction" deals with this problem. In his essay on Stevens' "Notes," Bryson emphasizes the "negative capability" of Keats as a contemplative technique:

"The willingness to exist in a state of negative capability, to accept that sometimes what we are seeking is not that which reason can impose…."

For some related material, see Simone Weil's remarks on Electra waiting for her brother Orestes. Simone Weil's brother was one of the greatest mathematicians of the past century, André Weil.

"Electra did not seek Orestes, she waited for him…"

— Simone Weil

"…at the end, she pulls it all together brilliantly in the story of Electra and Orestes, where the importance of waiting on God rather than seeking is brought home forcefully."

— Tom Hinkle, review of Waiting for God

Compare her remarks on waiting for Orestes with the following passage from Waiting for God:

"We do not obtain the most precious gifts by going in search of them but by waiting for them. Man cannot discover them by his own powers, and if he sets out to seek for them he will find in their place counterfeits of which he will be unable to discern falsity.

The solution of a geometry problem does not in itself constitute a precious gift, but the same law applies to it because it is the image of something precious. Being a little fragment of particular truth, it is a pure image of the unique, eternal, and living Truth, the very Truth that once in a human voice declared: "I am the Truth."

Every school exercise, thought of in this way, is like a sacrament.

In every school exercise there is a special way of waiting upon truth, setting our hearts upon it, yet not allowing ourselves to go out in search of it. There is a way of giving our attention to the data of a problem in geometry without trying to find the solution…."

— Simone Weil, "Reflections on the Right Use of School Studies with a View to the Love of  God"

Weil concludes the preceding essay with the following passage:

"Academic work is one of those fields containing a pearl so precious that it is worth while to sell all of our possessions, keeping nothing for ourselves, in order to be able to acquire it."

This biblical metaphor is also echoed in the work of Pascal, who combined in one person the theological talent of Simone Weil and the mathematical talent of her brother. After discussing how proofs should be written, Pascal says

"The method of not erring is sought by all the world. The logicians profess to guide to it, the geometricians alone attain it, and apart from their science, and the imitations of it, there are no true demonstrations. The whole art is included in the simple precepts that we have given; they alone are sufficient, they alone afford proofs; all other rules are useless or injurious. This I know by long experience of all kinds of books and persons.

And on this point I pass the same judgment as those who say that geometricians give them nothing new by these rules, because they possessed them in reality, but confounded with a multitude of others, either useless or false, from which they could not discriminate them, as those who, seeking a diamond of great price amidst a number of false ones, but from which they know not how to distinguish it, should boast, in holding them all together, of possessing the true one equally with him who without pausing at this mass of rubbish lays his hand upon the costly stone which they are seeking and for which they do not throw away the rest."

— Blaise Pascal, The Art of Persuasion

 

For more diamond metaphors and Jungian analysis, see

The Diamond Archetype.

Thursday, October 31, 2002

Thursday October 31, 2002

Filed under: General,Geometry — m759 @ 11:07 pm

Plato's
Diamond

From The Unknowable (1999), by Gregory J. Chaitin, who has written extensively about his constant, which he calls Omega:

"What is Omega? It's just the diamond-hard distilled and crystallized essence of mathematical truth! It's what you get when you compress tremendously the coal of redundant mathematical truth…" 

Charles H. Bennett has written about Omega as a cabalistic number.

Here is another result with religious associations which, historically, has perhaps more claim to be called the "diamond-hard essence" of mathematical truth: The demonstration in Plato's Meno that a diamond inscribed in a square has half the area of the square (or that, vice-versa, the square has twice the area of the diamond).

From Ivars Peterson's discussion of Plato's diamond and the Pythagorean theorem:

"In his textbook The History of Mathematics, Roger Cooke of the University of Vermont describes how the Babylonians might have discovered the Pythagorean theorem more than 1,000 years before Pythagoras.

Basing his account on a passage in Plato's dialogue Meno, Cooke suggests that the discovery arose when someone, either for a practical purpose or perhaps just for fun, found it necessary to construct a square twice as large as a given square…."

From "Halving a Square," a presentation of Plato's diamond by Alexander Bogomolny, the moral of the story:

SOCRATES: And if the truth about reality is always in our soul, the soul must be immortal….

From "Renaissance Metaphysics and the History of Science," at The John Dee Society website:

Galileo on Plato's diamond:

"Cassirer, drawing attention to Galileo's frequent use of the Meno, particularly the incident of the slave's solving without instruction a problem in geometry by 'natural' reason stimulated by questioning, remarks, 'Galileo seems to accept all the consequences drawn by Plato from this fact…..'"

Roger Bacon on Plato's diamond:

"Fastening on the incident of the slave in the Meno, which he had found reproduced in Cicero, Bacon argued from it 'wherefore since this knowledge (of mathematics) is almost innate and as it were precedes discovery and learning or at least is less in need of them than other sciences, it will be first among sciences and will precede others disposing us towards them.'"

It is perhaps appropriate to close this entry, made on All Hallows' Eve, with a link to a page on Dr. John Dee himself.

Saturday, July 20, 2002

Saturday July 20, 2002

 

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.

Example:


For an animated version, click here.

Remarks:

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

Inscapes

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

Kaleidoscope

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)



Creative Commons License
This work is licensed under a
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.

« Newer Posts

Powered by WordPress