Name Claim
From a Google Groups search on “diamond theorem” today:
— Jim Croce
Parable
"A comparison or analogy. The word is simply a transliteration of the Greek word: parabolé (literally: 'what is thrown beside' or 'juxtaposed'), a term used to designate the geometric application we call a 'parabola.'…. The basic parables are extended similes or metaphors."
— http://religion.rutgers.edu/nt/
primer/parable.html
"If one style of thought stands out as the most potent explanation of genius, it is the ability to make juxtapositions that elude mere mortals. Call it a facility with metaphor, the ability to connect the unconnected, to see relationships to which others are blind."
— Sharon Begley, "The Puzzle of Genius," Newsweek magazine, June 28, 1993, p. 50
"The poet sets one metaphor against another and hopes that the sparks set off by the juxtaposition will ignite something in the mind as well. Hopkins’ poem 'Pied Beauty' has to do with 'creation.' "
— Speaking in Parables, Ch. 2, by Sallie McFague
"The Act of Creation is, I believe, a more truly creative work than any of Koestler's novels…. According to him, the creative faculty in whatever form is owing to a circumstance which he calls 'bisociation.' And we recognize this intuitively whenever we laugh at a joke, are dazzled by a fine metaphor, are astonished and excited by a unification of styles, or 'see,' for the first time, the possibility of a significant theoretical breakthrough in a scientific inquiry. In short, one touch of genius—or bisociation—makes the whole world kin. Or so Koestler believes."
— Henry David Aiken, The Metaphysics of Arthur Koestler, New York Review of Books, Dec. 17, 1964
For further details, see
Speaking in Parables:
A Study in Metaphor and Theology
by Sallie McFague
Fortress Press, Philadelphia, 1975
Introduction
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
"Perhaps every science must start with metaphor and end with algebra; and perhaps without metaphor there would never have been any algebra."
— attributed, in varying forms (1, 2, 3), to Max Black, Models and Metaphors, 1962
For metaphor and algebra combined, see
"Symmetry invariance in a diamond ring," A.M.S. abstract 79T-A37, Notices of the Amer. Math. Soc., February 1979, pages A-193, 194 — the original version of the 4×4 case of the diamond theorem.
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Initial Xanga entry. Updated Nov. 18, 2006.
Or using his research and their tools.
Compare and contrast —
Before thir eyes in sudden view appear The secrets of the hoarie deep, a dark Illimitable Ocean without bound, Without dimension, where length, breadth, and highth, And time and place are lost; where eldest Night And Chaos, Ancestors of Nature, hold Eternal Anarchie, amidst the noise Of endless warrs and by confusion stand. For hot, cold, moist, and dry, four Champions fierce Strive here for Maistrie, and to Battel bring amidst the noise Thir embryon Atoms.... ... Into this wilde Abyss, The Womb of nature and perhaps her Grave, Of neither Sea, nor Shore, nor Air, nor Fire, But all these in thir pregnant causes mixt Confus'dly, and which thus must ever fight, Unless th' Almighty Maker them ordain His dark materials to create more Worlds, Into this wilde Abyss the warie fiend Stood on the brink of Hell and look'd a while, Pondering his Voyage.... -- John Milton, Paradise Lost , Book II
Image from a Sunday, January 7th, 2024, post now tagged "A Seventh Seal" —
Related image from a "Mathematics for Davos" post of
Thursday, January 18, 2024 —
From Encyclopedia of Mathematics —
The above images from the history of mathematics might be
useful at some future point for illustrating academic hurly-burly.
Related reading . . .
Phrase from a Wikipedia article on a "Columbian Exposition" —
"to celebrate the 400th anniversary of Christopher Columbus's
arrival in the New World in 1492"
Id est, 1892. Another exposition —
"All work and no play . . ."
Sunday, November 15, 2015
|
See as well "Livingstone" in this journal.
The cocktail remarks in yesterday's New York Times
suggest a song lyric . . .
"There's plenty of dives to be something you're not . . . ."
— Roseanne Cash, Seven-Year Ache.
From this date, October 7th, seven years ago —
The Paz quote below is from the last chapter
Update of Saturday, October 8, seven years ago: I do not recommend taking very seriously the work of Latin American leftists (or American academics) who like to use the word "dialectic." A related phrase does, however, have a certain mystic or poetic charm, as pointed out by Wikipedia —
"Unity of opposites is the central category of dialectics, |
A graphic companion to the "unity of opposites" notion —
From Savage Logic— Sunday, March 15, 2009 5:24 PM The Origin of Change
A note on the figure
"Two things of opposite natures seem to depend
— Wallace Stevens, |
“Heaven was kind of a hat on the universe,
a lid that kept everything underneath it
where it belonged.”
— Carrie Fisher,
Postcards from the Edge
“720 in
|
Continued from October 6, 2022 —
A paper from an August 2017 Melbourne conference
on artificial intelligence —
See as well a Log24 search for Boolean functions.
A check on the date of the above paper's presentation —
From this journal on that date —
Happy 10th birthday to the hashtag.
The previous post included an illustration by Solomon Golomb
from his 1959 paper "On the Classification of Boolean Functions."
This suggests a review of some later work in this area —
This post was suggested by the word "Boolean" in a May 10
ChatGPT response —
In the above, "Boolean algebras" should be "Boolean functions,"
as indicated by Harrison's 1964 remarks.
Previous ChatGPT responses to questions like those below
have been, to put it mildly, lacking in accuracy. But there has
lately been considerable improvement . . .
Related elementary mathematics from Google image searches —
Despite the extremely elementary nature of the above tables,
the difference between the binary addition of Boole and that
of Galois seems not to be widely known.
See "The Hunt for Galois October" and "In Memory of a Mississippi Coach."
The "large language model" approach to AI has yielded
startlingly good results for programmers, but is not so good
for finding out facts . . .
A Google search for harvard mathematician h.s.m. coxeter yields . . .
Readers able to use Google can easily find out who wrote the above
gestalt passage. It was not Coxeter.
Further investigation via Google yields the O'Toole source:
O'Toole, Michael, The Language of Displayed Art ,
Leicester University Press, 1994, p. 4.
From last night's update to the previous post —
The use of binary coordinate systems
Natural physical transformations of square or cubical arrays See "The Thing and I." |
From a post of May 1, 2016 —
Mathematische Appetithäppchen: Autor: Erickson, Martin —
"Weitere Informationen zu diesem Themenkreis finden sich |
See http://m759.net/wordpress/?s=.eus .
"Mach die Musik von damals nach."
The new URL diamond.eus forwards to . . .
A visual framework to adapt for the above calendar —
A related geometric illustration
from a New Yorker article —
"Here's a quarter, call someone who cares."
— Country song lyric
Caption: "I notice the signatures are never abstract." —
Abstract Art
Abstract Signature
"The puzzle in general terms is one of structure ."
— J. Robert Oppenheimer, page 122,
Life Magazine , Oct. 10, 1949
The term "puzzle" may be misleading.
A more serious structure —
Click the above images for further details.
From today’s post “Logo Animation” —
Related material from the art world —
Related entertainment —
“V. is whatever lights you to the end of the street: she is also the dark annihilation waiting at the end of the street.” (Tony Tanner, page 36, "V. and V-2," in Pynchon: A Collection of Critical Essays, ed. Edward Mendelson. Prentice-Hall, 1978. 16-55). |
Midrash — Other posts tagged Annihilation.
Note the resemblance to Plato’s Diamond.
Click the Pritchard passage above for an interactive version.
Mathematics: See Tetrahedron vs. Square in this journal
(Notes on two different models of schoolgirl space ).
Narrative: Replacing the square from the above posts by
a related cube …
… yields a merchandising inspiration —
Dueling Holocrons:
Jedi Cube vs. Sith Tetrahedron —
* See also earlier posts on Mathematics and Narrative.
Update of March 17, 2020 —
The graphic images illustrate nicely Conder's six 4-cycles, but
their relationship, if any, to his eight 2-cycles is a mystery —
The Conder paper is at
https://core.ac.uk/download/pdf/82622574.pdf.
From the May Day 2016 link above, in "Sunday Appetizer from 1984" —
The 2015 German edition of Beautiful Mathematics , a 2011 Mathematical Association of America (MAA) book, was retitled Mathematische Appetithäppchen — Mathematical Appetizers . The German edition mentions the author's source, omitted in the original American edition, for his section 5.17, "A Group of Operations" (in German, 5.17, "Eine Gruppe von Operationen")—
That source was a document that has been on the Web since 2002. The document was submitted to the MAA in 1984 but was rejected. The German edition omits the document's title, and describes it as merely a source for "further information on this subject area." |
From the Gap Dance link above, in "Reading for Devil's Night" —
“Das Nichts nichtet.” — Martin Heidegger.
And "Appropriation Appropriates."
For those who prefer greater clarity than is offered by Stevens . . .
The A section —
The B section —
"A paper from Helsinki in 2005 says there are more than a million
3-(16,4,1) block designs, of which only one has an automorphism
group of order 322,560. This is the affine 4-space over GF(2)."
