From a Log24 post of Feb. 5, 2009 —
An online logo today —
See also Harry Potter and the Lightning Bolt.
From a Log24 post of Feb. 5, 2009 —
An online logo today —
See also Harry Potter and the Lightning Bolt.
“All right, Jessshica. It’s time to open the boxsssschhh.” “Gahh,” she said. She began to walk toward the box, but her heart failed her and she retreated back to the chair. “Fuck. Fuck.” Something mechanical purred. The seam she had found cracked open and the top of the box began to rise. She squeezed shut her eyes and groped her way into a corner, curling up against the concrete and plugging her ears with her fingers. That song she’d heard the busker playing on the train platform with Eliot, “Lucy in the Sky with Diamonds”; she used to sing that. Back in San Francisco, before she learned card tricks. It was how she’d met Benny: He played guitar. Lucy was the best earner, Benny said, so that was mainly what she sang. She must have sung it five times an hour, day after day. At first she liked it but then it was like an infection, and there was nothing she could do and nowhere she could go without it running across her brain or humming on her lips, and God knew she tried; she was smashing herself with sex and drugs but the song began to find its way even there. One day, Benny played the opening chord and she just couldn’t do it. She could not sing that fucking song. Not again. She broke down, because she was only fifteen, and Benny took her behind the mall and told her it would be okay. But she had to sing. It was the biggest earner. She kind of lost it and then so did Benny and that was the first time he hit her. She ran away for a while. But she came back to him, because she had nothing else, and it seemed okay. It seemed like they had a truce: She would not complain about her bruised face and he would not ask her to sing “Lucy.” She had been all right with this. She had thought that was a pretty good deal. Now there was something coming out of a box, and she reached for the most virulent meme she knew. “Lucy in the sky!” she sang. “With diamonds!” • • •
Barry, Max. Lexicon: A Novel (pp. 247-248). |
Related material from Log24 on All Hallows' Eve 2013 —
"Just another shake of the kaleidoscope" —
Related material:
Kaleidoscope Puzzle,
Design Cube 2x2x2, and
Through the Looking Glass: A Sort of Eternity.
Related material on automorphism groups —
The "Eightfold Cube" structure shown above with Weyl
competes rather directly with the "Eightfold Way" sculpture
shown above with Bryant. The structure and the sculpture
each illustrate Klein's order-168 simple group.
Perhaps in part because of this competition, fans of the Mathematical
Sciences Research Institute (MSRI, pronounced "Misery') are less likely
to enjoy, and discuss, the eight-cube mathematical structure above
than they are an eight-cube mechanical puzzle like the one below.
Note also the earlier (2006) "Design Cube 2x2x2" webpage
illustrating graphic designs on the eightfold cube. This is visually,
if not mathematically, related to the (2010) "Expert's Cube."
Continued from yesterday, the date of death for German
billionaire philanthropist Klaus Tschira —
For Tschira in this journal, see Stiftung .
For some Würfel illustrations, see this morning's post
Manifest O. A related webpage —
A sequel to the 1974 film
Thunderbolt and Lightfoot :
Contingent and Fluky
Some variations on a thunderbolt theme:
These variations also exemplify the larger
Verbum theme:
A search today for Verbum in this journal yielded
a Georgetown University Chomskyite, Professor
David W. Lightfoot.
"Dr. Lightfoot writes mainly on syntactic theory,
language acquisition and historical change, which
he views as intimately related. He argues that
internal language change is contingent and fluky,
takes place in a sequence of bursts, and is best
viewed as the cumulative effect of changes in
individual grammars, where a grammar is a
'language organ' represented in a person's
mind/brain and embodying his/her language
faculty."
Some syntactic work by another contingent and fluky author
is related to the visual patterns illustrated above.
See Tecumseh Fitch in this journal.
For other material related to the large Verbum cube,
see posts for the 18th birthday of Harry Potter.
That birthday was also the upload date for the following:
See esp. the comments section.
The title is from an essay by James C. Nohrnberg—
"Just another shake of the kaleidoscope" —
Related material:
Kaleidoscope Puzzle,
Design Cube 2x2x2, and
Through the Looking Glass: A Sort of Eternity.
An Adamantine View of "The [Philosophers'] Stone"
The New York Times column "The Stone" on Sunday, Nov. 21 had this—
"Wittgenstein was formally presenting his Tractatus Logico-Philosophicus , an already well-known work he had written in 1921, as his doctoral thesis. Russell and Moore were respectfully suggesting that they didn’t quite understand proposition 5.4541 when they were abruptly cut off by the irritable Wittgenstein. 'I don’t expect you to understand!' (I am relying on local legend here….)"
