Wednesday, October 2, 2024
Harmonious Resonance: The Offensive TET
Friday, July 5, 2024
Desperately Seeking Harmonious Resonance
From a search in this journal for "harmonious" —
Jung —
“Only gradually did I discover what the mandala really is:
* Faust , Part Two, trans. by Philip Wayne (Harmondsworth,
… Gestaltung, Umgestaltung,
Jung’s “Formation, Transformation” quote is from The speaker is Mephistopheles. |
Update, at 12:23 PM ET, to the above 11:29 AM post —
Saturday, July 10, 2021
Transformers
Memories, Dreams, Reflections
Recorded and edited By Aniela Jaffé, From pages 195-196:
“Only gradually did I discover what the mandala really is:
* Faust , Part Two, trans. by Philip Wayne (Harmondsworth,
… Gestaltung, Umgestaltung,
Jung’s “Formation, Transformation” quote is from The speaker is Mephistopheles. |
"I have too much backstory" — Bryan Cranston, 2012
Or not enough.
Wednesday, March 22, 2017
The Story of Six
On a psychotherapist who died at 86 on Monday —
"He studied mathematics and statistics at the Courant Institute,
a part of New York University — he would later write … a
mathematical fable, Numberland (1987)."
— The New York Times online this evening
From Publishers Weekly
|
See also The Prisoner in this journal.
Tuesday, February 23, 2016
White Mischief
From a post of Christmas Eve, 2012 —
Memories, Dreams, Reflections
Recorded and edited By Aniela Jaffé, From pages 195-196:
“Only gradually did I discover what the mandala really is:
* Faust , Part Two, trans. by Philip Wayne (Harmondsworth,
… Gestaltung, Umgestaltung,
Jung’s “Formation, Transformation” quote is from The speaker is Mephistopheles. |
"Mephistopheles is not your name…" — Sting lyric
"You see, technically, chemistry is the study of matter,
but I prefer to see it as the study of change :
Electrons change their energy levels.
Molecules change their bonds.
Elements combine and change into compounds.
But that's all of life, right? It's the constant, it's the cycle.
It's solution, dissolution. Just over and over and over.
It is growth, then decay, then transformation! .
It is fascinating, really."
— Walter White, Season 1, Ep. 1, "Pilot"
more or less as quoted in huffingtonpost.com
See also Gestaltung in this journal.
Friday, December 18, 2015
Box of Nothing
Images related to the previous post —
Detail of the 1697 Leibniz medal
“And so that I won’t come entirely empty-handed this time, I enclose a design of that which I had the pleasure of discussing with you recently. It is in the form of a memorial coin or medallion; and though the design is mediocre and can be improved in accordance with your judgment, the thing is such, that it would be worth showing in silver now and unto future generations, if it were struck at your Highness’s command. Because one of the main points of the Christian Faith, and among those points that have penetrated least into the minds of the worldly-wise and that are difficult to make with the heathen is the creation of all things out of nothing through God’s omnipotence, it might be said that nothing is a better analogy to, or even demonstration of such creation than the origin of numbers as here represented, using only unity and zero or nothing. And it would be difficult to find a better illustration of this secret in nature or philosophy; hence I have set on the medallion design IMAGO CREATIONIS [in the image of creation]. It is no less remarkable that there appears therefrom, not only that God made everything from nothing, but also that everything that He made was good; as we can see here, with our own eyes, in this image of creation. Because instead of there appearing no particular order or pattern, as in the common representation of numbers, there appears here in contrast a wonderful order and harmony which cannot be improved upon…. Such harmonious order and beauty can be seen in the small table on the medallion up to 16 or 17; since for a larger table, say to 32, there is not enough room. One can further see that the disorder, which one imagines in the work of God, is but apparent; that if one looks at the matter with the proper perspective, there appears symmetry, which encourages one more and more to love and praise the wisdom, goodness, and beauty of the highest good, from which all goodness and beauty has flowed.” |
See also some related posts in this journal.
Friday, March 14, 2014
Monday, December 24, 2012
Eternal Recreation
Memories, Dreams, Reflections
by C. G. Jung
Recorded and edited By Aniela Jaffé, translated from the German
by Richard and Clara Winston, Vintage Books edition of April 1989
From pages 195-196:
"Only gradually did I discover what the mandala really is:
'Formation, Transformation, Eternal Mind's eternal recreation.'*
And that is the self, the wholeness of the personality, which if all
goes well is harmonious, but which cannot tolerate self-deceptions."
* Faust , Part Two, trans. by Philip Wayne (Harmondsworth,
England, Penguin Books Ltd., 1959), p. 79. The original:
… Gestaltung, Umgestaltung,
Des ewigen Sinnes ewige Unterhaltung….
Jung's "Formation, Transformation" quote is from the realm of
the Mothers (Faust , Part Two, Act 1, Scene 5: A Dark Gallery).
The speaker is Mephistopheles.
See also Prof. Bruce J. MacLennan on this realm
in a Web page from his Spring 2005 seminar on Faust:
"In alchemical terms, F is descending into the dark, formless
primary matter from which all things are born. Psychologically
he is descending into the deepest regions of the
collective unconscious, to the source of life and all creation.
Mater (mother), matrix (womb, generative substance), and matter
all come from the same root. This is Faust's next encounter with
the feminine, but it's obviously of a very different kind than his
relationship with Gretchen."