An image from a Log24 post of March 5, 2019 —
The following paragraph from the above image remains unchanged
as of this morning at Wikipedia:
"A 3-(16,4,1) block design has 140 blocks of size 4 on 16 points,
such that each triplet of points is covered exactly once. Pick any
single point, take only the 35 blocks containing that point, and
delete that point. The 35 blocks of size 3 that remain comprise
a PG(3,2) on the 15 remaining points."
Exercise —
Prove or disprove the above assertion about a general "3-(16,4,1)
block design," a structure also known as a Steiner quadruple system
(as I pointed out in the March 5 post).
Relevant literature —
A paper from Helsinki in 2005* says there are more than a million
3-(16,4,1) block designs, of which only one has an automorphism
group of order 322,560. This is the affine 4-space over GF(2),
from which PG(3,2) can be derived using the well-known process
from finite geometry described in the above Wikipedia paragraph.
* "The Steiner quadruple systems of order 16," by Kaski et al.,
Journal of Combinatorial Theory Series A Volume 113, Issue 8,
November 2006, pages 1764-1770.
Mathematische Appetithäppchen: Autor: Erickson, Martin —
"Weitere Informationen zu diesem Themenkreis finden sich |
Lines from the 2013 Jim Jarmusch film
"Only Lovers Left Alive" —
Eve: “… So what is this then? Can’t you tell your wife
what your problem is?”
Adam: “It’s the zombies and the way they treat the world.
I just feel like all the sand's at the bottom of the hourglass
or something.”
Eve: “Time to turn it over then.”
Related entertainment —
and . . .
"This outer automorphism can be regarded as
the seed from which grow about half of the
sporadic simple groups…." — Noam Elkies
Closely related material —
The top two cells of the Curtis "heavy brick" are also
the key to the diamond-theorem correlation.
According to Wallace Stevens:
From Savage Logic— Sunday, March 15, 2009 5:24 PM The Origin of Change
A note on the figure
"Two things of opposite natures seem to depend
— Wallace Stevens, |
This post was suggested by the following passage —
" … the Fano plane ,
a set of seven points
grouped into seven lines
that has been called
'the combinatorialist’s coat of arms.' "
— Blake Stacey in a post with tomorrow's date:
… and by Stacey at another weblog, in a post dated Jan. 29, 2019, …
"(Yes, Bohr was the kind of guy who would choose
the yin-yang symbol as his coat of arms.)"
Yes, Stacey is the kind of guy who would casually dismiss
Bohr's coat of arms.
(See also Faust in Copenhagen in this journal)—
» more
See also "Overarching + Tesseract" in this journal. From the results
of that search, some context for the "inscape" of the previous post —
A phrase from the previous post —
"a size-eight dame in a size-six dress" —
suggests a review . . .
See as well the diamond-theorem correlation and . . .
The title is from the 2013 paper by Latsis in the previous post.
The symmetries of the interstices at right underlie
the symmetries of the images at left.
A clue to the relationship between the Kummer (16, 6)
configuration and the large Mathieu group M24 —
Related material —
See too the diamond-theorem correlation.
In 2013, Harvard University Press changed its logo to an abstract "H."
Both logos now accompany a Harvard video first published in 2012,
"The World of Mathematical Reality."
In the video, author Paul Lockhart discusses Varignon's theorem
without naming Varignon (1654-1722) . . .
A related view of "mathematical reality" —
Note the resemblance to Plato's Diamond.
". . . dance, fueled by music, opens up space."
— Alastair Macaulay in the online New York Times today
Putting aside the unfortunate fuel metaphor, this suggests a review —
A video published on the above date —
The video has six-plus-two dancers, a more concise arrangement
than the eight-plus-two discussed by Macaulay.
Another approach to six plus two: the diamond-theorem correlation.
"At the point of convergence by Octavio Paz, translated by Helen Lane
|
See also AS IS.
A figure related to the general connecting theorem of Koen Thas —
See also posts tagged Dirac and Geometry in this journal.
Those who prefer narrative to mathematics may, if they so fancy, call
the above Thas connecting theorem a "quantum tesseract theorem ."
See also Symplectic in this journal.
From Gotay and Isenberg, “The Symplectization of Science,”
Gazette des Mathématiciens 54, 59-79 (1992):
“… what is the origin of the unusual name ‘symplectic’? ….
Its mathematical usage is due to Hermann Weyl who,
in an effort to avoid a certain semantic confusion, renamed
the then obscure ‘line complex group’ the ‘symplectic group.’
… the adjective ‘symplectic’ means ‘plaited together’ or ‘woven.’
This is wonderfully apt….”
The above symplectic figure appears in remarks on
the diamond-theorem correlation in the webpage
Rosenhain and Göpel Tetrads in PG(3,2). See also
related remarks on the notion of linear (or line ) complex
in the finite projective space PG(3,2) —
Related material — See Gifted in this journal.
See as well Tulips.
Yesterday was the International Day of the Girl Child . . .
A related archived Wikipedia article on Kirkman's schoolgirl problem :
See also the previous post— "IPFS Version"— and https://ipfs.io/.
Space —
Space structure —
From Gotay and Isenberg, “The Symplectization of Science,”
Gazette des Mathématiciens 54, 59-79 (1992):
“… what is the origin of the unusual name ‘symplectic’? ….
Its mathematical usage is due to Hermann Weyl who,
in an effort to avoid a certain semantic confusion, renamed
the then obscure ‘line complex group’ the ‘symplectic group.’
… the adjective ‘symplectic’ means ‘plaited together’ or ‘woven.’
This is wonderfully apt….”
The above symplectic figure appears in remarks on
the diamond-theorem correlation in the webpage
Rosenhain and Göpel Tetrads in PG(3,2).
Space shuttle —
Related ethnic remarks —
… As opposed to Michael Larsen —
Funny, you don't look Danish.
From the American Mathematical Society (AMS) webpage today —
From the current AMS Notices —
Related material from a post of Aug. 6, 2014 —
(Here "five point sets" should be "five-point sets.")
From Gotay and Isenberg, “The Symplectization of Science,”
Gazette des Mathématiciens 54, 59-79 (1992):
“… what is the origin of the unusual name ‘symplectic’? ….
Its mathematical usage is due to Hermann Weyl who,
in an effort to avoid a certain semantic confusion, renamed
the then obscure ‘line complex group’ the ‘symplectic group.’
… the adjective ‘symplectic’ means ‘plaited together’ or ‘woven.’
This is wonderfully apt….”
The above symplectic structure* now appears in the figure
illustrating the diamond-theorem correlation in the webpage
Rosenhain and Göpel Tetrads in PG(3,2).
* The phrase as used here is a deliberate
abuse of language . For the real definition of
“symplectic structure,” see (for instance)
“Symplectic Geometry,” by Ana Cannas da Silva
(article written for Handbook of Differential
Geometry , Vol 2.) To establish that the above
figure is indeed symplectic , see the post
Zero System of July 31, 2014.
Material related to the previous post, "Symmetry" —
This is the group of "8 rigid motions
generated by reflections in midplanes"
of "Solomon's Cube."
Material from this journal on May 1, the date of Golomb's death —
"Weitere Informationen zu diesem Themenkreis
finden sich unter http://www.encyclopediaofmath.org/
index.php/Cullinane_diamond_theorem und
http://finitegeometry.org/sc/gen/coord.html ."
Judith Shulevitz in The New York Times
on Sunday, July 18, 2010
(quoted here Aug. 15, 2010) —
“What would an organic Christian Sabbath look like today?”
The 2015 German edition of Beautiful Mathematics ,
a 2011 Mathematical Association of America (MAA) book,
was retitled Mathematische Appetithäppchen —
Mathematical Appetizers . The German edition mentions
the author's source, omitted in the original American edition,
for his section 5.17, "A Group of Operations" (in German,
5.17, "Eine Gruppe von Operationen") —
Mathematische Appetithäppchen: Autor: Erickson, Martin —
"Weitere Informationen zu diesem Themenkreis finden sich |
That source was a document that has been on the Web
since 2002. The document was submitted to the MAA
in 1984 but was rejected. The German edition omits the
document's title, and describes it as merely a source for
"further information on this subject area."
The title of the document, "Binary Coordinate Systems,"
is highly relevant to figure 11.16c on page 312 of a book
published four years after the document was written: the
1988 first edition of Sphere Packings, Lattices and Groups ,
by J. H. Conway and N. J. A. Sloane —
A passage from the 1984 document —
As was previously noted here, the construction of the Miracle Octad Generator
of R. T. Curtis in 1974 may have involved his "folding" the 1×8 octads constructed
in 1967 by Turyn into 2×4 form.
This results in a way of picturing a well-known correspondence (Conwell, 1910)
between partitions of an 8-set and lines of the projective 3-space PG(3,2).
For some background related to the "ogdoads" of the previous post, see
A Seventh Seal (Sept. 15, 2014).
