Digital . . .
Physical . . .
Conceptual . . .
Tom McCarthy today on a new novel about von Neumann at Los Alamos:
"Beyond its mid-20th-century viewfinder, though, it quickly becomes clear that what The Maniac is really trying to get a lock on is our current age of digital-informational mastery and subjection." "Amid — or, more aptly, beneath — the panoply of brilliant men in The Maniac , women function as bit players. At Los Alamos they’re even called 'computers,' since they carry out the secondary, workaday calculations that are then fed upward for male geniuses to work their magic on. But does von Neumann really deserve the title 'Father of Computers,' granted him here by his first wife, Mariette Kovesi? Doesn’t Ada Lovelace have a prior claim as their mother?" |
See also remarks on Digital Space and Digital Time in this journal.
Such remarks can, of course, easily verge on crackpot territory.
For some related pure mathematics, see Symmetry of Walsh Functions.
Part I — Roberta Smith in today's New York Times —
"… the argument that painting may ultimately be about
little more than the communication of some quality of
light and space, however abstract or indirect."
– Review of "Rooms With a View" at the Met
Pictorial version |
“Space: what you damn well have to see.”
– James Joyce, Ulysses
Part II — Window from A Crooked House
"Teal lifted the blind a few inches. He saw nothing, and raised it a little more—still nothing. Slowly he raised it until the window was fully exposed. They gazed out at—nothing.
Nothing, nothing at all. What color is nothing? Don't be silly! What shape is it? Shape is an attribute of something . It had neither depth nor form. It had not even blackness. It was nothing ."
Part III — Not So Crooked: The Cabinet of Dr. Montessori
An April 5 Wall Street Journal article on Montessori schools, and…
A cabinet from Dr. Montessori's own
explanation of her method
Part IV — Pilate Goes to Kindergarten and The Seven
A Log24 post, "Bridal Birthday," one year ago today linked to
"The Discrete and the Continuous," a brief essay by David Deutsch.
From that essay—
"The idea of quantization—
the discreteness of physical quantities—
turned out to be immensely fruitful."
Deutsch's "idea of quantization" also appears in
the April 12 Log24 post Mythopoetic—
"Is Space Digital?" — Cover story, Scientific American "The idea that space may be digital — Physicist Sabine Hossenfelder "A quantization of space/time — Peter Woit in a comment |
It seems some clarification is in order.
Hossenfelder's "The idea that space may be digital"
and Woit's "a quantization of space/time" may not
refer to the same thing.
Scientific American on the concept of digital space—
"Space may not be smooth and continuous.
Instead it may be digital, composed of tiny bits."
Wikipedia on the concept of quantization—
Causal sets, loop quantum gravity, string theory,
and black hole thermodynamics all predict
a quantized spacetime….
For a purely mathematical approach to the
continuous-vs.-discrete issue, see
Finite Geometry and Physical Space.
The physics there is somewhat tongue-in-cheek,
but the geometry is serious.The issue there is not
continuous-vs.-discrete physics , but rather
Euclidean-vs.-Galois geometry .
Both sorts of geometry are of course valid.
Euclidean geometry has long been applied to
physics; Galois geometry has not. The cited
webpage describes the interplay of both sorts
of geometry— Euclidean and Galois, continuous
and discrete— within physical space— if not
within the space of physics.
"Is Space Digital?"
— Cover story, Scientific American magazine, February 2012
"The idea that space may be digital
is a fringe idea of a fringe idea
of a speculative subfield of a subfield."
— Physicist Sabine Hossenfelder
at her weblog on Feb. 5, 2012
"A quantization of space/time
is a holy grail for many theorists…."
— Peter Woit in a comment at his physics weblog today
See also
* See yesterday's Steiner's Systems.
"I've got a brand new pair of roller skates,
you've got a brand new key." — Song lyric
From OSF . . . "According to Derrida, to break with its original context and with its situation of production entirely is the ability of, and even a necessity for, the written. With this argument, Derrida moves the author and their communicative intent to the margins and frees up space to approach meaning from another side, stressing the independence of writing from its speaker. Among the positions that take this independence even further is Susanne Langer's approach towards meaning. Long before Derrida, she suggested in her chapter 'The logic of signs and symbols' that we should understand meaning not as a relation to an author at all. Influenced by music and musical notation, she defines meaning instead as the function of a term from which a pattern emerges:
It is better, perhaps, to say: 'Meaning is not a Langer's approach towards meaning as a function puts the relation to other terms in the foreground, the pattern a term is part of and linked to. From her perspective, strongly informed by thinking of meaning-making in music, this seems obvious. In music, no note holds meaning for itself. It is in the relation between notes that meaning emerges, and Large Language Models approach language in a similar manner." Reference: Langer, Susanne K., 1948 [1954]. Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art. Mentor Book. |
Transcribed from a PDF:
Received September 29, 2019, accepted October 15, 2019, Digital Object Identifier 10.1109/ACCESS.2019.2949310
A Method for Determining
ZIYU WANG1 , XIAO ZENG1 , JINZHAO WU2,3, AND
1Big Data Research Center, School of Computer Science
2Guangxi Key Laboratory of Hybrid Computation and
3School of Computer and Electronic Information,
Corresponding authors:
This work was supported in part by the National Natural Science Foundation
ABSTRACT
INDEX TERMS Logic synthesis, Boolean functions, |
Meanwhile . . .