Proposition 5.4541*—
Related material, found during a further search—
A commentary on "simplex sigillum veri" leads to the phrase "adamantine crystalline structure of logic"—
For related metaphors, see The Diamond Cube, Design Cube 2x2x2, and A Simple Reflection Group of Order 168.
Here Łukasiewicz's phrase "the hardest of materials" apparently suggested the commentators' adjective "adamantine." The word "diamond" in the links above refers of course not to a material, but to a geometric form, the equiangular rhombus. For a connection of this sort of geometry with logic, see The Diamond Theorem and The Geometry of Logic.
For more about God, a Stone, logic, and cubes, see Tale (Nov. 23).
* 5.4541 in the German original—
Die Lösungen der logischen Probleme müssen einfach sein,
denn sie setzen den Standard der Einfachheit.
Die Menschen haben immer geahnt, dass es
ein Gebiet von Fragen geben müsse, deren Antworten—
a priori—symmetrisch, und zu einem abgeschlossenen,
regelmäßigen Gebilde vereint liegen.
Ein Gebiet, in dem der Satz gilt: simplex sigillum veri.
Here "einfach" means "simple," not "neat," and "Gebiet" means
"area, region, field, realm," not (except metaphorically) "sphere."
The Diamond 16 Puzzle and the Kaleidoscope Puzzle can now be downloaded in the normal way from a browser, with the save-as web-page-complete option, and have their JavaScript still work— if the files are saved with the name indicated in the instructions on the puzzles' web pages. (There was a problem with file names in the JavaScript that has been fixed.)
The JavaScript pages Design Cube 2x2x2 and Design Cube 4x4x4 have not been changed. To download these, it is necessary to…
The result is a folder containing both image files and the HTML page, just as it is on the Web.
Through the
Looking Glass:
A Sort of Eternity
From the new president’s inaugural address:
“… in the words of Scripture, the time has come to set aside childish things.”
The words of Scripture:
“through a glass”—
[di’ esoptrou].
By means of
a mirror [esoptron].
Childish things:
Not-so-childish:
Three planes through
the center of a cube
that split it into
eight subcubes:
Through a glass, darkly:
A group of 8 transformations is
generated by affine reflections
in the above three planes.
Shown below is a pattern on
the faces of the 2x2x2 cube
that is symmetric under one of
these 8 transformations–
a 180-degree rotation:
(Click on image
for further details.)
But then face to face:
A larger group of 1344,
rather than 8, transformations
of the 2x2x2 cube
is generated by a different
sort of affine reflections– not
in the infinite Euclidean 3-space
over the field of real numbers,
but rather in the finite Galois
3-space over the 2-element field.
Galois age fifteen,
drawn by a classmate.
These transformations
in the Galois space with
finitely many points
produce a set of 168 patterns
like the one above.
For each such pattern,
at least one nontrivial
transformation in the group of 8
described above is a symmetry
in the Euclidean space with
infinitely many points.
For some generalizations,
see Galois Geometry.
Related material:
The central aim of Western religion–
"Each of us has something to offer the Creator... the bridging of masculine and feminine, life and death. It's redemption.... nothing else matters." -- Martha Cooley in The Archivist (1998) The central aim of Western philosophy– Dualities of Pythagoras as reconstructed by Aristotle: Limited Unlimited Odd Even Male Female Light Dark Straight Curved ... and so on .... “Of these dualities, the first is the most important; all the others may be seen as different aspects of this fundamental dichotomy. To establish a rational and consistent relationship between the limited [man, etc.] and the unlimited [the cosmos, etc.] is… the central aim of all Western philosophy.” — Jamie James in The Music of the Spheres (1993) “In the garden of Adding — The Midrash Jazz Quartet in City of God, by E. L. Doctorow (2000) A quotation today at art critic Carol Kino’s website, slightly expanded: “Art inherited from the old religion — Octavio Paz,”Seeing and Using: Art and Craftsmanship,” in Convergences: Essays on Art and Literature (New York: Harcourt Brace Jovanovich 1987), 52 From Brian O’Doherty’s 1976 Artforum essays– not on museums, but rather on gallery space: “We have now reached “Space: what you — James Joyce, Ulysses |
You, Xi-lin; Zhang, Peter. "Interality in Heidegger."