Possible title:
A new graphic approach
to an old geometric approach
to a new combinatorial approach
to an old algebraic approach
to M24
A Wikipedia edit today by David Eppstein, a professor
at the University of California, Irvine:
See the Fano-plane page before and after the Eppstein edit.
Eppstein deleted my Dec. 6 Fano 3-space image as well as
today's Fano-plane image. He apparently failed to read the
explanatory notes for both the 3-space model and the
2-space model. The research he refers to was original
(in 1979) but has been published for some time now in the
online Encyclopedia of Mathematics, as he could have
discovered by following a link in the notes for the 3-space
model.
For a related recent display of ignorance, see Hint of Reality.
Happy darkest night.
For the title phrase, see Encyclopedia of Mathematics .
The zero system illustrated in the previous post*
should not be confused with the cinematic Zero Theorem .
* More precisely, in the part showing the 15 lines fixed under
a zero-system polarity in PG(3,2). For the zero system
itself, see diamond-theorem correlation.
"Little emblems of eternity"
— Phrase by Oliver Sacks in today's
New York Times Sunday Review
Some other emblems —
Note the color-interchange
symmetry of each emblem
under 180-degree rotation.
Click an emblem for
some background.
Some context for yesterday's post on a symplectic polarity —
This 1986 note may or may not have inspired some remarks
of Wolf Barth in his foreword to the 1990 reissue of Hudson's
1905 Kummer's Quartic Surface .
See also the diamond-theorem correlation.
"Creation is the birth of something, and
something cannot come from nothing."
— Photographer Peter Lindbergh at his website
From a biography of Lindbergh —
"… it took Lindbergh awhile to find his true métier.
Born in Krefeld, Germany, in 1944….
Barely out of his teens, he became a painter who
embraced conceptual art and — for reasons he
has since forgotten — adopted the professional
name « Sultan. » Lindbergh… was a few years
short of his 30th birthday when he turned to
photography…."
— "The Man Who Loves Women," by Pamela Young,
Toronto Globe & Mail , September 19, 1996
A Lindbergh work (at right below) from his conceptual-art days —
For a connection between the above work by Paul Talman and the
above "Mono Type 1" of Lindbergh, see…
Continued from All Hallows' Eve, 2014.
Last year's Halloween post displayed the
Dürer print Knight, Death, and the Devil
(illustrated below on the cover of the book
Film and Phenomenology by Allan Casebier).
Cover illustration: Knight, Death, and the Devil,
by Albrecht Dürer
Some mathematics related to a different Dürer print —
The words: "symplectic polarity"—
The images:
The Natural Symplectic Polarity in PG(3,2)
Symmetry Invariance in a Diamond Ring
The Diamond-Theorem Correlation
A print copy of next Sunday’s New York Times Book Review
arrived in today’s mail. From the front-page review:
Marcel Theroux on The Book of Strange New Things ,
a novel by Michel Faber —
“… taking a standard science fiction premise and
unfolding it with the patience and focus of a
tai chi master, until it reveals unexpected
connections, ironies and emotions.”
What is a tai chi master, and what is it that he unfolds?
Perhaps the taijitu symbol and related material will help.
The Origin of Change
“Two things of opposite natures seem to depend
On one another, as a man depends
On a woman, day on night, the imagined
On the real. This is the origin of change.
Winter and spring, cold copulars, embrace
And forth the particulars of rapture come.”
— Wallace Stevens,
“Notes Toward a Supreme Fiction,”
Canto IV of “It Must Change”
In the Miracle Octad Generator (MOG):
The above details from a one-page note of April 26, 1986, refer to the
Miracle Octad Generator of R. T. Curtis, as it was published in 1976:
From R. T. Curtis (1976). A new combinatorial approach to M24,
Mathematical Proceedings of the Cambridge Philosophical Society ,
79, pp 25-42. doi:10.1017/S0305004100052075.
The 1986 note assumed that the reader would be able to supply, from the
MOG itself, the missing top row of each heavy brick.
Note that the interchange of the two squares in the top row of each
heavy brick induces the diamond-theorem correlation.
Note also that the 20 pictured 3-subsets of a 6-set in the 1986 note
occur as paired complements in two pictures, each showing 10 of the
3-subsets.
This pair of pictures corresponds to the 20 Rosenhain tetrads among
the 35 lines of PG(3,2), while the picture showing the 2-subsets
corresponds to the 15 Göpel tetrads among the 35 lines.
See Rosenhain and Göpel tetrads in PG(3,2). Some further background:
(Continued from August 9, 2014.)
Syntactic:
Symplectic:
"Visual forms— lines, colors, proportions, etc.— are just as capable of
articulation , i.e. of complex combination, as words. But the laws that govern
this sort of articulation are altogether different from the laws of syntax that
govern language. The most radical difference is that visual forms are not
discursive . They do not present their constituents successively, but
simultaneously, so the relations determining a visual structure are grasped
in one act of vision."
– Susanne K. Langer, Philosophy in a New Key
For examples, see The Diamond-Theorem Correlation
in Rosenhain and Göpel Tetrads in PG(3,2).
This is a symplectic correlation,* constructed using the following
visual structure:
.
* Defined in (for instance) Paul B. Yale, Geometry and Symmetry ,
Holden-Day, 1968, sections 6.9 and 6.10.
From Gotay and Isenberg, "The Symplectization of Science,"
Gazette des Mathématiciens 54, 59-79 (1992):
"… what is the origin of the unusual name 'symplectic'? ….
Its mathematical usage is due to Hermann Weyl who,
in an effort to avoid a certain semantic confusion, renamed
the then obscure 'line complex group' the 'symplectic group.'
… the adjective 'symplectic' means 'plaited together' or 'woven.'
This is wonderfully apt…."
The above symplectic structure** now appears in the figure
illustrating the diamond-theorem correlation in the webpage
Rosenhain and Göpel Tetrads in PG(3,2).
Some related passages from the literature:
* The title is a deliberate abuse of language .
For the real definition of "symplectic structure," see (for instance)
"Symplectic Geometry," by Ana Cannas da Silva (article written for
Handbook of Differential Geometry, vol 2.) To establish that the
above figure is indeed symplectic , see the post Zero System of
July 31, 2014.
** See Steven H. Cullinane, Inscapes III, 1986
(Simplicity continued)
"Understanding a metaphor is like understanding a geometrical
truth. Features of various geometrical figures or of various contexts
are pulled into revealing alignment with one another by the
demonstration or the metaphor.
What is 'revealed' is not that the alignment is possible; rather,
that the alignment is possible reveals the presence of already-
existing shapes or correspondences that lay unnoticed. To 'see' a
proof or 'get' a metaphor is to experience the significance of the
correspondence for what the thing, concept, or figure is ."
— Jan Zwicky, Wisdom & Metaphor , page 36 (left)
Zwicky illustrates this with Plato's diamond figure
from the Meno on the facing page— her page 36 (right).
A more sophisticated geometrical figure—
Galois-geometry key to
Desargues' theorem:
D | E | F | |
S' | P | Q | R |
S | P' | Q' | R' |
O | P1 | Q1 | R1 |
For an explanation, see
Classical Geometry in Light of Galois Geometry.
From an arXiv preprint submitted July 18, 2011,
and last revised on March 11, 2013 (version 4):
"By our construction, this vector space is the dual
of our hypercube F24 built on I \ O9. The vector space
structure of the latter, to our knowledge, is first
mentioned by Curtis in [Cur89]. Hence altogether
our proposition 2.3.4 gives a novel geometric
meaning in terms of Kummer geometry to the known
vector space structure on I \ O9."
[Cur89] reference:
R. T. Curtis, "Further elementary techniques using
the miracle octad generator," Proc. Edinburgh
Math. Soc. 32 (1989), 345-353 (received on
July 20, 1987).
— Anne Taormina and Katrin Wendland,
"The overarching finite symmetry group of Kummer
surfaces in the Mathieu group M 24 ,"
arXiv.org > hep-th > arXiv:1107.3834
"First mentioned by Curtis…."
No. I claim that to the best of my knowledge, the
vector space structure was first mentioned by me,
Steven H. Cullinane, in an AMS abstract submitted
in October 1978, some nine years before the
Curtis article.
Update of the above paragraph on July 6, 2013—
No. The vector space structure was described by
The vector space structure as it occurs in a 4×4 array |
See Notes on Finite Geometry for some background.
See in particular The Galois Tesseract.
For the relationship of the 1978 abstract to Kummer
geometry, see Rosenhain and Göpel Tetrads in PG(3,2).
Western Washington University in Bellingham maintains a
website to benefit secondary-school math: MathNEXUS.
The MathNEXUS "website of the week" on April 14, 2013,
was the Diamond 16 Puzzle and its related webpages.
Click on the above image for the April 14 webpage.
Found this morning in a search:
A logline is a one-sentence summary of your script.
www.scriptologist.com/Magazine/Tips/Logline/logline.html
It's the short blurb in TV guides that tells you what a movie
is about and helps you decide if you're interested …
The search was suggested by a screenwriting weblog post,
"Loglines: WHAT are you doing?".