Yesterday morning's post "First Step" quoted an essay by Michael Spitzer
published online in Aeon on October 18 —
https://aeon.co/essays/
can-music-give-you-an-orgasm-the-short-answer-is-yes .
A look at earlier essays in that publication reveals . . .
Related material — From a search for Wertheim in this journal —
“Space: what you
damn well have to see.”
— James Joyce, Ulysses
" In 2017, Milioti appeared in the fourth season of
the sci-fi anthology show Black Mirror in the episode
"USS Callister" as Nanette Cole, a newly employed
game developer whose digital recreation becomes
trapped in a virtual simulator game.[16] "
16. Strause, Jackie (December 30, 2017).
"'Black Mirror': Cristin Milioti on Battling a "Misogynistic Bully"
in Empowering Space Epic". The Hollywood Reporter.
Retrieved June 22, 2021.
Today’s earlier post “Binary Coordinates” discussed a Dec. 6
revision to the Wikipedia article on PG(3,2), the projective
geometry of 3 dimensions over the 2-element field GF(2).
The revision, which improved the article, was undone later today
by a clueless retired academic, one William “Bill” Cherowitzo,
a professor emeritus of mathematics at U. of Colorado at Denver.
(See his article “Adventures of a Mathematician in Wikipedia-land,”
MAA Focus , December 2014/January 2015.)
See my earlier remarks on this topic . . . specifically, on this passage —
“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.”
As I noted on November 17, this is bullshit. Apparently Cherowitzo
never bothered to find out that an arbitrary “3-(16,4,1) block design”
(an example of a Steiner quadruple system ) does not yield a PG(3,2).
PG(3,2) is derived from the classical 3-(16,4,1) block design formed by the affine
space of 4 dimensions over GF(2). That design has 322,560 automorphisms.
In contrast, see a 3-(16,4,1) block design that is automorphism-free.
"Hello! Kinch here. Put me on to Edenville.
Aleph, alpha: nought, nought, one."
"A very short space of time through very short times of space….
Am I walking into eternity along Sandymount strand?"
— James Joyce, Ulysses , Proteus chapter
See also the previous post and Masks of the Illuminati .
The previous post quoted Holland Cotter's description of
the late Ellsworth Kelly as one who might have admired
"the anonymous role of the Romanesque church artist."
Work of a less anonymous sort was illustrated today by both
The New York Times and The Washington Post —
The Post 's remarks are of particular interest:
Philip Kennicott in The Washington Post , Dec. 28, 2015, “Sculpture for a Large Wall” consisted of 104 anodized aluminum panels, colored red, blue, yellow and black, and laid out on four long rows measuring 65 feet. Each panel seemed different from the next, subtle variations on the parallelogram, and yet together they also suggested a kind of language, or code, as if their shapes, colors and repeating patterns spelled out a basic computer language, or proto-digital message. The space in between the panels, and the shadows they cast on the wall, were also part of the effect, creating a contrast between the material substance of the art, and the cascading visual and mental ideas it conveyed. The piece was playful, and serious; present and absent; material and imaginary; visually bold and intellectually diaphanous. Often, with Kelly, you felt as if he offered up some ideal slice of the world, decontextualized almost to the point of absurdity. A single arc sliced out of a circle; a single perfect rectangle; one bold juxtaposition of color or shape. But when he allowed his work to encompass more complexity, to indulge a rhetoric of repetition, rhythmic contrasts, and multiple self-replicating ideas, it began to feel like language, or narrative. And this was always his best mode. |
Compare and contrast a 2010 work by Josefine Lyche —
Lyche's mirrors-on-the-wall installation is titled
"The 2×2 Case (Diamond Theorem)."
It is based on a smaller illustration of my own.
These variations also, as Kennicott said of Kelly's,
"suggested a kind of language, or code."
This may well be the source of their appeal for Lyche.
For me, however, such suggestiveness is irrelevant to the
significance of the variations in a larger purely geometric
context.