The term "interology" is meant as an interventional alternative to traditional Western ontology. The idea is to help shift people's attention and preoccupation from subjects, objects, and entities to the interzones, intervals, voids, constitutive grounds, relational fields, interpellative assemblages, rhizomes, and nothingness that lie between, outside, or beyond the so-called subjects, objects, and entities; from being to nothing, interbeing, and becoming; from self-identicalness to relationality, chance encounters, and new possibilities of life; from "to be" to "and … and … and …" (to borrow Deleuze's language); from the actual to the virtual; and so on. As such, the term wills nothing short of a paradigm shift. Unlike other "logoi," which have their "objects of study," interology studies interality, which is a non-object, a no-thing that in-forms and constitutes the objects and things studied by other logoi. |
Some remarks from this journal on April 1, 2015 —
Manifest O
|
83-06-21 | An invariance of symmetry The diamond theorem on a 4x4x4 cube, and a sketch of the proof. |
83-10-01 | Portrait of O A table of the octahedral group O using the 24 patterns from the 2×2 case of the diamond theorem. |
83-10-16 | Study of O A different way of looking at the octahedral group, using cubes that illustrate the 2x2x2 case of the diamond theorem. |
84-09-15 | Diamonds and whirls Block designs of a different sort — graphic figures on cubes. See also the University of Exeter page on the octahedral group O. |
The above site, finitegeometry.org/sc, illustrates how the symmetry
of various visual patterns is explained by what Zhang calls "interality."
From Log24, "Cube Bricks 1984" —
Also on March 9, 2017 —
For those who prefer graphic art —
"Clearly, there is a spirit of openhandedness in post-conceptual art
uses of the term 'Conceptualism.' We can now endow it with a
capital letter because it has grown in scale from its initial designation
of an avant-garde grouping, or various groups in various places, and
has evolved in two further phases. It became something like a movement,
on par with and evolving at the same time as Minimalism. Thus the sense
it has in a book such as Tony Godfrey’s Conceptual Art. … Beyond that,
it has in recent years spread to become a tendency, a resonance within
art practice that is nearly ubiquitous." — Terry Smith, 2011
See also the eightfold cube —
The title refers to the previous post, which quotes a
remark by a poetry critic in the current New Yorker .
Scholia —
From the post Structure and Sense of June 6, 2016 —
Structure
Sense
From the post Design Cube of July 23, 2015 —
The title was suggested by
http://benmarcus.com/smallwork/manifesto/.
The "O" of the title stands for the octahedral group.
See the following, from http://finitegeometry.org/sc/map.html —
|
An invariance of symmetry The diamond theorem on a 4x4x4 cube, and a sketch of the proof. |
83-10-01 | Portrait of O A table of the octahedral group O using the 24 patterns from the 2×2 case of the diamond theorem. |
83-10-16 | Study of O A different way of looking at the octahedral group, using cubes that illustrate the 2x2x2 case of the diamond theorem. |
84-09-15 | Diamonds and whirls Block designs of a different sort — graphic figures on cubes. See also the University of Exeter page on the octahedral group O. |
… industrial designer Kenji Ekuan —
The adjective "eightfold," intrinsic to Buddhist
thought, was hijacked by Gell-Mann and later
by the Mathematical Sciences Research Institute
(MSRI, pronounced "misery"). The adjective's
application to a 2x2x2 cube consisting of eight
subcubes, "the eightfold cube," is not intended to
have either Buddhist or Semitic overtones.
It is pure mathematics.
(Night at the Museum continues.)
"Strategies for making or acquiring tools
While the creation of new tools marked the route to developing the social sciences,
the question remained: how best to acquire or produce those tools?"
— Jamie Cohen-Cole, “Instituting the Science of Mind: Intellectual Economies
and Disciplinary Exchange at Harvard’s Center for Cognitive Studies,”
British Journal for the History of Science vol. 40, no. 4 (2007): 567-597.
Obituary of a co-founder, in 1960, of the Center for Cognitive Studies at Harvard:
"Disciplinary Exchange" —
In exchange for the free Web tools of HTML and JavaScript,
some free tools for illustrating elementary Galois geometry —
The Kaleidoscope Puzzle, The Diamond 16 Puzzle,
The 2x2x2 Cube, and The 4x4x4 Cube
"Intellectual Economies" —
In exchange for a $10 per month subscription, an excellent
"Quilt Design Tool" —
This illustrates not geometry, but rather creative capitalism.
Related material from the date of the above Harvard death: Art Wars.
"… the best way to understand a group is to
see it as the group of symmetries of something."
— John Baez, p. 239, Bulletin (New Series) of the
American Mathematical Society , Vol. 42, No. 2,
April 2005, book review on pp. 229–243
electronically published on January 26, 2005
"Imagine yourself as a gem cutter,
turning around this diamond…."
— Ibid ., p. 240
See also related material from Log24.
From today's NY Times—
Obituaries for mystery authors
Ralph McInerny and Dick Francis
From the date (Jan. 29) of McInerny's death–
"…although a work of art 'is formed around something missing,' this 'void is its vanishing point, not its essence.'"