What is your story about?
No, seriously, WHAT are you writing about?
Who are the characters? What happens to them?
Where does it take place? What’s the theme?
What’s the style? There are nearly a million
little questions to answer when you set out
to tell a story. But it all starts with one
super, overarching question.
What are you writing about? This is the first
big idea that we pull out of the ether, sometimes
before we even have any characters.
What is your story about?
The screenwriting post was found in an earlier search for
the highlighted phrase.
The screenwriting post was dated December 15, 2009.
What I am doing now is checking for synchronicity.
This weblog on December 15, 2009, had a post
titled A Christmas Carol. That post referred to my 1976
monograph titled Diamond Theory .
I guess the script I'm summarizing right now is about
the heart of that theory, a group of 322,560 permutations
that preserve the symmetry of a family of graphic designs.
For that group in action, see the Diamond 16 Puzzle.
The "super overarching" phrase was used to describe
this same group in a different context:
This is from "Mathieu Moonshine," a webpage by Anne Taormina.
A logline summarizing my approach to that group:
Finite projective geometry explains
the surprising symmetry properties
of some simple graphic designs—
found, for instance, in quilts.
The story thus summarized is perhaps not destined for movie greatness.
The concept of "deep structure," once a popular meme,
has long been abandoned by Chomskians.
It still applies, however, to the 1976 mathematics, diamond theory ,
underlying the formal patterns discussed in a Royal Society paper
this year.
A review of deep structure, from the Wikipedia article Cartesian linguistics—
[Numbers in parentheses refer to pages in the original 1966 Harper edition of Chomsky's book Cartesian Linguistics .] Deep structure vs. surface structure "Pursuing the fundamental distinction between body and mind, Cartesian linguistics characteristically assumes that language has two aspects" (32). These are namely the sound/character of a linguistic sign and its significance (32). Semantic interpretation or phonetic interpretation may not be identical in Cartesian linguistics (32). Deep structures are often only represented in the mind (a mirror of thought), as opposed to surface structures, which are not. Deep structures vary less between languages than surface structures. For instance, the transformational operations to derive surface forms of Latin and French may obscure common features of their deep structures (39). Chomsky proposes, "In many respects, it seems to me quite accurate, then, to regard the theory of transformational generative grammar, as it is developing in current work, as essentially a modern and more explicit version of the Port-Royal theory" (39). Summary of Port Royal Grammar The Port Royal Grammar is an often cited reference in Cartesian Linguistics and is considered by Chomsky to be a more than suitable example of Cartesian linguistic philosophy. "A sentence has an inner mental aspect (a deep structure that conveys its meaning) and an outer, physical aspect as a sound sequence"***** This theory of deep and surface structures, developed in Port Royal linguistics, meets the formal requirements of language theory. Chomsky describes it in modern terms as "a base system that generates deep structures and a transformational system that maps these into surface structures", essentially a form of transformational grammar akin to modern studies (42). |
The corresponding concepts from diamond theory are…
"Deep structure"— The line diagrams indicating the underlying
structure of varying patterns
"A base system that generates deep structures"—
Group actions on square arrays… for instance, on the 4×4 square
"A transformational system"— The decomposition theorem
that maps deep structure into surface structure (and vice-versa)
The 1976 monograph "Diamond Theory" was an example
of "programmed art" in the sense established by, for
instance, Karl Gerstner. The images were produced
according to strict rules, and were in this sense
"programmed," but were drawn by hand.
Now an actual computer program has been written,
based on the Diamond Theory excerpts published
in the Feb. 1977 issue of Computer Graphics and Art
(Vol. 2, No. 1, pp. 5-7), that produces copies of some of
these images (and a few malformed images not in
Diamond Theory).
See Isaac Gierard's program at GitHub—
https://github.com/matthewepler/ReCode_Project/
blob/dda7b23c5ad505340b468d9bd707fd284e6c48bf/
isaac_gierard/StevenHCullinane_DiamondTheory/
StevenHCullinane_DiamondTheory.pde
As the suffix indicates, this program is in the
Processing Development Environment language.
It produces the following sketch:
The rationale for selecting and arranging these particular images is not clear,
and some of the images suffer from defects (exercise: which ones?), but the
overall effect of the sketch is pleasing.
For some background for the program, see The ReCode Project.
It is good to learn that the Processing language is well-adapted to making the
images in such sketches. The overall structure of the sketch gives, however,
no clue to the underlying theory in "Diamond Theory."
For some related remarks, see Theory (Sept. 30, 2012).
* For the title, see Darko Fritz, "Notions of the Program in 1960s Art."
A new Wikipedia page was created on Oct. 9—
"This page was last modified on 9 October 2012 at 19:54."
This, and a long-running musical, suggest…
"Try to remember the kind of September…"
LIFE Magazine for September 6, 1954, provides
one view of the kind of September when I was
twelve years old. (Also that September, Mitt Romney
was seven. President Obama was born later.)
Top of Life Magazine cover, September 6, 1954
This suggests James Joyce's nightmare view of history.
For some other views of 1954, see selected posts in this journal
that mention that year.
See also IMDb on Grace Kelly that year, and a related theological
reflection from Holy Cross Day, 2002.
Frogs:
"Some mathematicians are birds, others are frogs. Birds fly high in the air and survey broad vistas of mathematics out to the far horizon. They delight in concepts that unify our thinking and bring together diverse problems from different parts of the landscape. Frogs live in the mud below and see only the flowers that grow nearby. They delight in the details of particular objects, and they solve problems one at a time."
— Freeman Dyson (See July 22, 2011)
A Rhetorical Question:
"The past decade has been an exciting one in the world of mathematics and a fabulous one (in the literal sense) for mathematicians, who saw themselves transformed from the frogs of fairy tales— regarded with a who-would-want-to-kiss-that aversion, when they were noticed at all— into fascinating royalty, portrayed on stage and screen….
Who bestowed the magic kiss on the mathematical frog?"
Above: Amy Adams in "Sunshine Cleaning"
Related material:
(The title is a nod to Peter Woit's recent post "Nothingness Smackdown.")
"To wrestle new mediums to the mat of specificity has been a preoccupation of mine since the inception of October , the magazine I founded in 1976 with Annette Michelson, the first issue of which carried my essay 'Video and Narcissism' which attempts to tie the essence of video to the spectacular nature of mirrors."
— Rosalind Krauss, 2008, introduction to Perpetual Inventory (MIT Press, 2010)
Related material— The video art and mirror art of Josefine Lyche.
See also Krauss's essay on video in Perpetual Inventory— "Video: The Aesthetics of Narcissism" (first published as "Video and Narcissism," October , no. 1 (Spring 1976))—
"In The Language of the Self , Lacan begins by characterizing the space of the therapeutic transaction as an extraordinary void created by the silence of the analyst. Into this void the patient projects the monologue of his own recitation, which Lacan calls 'the monumental construct of his narcissism.'"
— and related remarks on October and the void quoted here March 10 in "Boo Boo Boo."
"At the still point…" — T. S. Eliot
In memory of David L. Waltz, artificial-intelligence pioneer,
who died Thursday, March 22, 2012—
The following from the First of May, 2010—
Some context–
"This pattern is a square divided into nine equal parts.
It has been called the 'Holy Field' division and
was used throughout Chinese history for many
different purposes, most of which were connected
with things religious, political, or philosophical."
– The Magic Square: Cities in Ancient China,
by Alfred Schinz, Edition Axel Menges, 1996, p. 71
From the current Wikipedia article "Symmetry (physics)"—
"In physics, symmetry includes all features of a physical system that exhibit the property of symmetry—that is, under certain transformations, aspects of these systems are 'unchanged', according to a particular observation. A symmetry of a physical system is a physical or mathematical feature of the system (observed or intrinsic) that is 'preserved' under some change.
A family of particular transformations may be continuous (such as rotation of a circle) or discrete (e.g., reflection of a bilaterally symmetric figure, or rotation of a regular polygon). Continuous and discrete transformations give rise to corresponding types of symmetries. Continuous symmetries can be described by Lie groups while discrete symmetries are described by finite groups (see Symmetry group)."….
"A discrete symmetry is a symmetry that describes non-continuous changes in a system. For example, a square possesses discrete rotational symmetry, as only rotations by multiples of right angles will preserve the square's original appearance."
Note the confusion here between continuous (or discontinuous) transformations and "continuous" (or "discontinuous," i.e. "discrete") groups .
This confusion may impede efforts to think clearly about some pure mathematics related to current physics— in particular, about the geometry of spaces made up of individual units ("points") that are not joined together in a continuous manifold.
For an attempt to forestall such confusion, see Noncontinuous Groups.
For related material, see Erlanger and Galois as well as the opening paragraphs of Diamond Theory—
Symmetry is often described as invariance under a group of transformations. An unspoken assumption about symmetry in Euclidean 3-space is that the transformations involved are continuous.