This context is of course quite inaccessible to most art
critics. Steve Martin, however, has a phrase that applies
to both Kelly's and Lyche's installations: "wall power."
See a post of Dec. 15, 2010.
This is a sequel to the previous post and to the Oct. 24 post
Two Views of Finite Space. From the latter —
” ‘All you need to do is give me your soul:
give up geometry and you will have this
marvellous machine.’ (Nowadays you
can think of it as a computer!) “
“For every kind of vampire, there is a kind of cross.” — Gravity’s Rainbow
“I don’t write exclusively on Jewish themes or about Jewish characters.
My collection of short stories, Strange Attractors , contained nine pieces,
five of which were, to some degree, Jewish, and this ratio has provided me
with a precise mathematical answer (for me, still the best kind of answer)
to the question of whether I am a Jewish writer. I am five-ninths a Jewish writer.”
— Rebecca Goldstein, “Against Logic”
Midrashim for Rebecca:
The Diamond Theory vs. the Story Theory (of truth)
Story Theory and the Number of the Beast
The Palm Sunday post “Gray Space”
For those who prefer the diamond theory of truth,
a “precise mathematical” view of a Gray code —
For those who prefer the story theory of truth,
Thursday with the Nashes —
The actors who portrayed Mr. and Mrs. John Nash in
‘A Beautiful Mind’ now portray Mr. and Mrs. Noah…
"Any sufficiently advanced technology is indistinguishable from magic."
"The HP/Autonomy Debacle," by John C. Dvorak at pcmag.com on Tuesday, Nov. 20, 2012—
"The whole Autonomy thing was weird since the company seemed to be performing magic. On co-founder Michael Richard Lynch's Wikipedia page, the company is described as 'a leader in the area of computer understanding of unstructured information, an area which is becoming known as meaning-based computing .'
I do not know how gullible HP's board of directors is, but when I see the sudden emergence of something called 'meaning-based computing,' the alarms sound and the bullcrap meter begins to tag the red line."
A story by Terence K. Huwe in Online magazine, Sept.-Oct. 2011, defines meaning-based computing (MBC), discusses Autonomy , and llnks to…
John Markoff in The New York Times , March 4, 2011—
"Engineers and linguists at Cataphora, an information-sifting company based in Silicon Valley, have their software mine documents for the activities and interactions of people— who did what when, and who talks to whom. The software seeks to visualize chains of events. It identifies discussions that might have taken place across e-mail, instant messages and telephone calls.
Then the computer pounces, so to speak, capturing 'digital anomalies' that white-collar criminals often create in trying to hide their activities.
For example, it finds 'call me' moments— those incidents when an employee decides to hide a particular action by having a private conversation. This usually involves switching media, perhaps from an e-mail conversation to instant messaging, telephone or even a face-to-face encounter."
For example…
Today's previous post, on the Feb. 2012 Scientific American
article "Is Space Digital?", suggested a review of a notion
that the theoretical physicist John Archibald Wheeler called
pregeometry .
From a paper on that topic—
"… the idea that geometry should constitute
'the magic building material of the universe'
had to collapse on behalf of what Wheeler
has called pregeometry (see Misner et al. 1973,
pp. 1203-1212; Wheeler 1980), a somewhat
indefinite term which expresses “a combination
of hope and need, of philosophy and physics
and mathematics and logic” (Misner et al. 1973,
p. 1203)."
— Jacques Demaret, Michael Heller, and
Dominique Lambert, "Local and Global Properties
of the World," preprint of paper published in
Foundations of Science 2 (1): 137-176
Misner, C. W., Thorne, K. S. and Wheeler, J. A.
1973, Gravitation , W.H. Freeman and Company:
San Francisco.
Wheeler, J.A. 1980, "Pregeometry: Motivations
and Prospects," in: Quantum Theory and Gravitation ,
ed. A.R. Marlow, Academic Press: New York, pp. 1-11.
Some related material from pure mathematics—
Click image for further details.
Physics
The February 2012 issue of Scientific American
has a cover article titled "Is Space Digital?".
The article discusses whether physical space
"is made of chunks. Blocks. Bits."
Maybe it is, maybe it isn't.
Geometry
The word "space" in pure mathematics
(as opposed to physics) applies to
a great variety of structures.
Some are continuous, some are not.
For some purely mathematical structures
that are not continuous, (i.e., are made of
"chunks, blocks, bits") see finitegeometry.org/sc —
in particular, the pages on Finite Geometry and Physical Space
and on Noncontinuous Groups.
The geometry of these structures may or may not eventually
be relevant to the "21st-century physics" discussed
in the February Scientific American.