– Harvard University Press on Persons and Things (Walpurgisnacht, 2008), by Barbara Johnson
From the date (Feb. 14) of Francis's death–
The EIghtfold Cube
The "something missing" in the above figure is an eighth cube, hidden behind the others pictured.
This eighth cube is not, as Johnson would have it, a void and "vanishing point," but is instead the "still point" of T.S. Eliot. (See the epigraph to the chapter on automorphism groups in Parallelisms of Complete Designs, by Peter J. Cameron. See also related material in this journal.) The automorphism group here is of course the order-168 simple group of Felix Christian Klein.
For a connection to horses, see
a March 31, 2004, post
commemorating the birth of Descartes
and the death of Coxeter–
Putting Descartes Before Dehors
For a more Protestant meditation,
see The Cross of Descartes—
"I've been the front end of a horse
and the rear end. The front end is better."
— Old vaudeville joke
For further details, click on
the image below–
Notre Dame Philosophical Reviews
Part I: The White Cube
Part II: Inside
Part III: Outside
For remarks on religion
related to the above, see
Log24 on the Garden of Eden
and also Mark C. Taylor,
"What Derrida Really Meant"
(New York Times, Oct. 14, 2004).
For some background on Taylor,
see Wikipedia. Taylor, Chairman
of the Department of Religion at
Columbia University, has a
1973 doctorate in religion from
Harvard University. His opinion
of Derrida indicates that his
sympathies lie more with
the serpent than with the angel
in the Tansey picture above.
For some remarks by Taylor on
the art of Tansey relevant to the
structure of the white cube
(Part I above), see Taylor's
The Picture in Question:
Mark Tansey and the
Ends of Representation
(U. of Chicago Press, 1999):
From Chapter 3,
"Sutures* of Structures," p. 58: "What, then, is a frame, and what is frame work? This question is deceptive in its simplicity. A frame is, of course, 'a basic skeletal structure designed to give shape or support' (American Heritage Dictionary)…. when the frame is in question, it is difficult to determine what is inside and what is outside. Rather than being on one side or the other, the frame is neither inside nor outside. Where, then, Derrida queries, 'does the frame take place….'" * P. 61:
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Finitegeometry.org Update
(Revised May 21, 2006)
Finitegeometry.org now has permutable JavaScript views of the 2x2x2 and 4x4x4 design cubes. Solomon’s Cube presented a claim that the 4x4x4 design cube retains symmetry under a group of about 1.3 trillion transformations. The JavaScript version at finitegeometry.org/sc/64/view/ lets the reader visually verify this claim. The reader should first try the Diamond 16 Puzzle. The simpler 2x2x2 design cube, with its 1,344 transformations, was described in Diamonds and Whirls; the permutable JavaScript version is at finitegeometry.org/sc/8/view/.
or, The Eightfold Cube
Every permutation of the plane's points that preserves collinearity is a symmetry of the plane. The group of symmetries of the Fano plane is of order 168 and is isomorphic to the group PSL(2,7) = PSL(3,2) = GL(3,2). (See Cameron on linear groups (pdf).)
The above model indicates with great clarity six symmetries of the plane– those it shares with the equilateral triangle. It does not, however, indicate where the other 162 symmetries come from.
Shown below is a new model of this same projective plane, using partitions of cubes to represent points:
The second model is useful because it lets us generate naturally all 168 symmetries of the Fano plane by splitting a cube into a set of four parallel 1x1x2 slices in the three ways possible, then arbitrarily permuting the slices in each of the three sets of four. See examples below.
(Note that this procedure, if regarded as acting on the set of eight individual subcubes of each cube in the diagram, actually generates a group of 168*8 = 1,344 permutations. But the group's action on the diagram's seven partitions of the subcubes yields only 168 distinct results. This illustrates the difference between affine and projective spaces over the binary field GF(2). In a related 2x2x2 cubic model of the affine 3-space over GF(2) whose "points" are individual subcubes, the group of eight translations is generated by interchanges of parallel 2x2x1 cube-slices. This is clearly a subgroup of the group generated by permuting 1x1x2 cube-slices. Such translations in the affine 3-space have no effect on the projective plane, since they leave each of the plane model's seven partitions– the "points" of the plane– invariant.)
To view the cubes model in a wider context, see Galois Geometry, Block Designs, and Finite-Geometry Models.
For another application of the points-as-partitions technique, see Latin-Square Geometry: Orthogonal Latin Squares as Skew Lines.
For more on the plane's symmetry group in another guise, see John Baez on Klein's Quartic Curve and the online book The Eightfold Way. For more on the mathematics of cubic models, see Solomon's Cube.
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Initial Xanga entry. Updated Nov. 18, 2006.
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