Diamond theory rejects this assumption, and in so doing reveals that Euclidean symmetry may itself be invariant under rather interesting groups of non-continuous (and a-symmetric) transformations. (These might be called noncontinuous groups, as opposed to so-called discontinuous (or discrete ) symmetry groups. See Weyl's Symmetry .)
For example, the affine group A on the 4-space over the 2-element field has a natural noncontinuous and asymmetric but symmetry-preserving action on the elements of a 4×4 array. (Details)
(Version first archived on March 27, 2002)
Update of Sunday, February 19, 2012—
The abuse of language by the anonymous authors
of the above Wikipedia article occurs also in more
reputable sources. For instance—
Some transformations referred to by Brading and Castellani
and their editees as "discrete symmetries" are, in fact, as
linear transformations of continuous spaces, themselves
continuous transformations.
This unfortunate abuse of language is at least made explicit
in a 2003 text, Mathematical Perspectives on Theoretical
Physics (Nirmala Prakash, Imperial College Press)—
"… associated[*] with any given symmetry there always exists
a continuous or a discrete group of transformations….
A symmetry whose associated group is continuous (discrete)
is called a continuous (discrete ) symmetry ." — Pp. 235, 236
[* Associated how?]
(Continued from Epiphany and from yesterday.)
Detail from the current American Mathematical Society homepage—
Further detail, with a comparison to Dürer’s magic square—
The three interpenetrating planes in the foreground of Donmoyer‘s picture
provide a clue to the structure of the the magic square array behind them.
Group the 16 elements of Donmoyer’s array into four 4-sets corresponding to the
four rows of Dürer’s square, and apply the 4-color decomposition theorem.
Note the symmetry of the set of 3 line diagrams that result.
Now consider the 4-sets 1-4, 5-8, 9-12, and 13-16, and note that these
occupy the same positions in the Donmoyer square that 4-sets of
like elements occupy in the diamond-puzzle figure below—
Thus the Donmoyer array also enjoys the structural symmetry,
invariant under 322,560 transformations, of the diamond-puzzle figure.
Just as the decomposition theorem’s interpenetrating lines explain the structure
of a 4×4 square , the foreground’s interpenetrating planes explain the structure
of a 2x2x2 cube .
For an application to theology, recall that interpenetration is a technical term
in that field, and see the following post from last year—
Saturday, June 25, 2011
— m759 @ 12:00 PM “… the formula ‘Three Hypostases in one Ousia ‘ Ousia
|
In memory of artist Ronald Searle—
Searle reportedly died at 91 on December 30th.
From Log24 on that date—
Click the above image for some context.
Update of 9:29 PM EST Jan. 3, 2012—
Theorum
Theorum (rhymes with decorum, apparently) is a neologism proposed by Richard Dawkins in The Greatest Show on Earth to distinguish the scientific meaning of theory from the colloquial meaning. In most of the opening introduction to the show, he substitutes "theorum" for "theory" when referring to the major scientific theories such as evolution. Problems with "theory" Dawkins notes two general meanings for theory; the scientific one and the general sense that means a wild conjecture made up by someone as an explanation. The point of Dawkins inventing a new word is to get around the fact that the lay audience may not thoroughly understand what scientists mean when they say "theory of evolution". As many people see the phrase "I have a theory" as practically synonymous with "I have a wild guess I pulled out of my backside", there is often confusion about how thoroughly understood certain scientific ideas are. Hence the well known creationist argument that evolution is "just a theory" – and the often cited response of "but gravity is also just a theory". To convey the special sense of thoroughness implied by the word theory in science, Dawkins borrowed the mathematical word "theorem". This is used to describe a well understood mathematical concept, for instance Pythagoras' Theorem regarding right angled triangles. However, Dawkins also wanted to avoid the absolute meaning of proof associated with that word, as used and understood by mathematicians. So he came up with something that looks like a spelling error. This would remove any person's emotional attachment or preconceptions of what the word "theory" means if it cropped up in the text of The Greatest Show on Earth , and so people would (in "theory ") have no other choice but to associate it with only the definition Dawkins gives. This phrase has completely failed to catch on, that is, if Dawkins intended it to catch on rather than just be a device for use in The Greatest Show on Earth . When googled, Google will automatically correct the spelling to theorem instead, depriving this very page its rightful spot at the top of the results.
|
Some backgound— In this journal, "Diamond Theory of Truth."
From Savage Logic— Sunday, March 15, 2009 5:24 PM The Origin of Change A note on the figure "Two things of opposite natures seem to depend — Wallace Stevens, |
For the title, see Palm Sunday.
"There is a pleasantly discursive treatment of
Pontius Pilate's unanswered question 'What is truth?'" — H. S. M. Coxeter, 1987
From this date (April 22) last year—
Richard J. Trudeau in The Non-Euclidean Revolution , chapter on "Geometry and the Diamond Theory of Truth"– "… Plato and Kant, and most of the philosophers and scientists in the 2200-year interval between them, did share the following general presumptions: (1) Diamonds– informative, certain truths about the world– exist. Presumption (1) is what I referred to earlier as the 'Diamond Theory' of truth. It is far, far older than deductive geometry." Trudeau's book was published in 1987. The non-Euclidean* figures above illustrate concepts from a 1976 monograph, also called "Diamond Theory." Although non-Euclidean,* the theorems of the 1976 "Diamond Theory" are also, in Trudeau's terminology, diamonds. * "Non-Euclidean" here means merely "other than Euclidean." No violation of Euclid's parallel postulate is implied. |
Trudeau comes to reject what he calls the "Diamond Theory" of truth. The trouble with his argument is the phrase "about the world."
Geometry, a part of pure mathematics, is not about the world. See G. H. Hardy, A Mathematician's Apology .
The following is from the weblog of a high school mathematics teacher—
This is related to the structure of the figure on the cover of the 1976 monograph Diamond Theory—
Each small square pattern on the cover is a Latin square,
with elements that are geometric figures rather than letters or numerals.
All order-four Latin squares are represented.
For a deeper look at the structure of such squares, let the high-school
chart above be labeled with the letters A through X, and apply the
four-color decomposition theorem. The result is 24 structural diagrams—
Some of the squares are structurally congruent under the group of 8 symmetries of the square.
This can be seen in the following regrouping—
(Image corrected on Jan. 25, 2011– "seven" replaced "eight.")
* Retitled "The Order-4 (i.e., 4×4) Latin Squares" in the copy at finitegeometry.org/sc.
and the New York Lottery
A search in this journal for yesterday's evening number in the New York Lottery, 359, leads to…
The Cerebral Savage:
On the Work of Claude Lévi-Strauss
by Clifford Geertz
Shown below is 359, the final page of Chapter 13 in
The Interpretation of Cultures: Selected Essays by Clifford Geertz,
New York, 1973: Basic Books, pp. 345-359 —
This page number 359 also appears in this journal in an excerpt from Dan Brown's novel Angels & Demons—
See this journal's entries for March 1-15, 2009, especially…
Sunday, March 15, 2009 5:24 PM
Philosophy and Poetry: The Origin of Change A note on the figure "Two things of opposite natures seem to depend On one another, as a man depends On a woman, day on night, the imagined On the real. This is the origin of change. Winter and spring, cold copulars, embrace And forth the particulars of rapture come." -- Wallace Stevens, "Notes Toward a Supreme Fiction," Canto IV of "It Must Change" Sunday, March 15, 2009 11:00 AM Ides of March Sermon: Angels, Demons,
"Symbology" "On Monday morning, 9 March, after visiting the Mayor of Rome and the Municipal Council on the Capitoline Hill, the Holy Father spoke to the Romans who gathered in the square outside the Senatorial Palace…
'… a verse by Ovid, the great Latin poet, springs to mind. In one of his elegies he encouraged the Romans of his time with these words: "Perfer et obdura: multo graviora tulisti." "Hold out and persist: (Tristia, Liber V, Elegia XI, verse 7).'" This journal
on 9 March: Note the color-interchange Related material:
|
The symmetry of the yin-yang symbol, of the diamond-theorem symbol, and of Brown's Illuminati Diamond is also apparent in yesterday's midday New York lottery number (see above).
"Savage logic works like a kaleidoscope…." — Clifford Geertz on Lévi-Strauss
Notes on Mathematics and Narrative
Background—
Commentary on The Wicker Man—
Originally The Wicker Man was not well-received by critics in the UK. It was considered
to be bizarre, disturbing, and uncomfortable, with the hasty editing making the story confusing
and out of order…. Today this movie is considered a cult classic and has been called
the “Citizen Kane of horror films” by some reviewers. How did this film become a cult classic?
Real estate motto— Location, Location, Location.
Illustration— The fire leap scene from Wicker Man, filmed at Castle Kennedy—
In today's New York Times, Michiko Kakutani reviews a summer thriller
by Kevin Guilfoile. The Thousand is in the manner of Dan Brown's
2003 The Da Vinci Code or of Katherine Neville's 1988 The Eight .
From the review—
What connects these disparate events, it turns out, is a sinister organization
called the Thousand, made up of followers of the ancient Greek mathematician
and philosopher Pythagoras (yes, the same Pythagoras associated with
the triangle theorem that we learned in school).