McLuhan in Space by Richard Cavell—
As the word "through" in the title of Through the Vanishing Point □ hints… key reference points for McLuhan and Parker in writing Through the Vanishing Point were the "Alice" books.
[The footnote symbol □ here is mine.]
Alice Rae, McLuhan's Unconscious, doctoral dissertation, School of History and Politics, University of Adelaide, May 2008—
What McLuhan calls the "unconscious"' is more often named by him as Logos, "acoustic space" or the "media environment," and I trace the debts that these concepts owe not only to Freud and Jung, but to Aristotle, St. Thomas Aquinas, gestalt theory, art theory, Henri Bergson, Pierre Teilhard de Chardin, Wyndham Lewis, Siegfried Giedion, Harold Innis, the French symbolist poets of the late nineteenth century and the British modernists of the early twentieth.
The declaration section of the thesis is dated November 19, 2008.
Related material— Halloween 2005 and The Gospel According to Father Hardon.
□ A work suggested by Ander Monson's new Vanishing Point . (See April 17 and April 23, together with the April 22 picture of a non-Euclidean point □ in the context of "The Seventh Symbol.")
From a 1984 book review:
"After three decades of intensive research by hundreds of group theorists, the century old problem of the classification of the finite simple groups has been solved and the whole field has been drastically changed. A few years ago the one focus of attention was the program for the classification; now there are many active areas including the study of the connections between groups and geometries, sporadic groups and, especially, the representation theory. A spate of books on finite groups, of different breadths and on a variety of topics, has appeared, and it is a good time for this to happen. Moreover, the classification means that the view of the subject is quite different; even the most elementary treatment of groups should be modified, as we now know that all finite groups are made up of groups which, for the most part, are imitations of Lie groups using finite fields instead of the reals and complexes. The typical example of a finite group is
— Jonathan L. Alperin,
review of books on group theory,
Bulletin (New Series) of the American
Mathematical Society 10 (1984) 121, doi:
10.1090/S0273-0979-1984-15210-8
The same example
at Wolfram.com:
Citation data from Wolfram.com:
"GL(2,p) and GL(3,3) Acting on Points"
from The Wolfram Demonstrations Project,
http://demonstrations.wolfram.com/GL2PAndGL33ActingOnPoints/,
Contributed by: Ed Pegg Jr"
As well as displaying Cullinane's 48 pictures of group actions from 1985, the Pegg program displays many, many more actions of small finite general linear groups over finite fields. It illustrates Cullinane's 1985 statement:
"Actions of GL(2,p) on a p×p coordinate-array have the same sorts of symmetries, where p is any odd prime."
Pegg's program also illustrates actions on a cubical array– a 3×3×3 array acted on by GL(3,3). For some other actions on cubical arrays, see Cullinane's Finite Geometry of the Square and Cube.
"Have your people
call my people."
— George Carlin
Diamond life, lover boy;
we move in space
with minimum waste
and maximum joy.
— Sade, quoted here on
Lincoln's Birthday, 2003
This is perhaps suitable
for the soundtrack of
the film "Blockheads"
(currently in development)–
Related material from Wikipedia:
"Uta Frith, in her book Autism: Explaining the Enigma,[5] addresses the superior performance of autistic individuals on the block design [link not in Wikipedia] test. This was also addressed in [an] earlier paper.[6] A particularly interesting article demonstrates the differences in construction time in the performance of the block design task by Asperger syndrome individuals and non-Asperger's individuals. An essential point here is that in an unsegmented version of the task, Asperger's individuals performed dramatically faster than non-Asperger's individuals: [7]."
5. Frith, Uta (2003). Autism: explaining the enigma (2nd ed. ). Cambridge, MA: Blackwell Pub. ISBN 0-631-22901-9.
6. Shah A, Frith U (Nov 1993). "Why do autistic individuals show superior performance on the block design task?". J Child Psychol Psychiatry 34 (8): 1351–64. PMID 8294523.
7. Caron MJ, Mottron L, Berthiaume C, Dawson M (Jul 2006). "Cognitive mechanisms, specificity and neural underpinnings of visuospatial peaks in autism". Brain 129 (Pt 7): 1789–802. doi: . PMID 16597652. "Fig 3".
Related material from a film (see Calvinist Epiphany, June 17):
For the relevance of this maxim to autism, see Markoff Process (March 4, 2009).
Earendil_Silmarils:
Les Anamorphoses:
"Pour construire un dessin en perspective,
le peintre trace sur sa toile des repères:
la ligne d'horizon (1),
le point de fuite principal (2)
où se rencontre les lignes de fuite (3)
et le point de fuite des diagonales (4)."