As Mr. Guilfoile describes it, this organization is part Skull and Bones,
part Masonic lodge, part something much more twisted and nefarious….
The plot involves, in part,
… an eccentric artist’s mysterious masterwork, made up of thousands of
individually painted tiles that may cohere into an important message….
Not unlike the tiles in the Diamond Theory cover (see yesterday's post)
or, more aptly, the entries in this journal.
A brief prequel to the above dialogue—
In lieu of songs, here is a passage by Patrick Blackburn
more relevant to the art of The Thousand—
See also the pagan fire leaping in Dancing at Lughnasa.
Narrative Sequence
In today's New York Times, Michiko Kakutani reviews a summer thriller by Kevin Guilfoile. The Thousand is in the manner of Dan Brown's 2003 The Da Vinci Code or of Katherine Neville's 1988 The Eight .
From the review—
What connects these disparate events, it turns out, is a sinister organization called the Thousand, made up of followers of the ancient Greek mathematician and philosopher Pythagoras (yes, the same Pythagoras associated with the triangle theorem that we learned in school).
As Mr. Guilfoile describes it, this organization is part Skull and Bones, part Masonic lodge, part something much more twisted and nefarious….
The plot involves, in part,
… an eccentric artist’s mysterious masterwork, made up of thousands of individually painted tiles that may cohere into an important message….
Not unlike the tiles in the Diamond Theory cover (see yesterday's post) or, more aptly, the entries in this journal.
From a post by Ivars Peterson, Director
of Publications and Communications at
the Mathematical Association of America,
at 19:19 UTC on June 19, 2010—
Exterior panels and detail of panel,
Michener Gallery at Blanton Museum
in Austin, Texas—
Peterson associates the four-diamond figure
with the Pythagorean theorem.
A more relevant association is the
four-diamond view of a tesseract shown here
on June 19 (the same date as Peterson's post)
in the "Imago Creationis" post—
This figure is relevant because of a
tesseract sculpture by Peter Forakis—
This sculpture was apparently shown in the above
building— the Blanton Museum's Michener gallery—
as part of the "Reimagining Space" exhibition,
September 28, 2008-January 18, 2009.
The exhibition was organized by
Linda Dalrymple Henderson, Centennial Professor
in Art History at the University of Texas at Austin
and author of The Fourth Dimension and
Non-Euclidean Geometry in Modern Art
(Princeton University Press, 1983;
new ed., MIT Press, 2009).
For the sculptor Forakis in this journal,
see "The Test" (December 20, 2009).
"There is such a thing
as a tesseract."
— A Wrinkle in TIme
Stanford Encyclopedia of Philosophy —
“Mereology (from the Greek μερος, ‘part’) is the theory of parthood relations: of the relations of part to whole and the relations of part to part within a whole. Its roots can be traced back to the early days of philosophy, beginning with the Presocratics….”
A non-Euclidean* approach to parts–
Corresponding non-Euclidean*
projective points —
Richard J. Trudeau in The Non-Euclidean Revolution, chapter on “Geometry and the Diamond Theory of Truth”–
“… Plato and Kant, and most of the philosophers and scientists in the 2200-year interval between them, did share the following general presumptions:
(1) Diamonds– informative, certain truths about the world– exist.
(2) The theorems of Euclidean geometry are diamonds.
Presumption (1) is what I referred to earlier as the ‘Diamond Theory’ of truth. It is far, far older than deductive geometry.”
Trudeau’s book was published in 1987. The non-Euclidean* figures above illustrate concepts from a 1976 monograph, also called “Diamond Theory.”
Although non-Euclidean,* the theorems of the 1976 “Diamond Theory” are also, in Trudeau’s terminology, diamonds.
* “Non-Euclidean” here means merely “other than Euclidean.” No violation of Euclid’s parallel postulate is implied.
Unitarian Universalist Origins: Our Historic Faith—
“In sixteenth-century Transylvania, Unitarian congregations were established for the first time in history.”
Gravity’s Rainbow–
“For every kind of vampire, there is a kind of cross.”
Unitarian minister Richard Trudeau—
“… I called the belief that
(1) Diamonds– informative, certain truths about the world– exist
the ‘Diamond Theory’ of truth. I said that for 2200 years the strongest evidence for the Diamond Theory was the widespread perception that
(2) The theorems of Euclidean geometry are diamonds….
As the news about non-Euclidean geometry spread– first among mathematicians, then among scientists and philosophers– the Diamond Theory began a long decline that continues today.
Factors outside mathematics have contributed to this decline. Euclidean geometry had never been the Diamond Theory’s only ally. In the eighteenth century other fields had seemed to possess diamonds, too; when many of these turned out to be man-made, the Diamond Theory was undercut. And unlike earlier periods in history, when intellectual shocks came only occasionally, received truths have, since the eighteenth century, been found wanting at a dizzying rate, creating an impression that perhaps no knowledge is stable.
Other factors notwithstanding, non-Euclidean geometry remains, I think, for those who have heard of it, the single most powerful argument against the Diamond Theory*– first, because it overthrows what had always been the strongest argument in favor of the Diamond Theory, the objective truth of Euclidean geometry; and second, because it does so not by showing Euclidean geometry to be false, but by showing it to be merely uncertain.” —The Non-Euclidean Revolution, p. 255
H. S. M. Coxeter, 1987, introduction to Trudeau’s book—
“There is a pleasantly discursive treatment of Pontius Pilate’s unanswered question ‘What is truth?’.”
As noted here on Oct. 8, 2008 (A Yom Kippur Meditation), Coxeter was aware in 1987 of a more technical use of the phrase “diamond theory” that is closely related to…
"I know what
nothing means."
— Joan Didion,
Play It As It Lays
Faust
President Faust of Harvard on Joan Didion:
"She was referring to life as a kind of improvisation: that magical crossroads of rigor and ease, structure and freedom, reason and intuition. What she calls being prepared to 'go with the change.'"
"I think about swimming with him into the cave at Portuguese Bend, about the swell of clear water, the way it changed, the swiftness and power it gained as it narrowed through the rocks at the base of the point. The tide had to be just right. We had to be in the water at the very moment the tide was right. We could only have done this a half dozen times at most during the two years we lived there but it is what I remember. Each time we did it I was afraid of missing the swell, hanging back, timing it wrong. John never was. You had to feel the swell change. You had to go with the change. He told me that. No eye is on the sparrow but he did tell me that."
From the same book:
"The craziness is receding but no clarity is taking its place."
— Joan Didion, The Year of Magical Thinking
For a magical crossroads at another university, see the five Log24 entries ending on November 25, 2005:
This holy icon
appeared at
N37°25.638'
W122°09.574'
on August 22, 2003,
at the Stanford campus.
Also from that date,
an example of clarity
in another holy icon —
|
— in honor of better days
at Harvard and of a member
of the Radcliffe Class of 1964.
New York Times
banner this morning:
Related material from
July 11, 2008:
The HSBC Logo Designer — Henry Steiner He is an internationally recognized corporate identity consultant. Based in Hong Kong, his work for clients such as HongkongBank, IBM and Unilever is a major influence in Pacific Rim design. Born in Austria and raised in New York, Steiner was educated at Yale under Paul Rand and attended the Sorbonne as a Fulbright Fellow. He is a past President of Alliance Graphique Internationale. Other professional affiliations include the American Institute of Graphic Arts, Chartered Society of Designers, Design Austria, and the New York Art Directors' Club. His Cross-Cultural Design: Communicating in the Global Marketplace was published by Thames and Hudson (1995). |
Charles Taylor,
"Epiphanies of Modernism," Chapter 24 of Sources of the Self (Cambridge U. Press, 1989, p. 477):
"… the object sets up
See also Talking of Michelangelo.
|
Related material suggested by
an ad last night on
ABC's Ugly Betty season finale:
Diamond from last night's
Log24 entry, with
four colored pencils from
Diane Robertson Design:
See also
A Four-Color Theorem.
The connection:
Abstract: "The Steiner system S(4,7,23) is constructed from the geometry of PG(3,2)."
Abstract: "The Steiner system S(5,8,24) is constructed from the geometry of PG(3,2)."
“… my advisor once told me, ‘If you ever find yourself drawing one of those meaningless diagrams with arrows connecting different areas of mathematics, it’s a good sign that you’re going senile.'”
Steven Cullinane at Log24, May 19, 2004:
Related material:
Getting All
the Meaning In
Webpage heading for the
2009 meeting of the
American Comparative
Literature Association:
The mysterious symbols on
the above map suggest the
following reflections:
From A Cure of the Mind: The Poetics of Wallace Stevens, by Theodore Sampson, published by Black Rose Books Ltd., 2000–
Page x:
"… if what he calls 'the spirit's alchemicana' (CP [Collected Poems] 471) addresses itself to the irrational element in poetry, to what extent is such an element dominant in his theory and practice of poetry, and therefore in what way is Stevens' intricate verbal music dependent on his irrational use of language– a 'pure rhetoric of a language without words?' (CP 374)?"