_______________________________
Serge Mehl,
Perspective &
Géométrie Projective:
"… la géométrie projective était souvent
synonyme de géométrie supérieure.
Elle s'opposait à la géométrie
euclidienne: élémentaire…
La géométrie projective, certes supérieure
car assez ardue, permet d'établir
de façon élégante des résultats de
la géométrie élémentaire."
Similarly…
Finite projective geometry
(in particular, Galois geometry)
is certainly superior to
the elementary geometry of
quilt-pattern symmetry
and allows us to establish
de façon élégante
some results of that
elementary geometry.
Other Related Material…
from algebra rather than
geometry, and from a German
rather than from the French:
"This is the relativity problem:
to fix objectively a class of
equivalent coordinatizations
and to ascertain
the group of transformations S
mediating between them."
— Hermann Weyl,
The Classical Groups,
Princeton U. Press, 1946
Evariste Galois
Weyl also says that the profound branch
of mathematics known as Galois theory
"Perhaps every science must
start with metaphor
and end with algebra;
and perhaps without metaphor
there would never have been
any algebra."
For metaphor and
algebra combined, see
A.M.S. abstract 79T-A37,
Notices of the
American Mathematical Society,
February 1979, pages A-193, 194 —
the original version of the 4×4 case
of the diamond theorem.
"When approaching unfamiliar territory, we often, as observed earlier, try to describe or frame the novel situation using metaphors based on relations perceived in a familiar domain, and by using our powers of association, and our ability to exploit the structural similarity, we go on to conjecture new features for consideration, often not noticed at the outset. The metaphor works, according to Max Black, by transferring the associated ideas and implications of the secondary to the primary system, and by selecting, emphasising and suppressing features of the primary in such a way that new slants on it are illuminated."
— Paul Thompson, University College, Oxford,
The Nature and Role of Intuition
in Mathematical Epistemology
That intuition, metaphor (i.e., analogy), and association may lead us astray is well known. The examples of French perspective above show what might happen if someone ignorant of finite geometry were to associate the phrase "4×4 square" with the phrase "projective geometry." The results are ridiculously inappropriate, but at least the second example does, literally, illuminate "new slants"– i.e., diagonals– within the perspective drawing of the 4×4 square.
Similarly, analogy led the ancient Greeks to believe that the diagonal of a square is commensurate with the side… until someone gave them a new slant on the subject.
Elementary,
My Dear Gropius
“What is space, how can it be understood and given a form?”
— Walter Gropius
Stoicheia,” Elements, is the title of
Euclid’s treatise on geometry.
Stoicheia is apparently also related to a Greek verb meaning “march” or “walk.”
According to a website on St. Paul’s phrase “ta stoicheia tou kosmou,” which might be translated
“… the verbal form of the root stoicheo was used to mean, ‘to be in a line,’ ‘to march in rank and file.’ … The general meaning of the noun form (stoicheion) was ‘what belongs to a series.’ “
As noted in my previous entry, St. Paul used a form of stoicheo to say “let us also walk (stoichomen) by the Spirit.” (Galatians 5:25) The lunatic ravings* of Saul of Tarsus aside, the concepts of walking, of a spirit, and of elements may be combined if we imagine the ghost of Gropius strolling with the ghosts of Plato, Aristotle, and Euclid, and posing his question about space. Their reply might be along the following lines:
Combining stoicheia with a peripatetic peripateia (i.e., Aristotelian plot twist), we have the following diagram of Aristotle’s four stoicheia (elements),
which in turn is related, by the “Plato’s diamond” figure in the monograph Diamond Theory, to the Stoicheia, or Elements, of Euclid.
Quod erat demonstrandum.
* A phrase in memory of the Paulist Norman J. O’Connor, the “jazz priest” who died on St. Peter’s day, Sunday, June 29, 2003. Paulists are not, of course, entirely mad; the classic The Other Side of Silence: A Guide to Christian Meditation, by the Episcopal priest Morton Kelsey, was published by the Paulist Press.
Its cover (above), a different version of the four-elements theme, emphasizes the important Jungian concept of quaternity. Jung is perhaps the best guide to the bizarre world of Christian symbolism. It is perhaps ironic, although just, that the Paulist Fathers should distribute a picture of “ta stoicheia tou kosmou,” the concept that St. Paul himself railed against.
The above book by Kelsey should not be confused with another The Other Side of Silence, a work on gay history, although confusion would be understandable in light of recent ecclesiastical revelations.
Let us pray that if there is a heaven, Father O’Connor encounters there his fellow music enthusiast Cole Porter rather than the obnoxious Saul of Tarsus.
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