From "'When Novelists Become Cubists:' The Prose Ideograms of Guy Davenport," by Andre Furlani:
Laurence Zachar argues that Davenport's writing is situated "aux frontieres intergeneriques" where manifold modes are brought into concord: "L'etonnant chez Davenport est la facon don't ce materiau qui parait l'incarnation meme du chaos– hermetique, enigmatique, obscur, avec son tropplein de references– se revele en fait etre construit, ordonne, structure. Plus l'on s'y plonge, et plus l'on distingue de cohesion dans le texte." 'What astonishes in Davenport is the way in which material that seems the very incarnation of chaos– hermetic, enigmatic, obscure, with its proliferation of allusions– in fact reveals itself to be constructed, organized, structured. The more one immerses oneself in them the more one discerns the texts' cohesion.' (62). Davenport also works along the intergeneric border between text and graphic, for he illustrates many of his texts. (1) "The prime use of words is for imagery: my writing is drawing," he states in an interview (Hoeppfner 123). Visual imagery is not subordinated to writing in Davenport, who draws on the assemblage practice of superimposing image and writing. "I trust the image; my business is to get it onto the page," he writes in the essay "Ernst Machs Max Ernst." "A page, which I think of as a picture, is essentially a texture of images. […] The text of a story is therefore a continuous graph, kin to the imagist poem, to a collage (Ernst, Willi Baumeister, El Lissitzky), a page of Pound, a Brakhage film" (Geography 374-75). Note: (1.) Davenport is an illustrator of books (such as Hugh Kenner's The Stoic Comedians and The Counterfeiters) and journals (such as The Kenyon Review, Parnassus, and Paideuma). His art is the subject of Erik Anderson Reece's monograph, A Balance of Quinces, which reveals the inseparable relationship between Davenport's literary and pictorial work. References: Davenport, Guy. The Geography of the Imagination. San Francisco: North Point Press, 1981. Rpt. New York: Pantheon, 1992. Hoepffner, Bernard. "Pleasant Hill: An Interview with Guy Davenport." Conjunctions 24 (1995): 118-24. Reece, Erik Anderson. A Balance of Quinces: The Paintings and Drawings of Guy Davenport. New York: New Directions, 1996. Zachar, Laurence. "Guy Davenport: Une Mosaique du genres." Recherches Anglaises et Nord-Americaines 21 (1994): 51-63. |
"… when novelists become Cubists; that is, when they see the possibilities of making a hieroglyph, a coherent symbol, an ideogram of the total work. A symbol comes into being when an artist sees that it is the only way to get all the meaning in."
— Guy Davenport, The Geography of the Imagination
The Rest
of the Story
Today's previous entry discussed the hermeneutics of the midday NY and PA lottery numbers.
Lotteries on Reba's birthday, 2009 |
Pennsylvania (No revelation) |
New York (Revelation) |
Mid-day (No belief) |
No belief, no revelation 726 |
Revelation without belief 378 |
Evening (Belief) |
Belief without revelation 006 |
Belief and revelation 091 |
Interpretations of the evening numbers–
The PA evening number, 006, may be viewed as a followup to the PA midday 726 (or 7/26, the birthday of Kate Beckinsale and Carl Jung). Here 006 is the prestigious "00" number assigned to Beckinsale.
The NY evening number, 091, may be viewed as a followup to the NY midday 378 (the number of pages in The Innermost Kernel by Suzanne Gieser, published by Springer, 2005)–
Page 91: The entire page is devoted to the title of the book's Part 3– "The Copenhagen School and Psychology"–
The next page begins: "With the crisis of physics, interest in epistemological and psychological questions grew among many theoretical physicists. This interest was particularly marked in the circle around Niels Bohr."
The circle above is
marked with a version of
the classic Chinese symbol
adopted as a personal emblem
by Danish physicist Niels Bohr,
leader of the Copenhagen School.
"Two things of opposite natures seem to depend
On one another, as a man depends
On a woman, day on night, the imagined
On the real. This is the origin of change.
Winter and spring, cold copulars, embrace
And forth the particulars of rapture come."
-- Wallace Stevens,
"Notes Toward a Supreme Fiction,"
Canto IV of "It Must Change"
The square above is marked
with a graphic design
related to the four-diamond
figure of Jung's Aion.
The Origin of Change
A note on the figure
from this morning's sermon:
"Two things of opposite natures seem to depend On one another, as a man depends On a woman, day on night, the imagined On the real. This is the origin of change. Winter and spring, cold copulars, embrace And forth the particulars of rapture come." -- Wallace Stevens, "Notes Toward a Supreme Fiction," Canto IV of "It Must Change"
Angels, Demons,
"Symbology"
"On Monday morning, 9 March, after visiting the Mayor of Rome and the Municipal Council on the Capitoline Hill, the Holy Father spoke to the Romans who gathered in the square outside the Senatorial Palace…
'… a verse by Ovid, the great Latin poet, springs to mind. In one of his elegies he encouraged the Romans of his time with these words:
"Perfer et obdura: multo graviora tulisti."
"Hold out and persist:
you have got through
far more difficult situations."
(Tristia, Liber V, Elegia XI, verse 7).'"
Note the color-interchange
symmetry of each symbol
under 180-degree rotation.
Related material:
The Illuminati Diamond:
A possible source for Brown's term "symbology" is a 1995 web page, "The Rotation of the Elements," by one "John Opsopaus." (Cf. Art History Club.)
"The four qualities are the key to understanding the rotation of the elements and many other applications of the symbology of the four elements." –John Opsopaus
* "…ambigrams were common in symbology…." —Angels & Demons
Preview of a Tom Stoppard play presented at Town Hall in Manhattan on March 14, 2008 (Pi Day and Einstein’s birthday):
The play’s title, “Every Good Boy Deserves Favour,” is a mnemonic for the notes of the treble clef EGBDF.
The place, Town Hall, West 43rd Street. The time, 8 p.m., Friday, March 14. One single performance only, to the tinkle– or the clang?– of a triangle. Echoing perhaps the clang-clack of Warsaw Pact tanks muscling into Prague in August 1968.
The “u” in favour is the British way, the Stoppard way, “EGBDF” being “a Play for Actors and Orchestra” by Tom Stoppard (words) and André Previn (music).
And what a play!– as luminescent as always where Stoppard is concerned. The music component of the one-nighter at Town Hall– a showcase for the Boston University College of Fine Arts– is by a 47-piece live orchestra, the significant instrument being, well, a triangle.
When, in 1974, André Previn, then principal conductor of the London Symphony, invited Stoppard “to write something which had the need of a live full-time orchestra onstage,” the 36-year-old playwright jumped at the chance.
One hitch: Stoppard at the time knew “very little about ‘serious’ music… My qualifications for writing about an orchestra,” he says in his introduction to the 1978 Grove Press edition of “EGBDF,” “amounted to a spell as a triangle player in a kindergarten percussion band.”
Review of the same play as presented at Chautauqua Institution on July 24, 2008:
“Stoppard’s modus operandi– to teasingly introduce numerous clever tidbits designed to challenge the audience.”
— Jane Vranish, Pittsburgh Post-Gazette, Saturday, August 2, 2008
“The leader of the band is tired
And his eyes are growing old
But his blood runs through
My instrument
And his song is in my soul.”
— Dan Fogelberg
“He’s watching us all the time.”
Finnegans Wake, Book II, Episode 2, pp. 296-297: I’ll make you to see figuratleavely the whome of your eternal geomater. And if you flung her headdress on her from under her highlows you’d wheeze whyse Salmonson set his seel on a hexengown.1 Hissss!, Arrah, go on! Fin for fun! 1 The chape of Doña Speranza of the Nacion. |
“…the principle of taking and giving, of learning and teaching, of listening and storytelling, in a word: of reciprocity…. … E. M. Forster famously advised his readers, ‘Only connect.’ ‘Reciprocity’ would be Michael Kruger’s succinct philosophy, with all that the word implies.” — William Boyd, review of Himmelfarb, a novel by Michael Kruger, in The New York Times Book Review, October 30, 1994 Last year’s entry on this date:
The picture above is of the complete graph K6 … Six points with an edge connecting every pair of points… Fifteen edges in all. Diamond theory describes how the 15 two-element subsets of a six-element set (represented by edges in the picture above) may be arranged as 15 of the 16 parts of a 4×4 array, and how such an array relates to group-theoretic concepts, including Sylvester’s synthematic totals as they relate to constructions of the Mathieu group M24. If diamond theory illustrates any general philosophical principle, it is probably the interplay of opposites…. “Reciprocity” in the sense of Lao Tzu. See Reciprocity and Reversal in Lao Tzu. For a sense of “reciprocity” more closely related to Michael Kruger’s alleged philosophy, see the Confucian concept of Shu (Analects 15:23 or 24) described in Kruger’s novel is in part about a Jew: the quintessential Jewish symbol, the star of David, embedded in the K6 graph above, expresses the reciprocity of male and female, as my May 2003 archives illustrate. The star of David also appears as part of a graphic design for cubes that illustrate the concepts of diamond theory: Click on the design for details. Those who prefer a Jewish approach to physics can find the star of David, in the form of K6, applied to the sixteen 4×4 Dirac matrices, in A Graphical Representation The star of David also appears, if only as a heuristic arrangement, in a note that shows generating partitions of the affine group on 64 points arranged in two opposing triplets. Having thus, as the New York Times advises, paid tribute to a Jewish symbol, we may note, in closing, a much more sophisticated and subtle concept of reciprocity due to Euler, Legendre, and Gauss. See |
“Finn MacCool ate the Salmon of Knowledge.”
Wikipedia:
“George Salmon spent his boyhood in Cork City, Ireland. His father was a linen merchant. He graduated from Trinity College Dublin at the age of 19 with exceptionally high honours in mathematics. In 1841 at age 21 he was appointed to a position in the mathematics department at Trinity College Dublin. In 1845 he was appointed concurrently to a position in the theology department at Trinity College Dublin, having been confirmed in that year as an Anglican priest.”
Related material:
Kindergarten Theology,
Arrangements for
56 Triangles.
For more on the
arrangement of
triangles discussed
in Finnegans Wake,
see Log24 on Pi Day,
March 14, 2008.
Happy birthday,
Martin Sheen.
Bertram Kostant, Professor Emeritus of Mathematics at MIT, on an object discussed in this week's New Yorker:
Hermann Weyl on the hard core of objectivity:
Steven H. Cullinane on the symmetries of a 4×4 array of points:
A Structure-Endowed Entity
"A guiding principle in modern mathematics is this lesson: Whenever you have to do with a structure-endowed entity S, try to determine its group of automorphisms, the group of those element-wise transformations which leave all structural relations undisturbed. You can expect to gain a deep insight into the constitution of S in this way." — Hermann Weyl in Symmetry Let us apply Weyl's lesson to the following "structure-endowed entity."
What is the order of the resulting group of automorphisms? |
The above group of
automorphisms plays
a role in what Weyl,
following Eddington,
called a "colorful tale"–
This puzzle shows
that the 4×4 array can
also be viewed in
thousands of ways.
"You can make 322,560
pairs of patterns. Each
pair pictures a different
symmetry of the underlying
16-point space."
— Steven H. Cullinane,
July 17, 2008
For other parts of the tale,
see Ashay Dharwadker,
the Four-Color Theorem,
and Usenet Postings.
On April 16, the Pope’s birthday, the evening lottery number in Pennsylvania was 441. The Log24 entries of April 17 and April 18 supplied commentaries based on 441’s incarnation as a page number in an edition of Heidegger’s writings. Here is a related commentary on a different incarnation of 441. (For a context that includes both today’s commentary and those of April 17 and 18, see Gian-Carlo Rota– a Heidegger scholar as well as a mathematician– on mathematical Lichtung.)
From R. D. Carmichael, Introduction to the Theory of Groups of Finite Order (Boston, Ginn and Co., 1937)– an exercise from the final page, 441, of the final chapter, “Tactical Configurations”–
“23. Let G be a multiply transitive group of degree n whose degree of transitivity is k; and let G have the property that a set S of m elements exists in G such that when k of the elements S are changed by a permutation of G into k of these elements, then all these m elements are permuted among themselves; moreover, let G have the property P, namely, that the identity is the only element in G which leaves fixed the n – m elements not in S. Then show that G permutes the m elements S into
m(m – 1) … (m – k + 1)
This exercise concerns an important mathematical structure said to have been discovered independently by the American Carmichael and by the German Ernst Witt.
For some perhaps more comprehensible material from the preceding page in Carmichael– 440– see Diamond Theory in 1937.
In the context of quantum information theory, the following structure seems to be of interest–
"… the full two-by-two matrix ring with entries in GF(2), M2(GF(2))– the unique simple non-commutative ring of order 16 featuring six units (invertible elements) and ten zero-divisors."
— "Geometry of Two-Qubits," by Metod Saniga (pdf, 17 pp.), Jan. 25, 2007
This ring is another way of looking at the 16 elements of the affine space A4(GF(2)) over the 2-element field. (Arrange the four coordinates of each element– 1's and 0's– into a square instead of a straight line, and regard the resulting squares as matrices.) (For more on A4(GF(2)), see Finite Relativity and related notes at Finite Geometry of the Square and Cube.) Using the above ring, Saniga constructs a system of 35 objects (not unlike the 35 lines of the finite geometry PG(3,2)) that he calls a "projective line" over the ring. This system of 35 objects has a subconfiguration isomorphic to the (2,2) generalized quadrangle W2 (which occurs naturally as a subconfiguration of PG(3,2)– see Inscapes.)
Saniga concludes:
"We have demonstrated that the basic properties of a system of two interacting spin-1/2 particles are uniquely embodied in the (sub)geometry of a particular projective line, found to be equivalent to the generalized quadrangle of order two. As such systems are the simplest ones exhibiting phenomena like quantum entanglement and quantum non-locality and play, therefore, a crucial role in numerous applications like quantum cryptography, quantum coding, quantum cloning/teleportation and/or quantum computing to mention the most salient ones, our discovery thus
- not only offers a principally new geometrically-underlined insight into their intrinsic nature,
- but also gives their applications a wholly new perspective
- and opens up rather unexpected vistas for an algebraic geometrical modelling of their higher-dimensional counterparts."
Conceit
at Harvard
“… there is some virtue in tracking cultural trends in terms of their relation to the classic Trinitarian framework of Christian thought.”
— Description of lectures to be given Monday, Tuesday, and Wednesday of this week (on Father, Son, and Holy Spirit, respectively, and their relationship to “cultural trends”) at Harvard’s Memorial Church
I prefer more-classic trinitarian frameworks– for example,
and the structural trinity
underlying
classic quilt patterns:
Click on pictures for further details.
These mathematical trinities are
conceits in the sense of concepts
or notions; examples of the third
kind of conceit are easily
found, especially at Harvard.
For a possible corrective to
examples of the third kind,
see
To Measure the Changes.
Solemn Dance
Virgil on the Elysian Fields:
Some wrestle on the sands, and some in play And games heroic pass the hours away. Those raise the song divine, and these advance In measur'd steps to form the solemn dance.
(See also the previous two entries.)
"The cover of this issue of the Bulletin is the frontispiece to a volume of Samuel de Fermat’s 1670 edition of Bachet’s Latin translation of Diophantus’s Arithmetica. This edition includes the marginalia of the editor’s father, Pierre de Fermat. Among these notes one finds the elder Fermat’s extraordinary comment [c. 1637] in connection with the Pythagorean equation
— Barry Mazur, Gade University Professor at Harvard
Mazur's concluding remarks are as follows:
Mazur has admitted, at his website, that this conclusion was an error:
"I erroneously identified the figure on the cover as Erato, muse of erotic poetry, but it seems, rather, to be Orpheus."
"Seems"?
The inscription on the frontispiece, "Obloquitur numeris septem discrimina vocum," is from a description of the Elysian Fields in Virgil's Aeneid, Book VI:
His demum exactis, perfecto munere divae, Devenere locos laetos, & amoena vireta Fortunatorum nemorum, sedesque beatas. Largior hic campos aether & lumine vestit Purpureo; solemque suum, sua sidera norunt. Pars in gramineis exercent membra palaestris, Contendunt ludo, & fulva luctanter arena: Pars pedibus plaudunt choreas, & carmina dicunt. Necnon Threicius longa cum veste sacerdos Obloquitur numeris septem discrimina vocum: Jamque eadem digitis, jam pectine pulsat eburno.
PITT: These rites compleat, they reach the flow'ry plains, The verdant groves, where endless pleasure reigns. Here glowing AEther shoots a purple ray, And o'er the region pours a double day. From sky to sky th'unwearied splendour runs, And nobler planets roll round brighter suns. Some wrestle on the sands, and some in play And games heroic pass the hours away. Those raise the song divine, and these advance In measur'd steps to form the solemn dance. There Orpheus graceful in his long attire, In seven divisions strikes the sounding lyre; Across the chords the quivering quill he flings, Or with his flying fingers sweeps the strings. DRYDEN: These holy rites perform'd, they took their way, Where long extended plains of pleasure lay. The verdant fields with those of heav'n may vie; With AEther veiled, and a purple sky: The blissful seats of happy souls below; Stars of their own, and their own suns they know. Their airy limbs in sports they exercise, And on the green contend the wrestlers prize. Some in heroic verse divinely sing, Others in artful measures lead the ring. The Thracian bard surrounded by the rest, There stands conspicuous in his flowing vest. His flying fingers, and harmonious quill, Strike seven distinguish'd notes, and seven at once they fill.
It is perhaps not irrelevant that the late Lorraine Hunt Lieberson's next role would have been that of Orfeo in Gluck's "Orfeo ed Euridice." See today's earlier entries.
The poets among us may like to think of Mazur's own role as that of the lyre:
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