The phrase "Gestaltung, Umgestaltung " suggests a more mathematical
approach to the Unterhaltung . Hence…
Part I: Mothers
"The ultimate, deep symbol of motherhood raised to
the universal and the cosmic, of the birth, sending forth,
death, and return of all things in an eternal cycle,
is expressed in the Mothers, the matrices of all forms,
at the timeless, placeless originating womb or hearth
where chaos is transmuted into cosmos and whence
the forms of creation issue forth into the world of
place and time."
— Harold Stein Jantz, The Mothers in Faust:
The Myth of Time and Creativity ,
Johns Hopkins Press, 1969, page 37
Part II: Matrices
Part III: Spaces and Hypercubes
Click image for some background.
Part IV: Forms
Forms from the I Ching :
Click image for some background.
Forms from Diamond Theory :
Click image for some background.
Friday, December 25, 2009
Brightness at Noon
New York Times online front page
Christmas morning:
"Arthur Koestler, Man of Darkness"–
The photo is of Koestler in 1931 on a zeppelin expedition to the North Pole.
"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
From Opus Postumum by Immanuel Kant, Eckart Förster, Cambridge U. Press, 1995, p. 260:
"In January 1697, Leibniz accompanied his New Year Congratulations to Rudolf August with the design of a medal with the duke's likeness on one side, and the 'image of Creation' in terms of the binary number system on the other. Concerning the inscription on this side, Leibniz writes: 'I have thought for a while about the Motto dell'impresa and finally have found it good to write this line: omnibus ex nihilo ducendis SUFFICIT UNUM [To make all things from nothing, UNITY SUFFICES], because it clearly indicates what is meant by the symbol, and why it is imago creationis' (G. F. Leibniz, Zwei Briefe über das binäre Zahlensystem und die chinesische Philosophie, ed. Renate Loosen and Franz Vonessen, Chr. Belser Verlag: Stuttgart 1968, p. 21)."
Figure from Rudolf Nolte’s
Gottfried Wilhelms Baron von Leibniz
Mathematischer Beweis der Erschaffung und
Ordnung der Welt in einem Medallion…
(Leipzig: J. C. Langenheim, 1734).
"And so that I won’t come entirely empty-handed this time, I enclose a design of that which I had the pleasure of discussing with you recently. It is in the form of a memorial coin or medallion; and though the design is mediocre and can be improved in accordance with your judgment, the thing is such, that it would be worth showing in silver now and unto future generations, if it were struck at your Highness’s command. Because one of the main points of the Christian Faith, and among those points that have penetrated least into the minds of the worldly-wise and that are difficult to make with the heathen is the creation of all things out of nothing through God’s omnipotence, it might be said that nothing is a better analogy to, or even demonstration of such creation than the origin of numbers as here represented, using only unity and zero or nothing. And it would be difficult to find a better illustration of this secret in nature or philosophy; hence I have set on the medallion design IMAGO CREATIONIS [in the image of creation]. It is no less remarkable that there appears therefrom, not only that God made everything from nothing, but also that everything that He made was good; as we can see here, with our own eyes, in this image of creation. Because instead of there appearing no particular order or pattern, as in the common representation of numbers, there appears here in contrast a wonderful order and harmony which cannot be improved upon….
Such harmonious order and beauty can be seen in the small table on the medallion up to 16 or 17; since for a larger table, say to 32, there is not enough room. One can further see that the disorder, which one imagines in the work of God, is but apparent; that if one looks at the matter with the proper perspective, there appears symmetry, which encourages one more and more to love and praise the wisdom, goodness, and beauty of the highest good, from which all goodness and beauty has flowed."
See also Parable.
Saturday, November 8, 2008
Saturday November 8, 2008
AEDIFICABO ECCLESIAM
MEAM ET PORTAE INFERI
NON PRAEVALEBUNT
ADVERSUS EAM
Benedict XVI, before he became Pope:
“… a purely harmonious concept of beauty is not enough…. Apollo, who for Plato’s Socrates was ‘the God’ and the guarantor of unruffled beauty as ‘the truly divine’ is absolutely no longer sufficient.”
“The lapis manalis (Latin: ‘stone of the Manes‘) was a name given to two sacred stones used in the Roman religion. One covered a gate to Hades, abode of the dead….
One such stone covered the mundus Cereris, a pit thought to contain an entrance to the underworld….
The… mundus was located in the Comitium, on the Palatine Hill. This stone was ceremonially opened three times a year, during which spirits of the blessed dead (the Manes) were able to commune with the living. The three days upon which the mundus was opened were August 24, October 5, and November 8. Fruits of the harvest were offered to the dead at this time.”
Log24 on
August 24,
October 5, and
November 8.
Wednesday, July 18, 2007
Wednesday July 18, 2007
— Pope Benedict XVI
in Brazil on May 13
Yesterday in
the Keystone State:
“There are two ways of knowing things, knowing them immediately or intuitively, and knowing them conceptually or representatively. Altho such things as the white paper before our eyes can be known intuitively, most of the things we know, the tigers now in India, for example, or the scholastic system of philosophy, are known only representatively or symbolically.
Suppose, to fix our ideas, that we take first a case of conceptual knowledge, and let it be our knowledge of the tigers in India, as we sit here. Exactly what do we mean by saying that we here know the tigers? ….
Most men would answer that what we mean by knowing the tigers is having them, however absent in body, become in some way present to our thought…. At the very least, people would say that what we mean by knowing the tigers is mentally pointing towards them as we sit here….
… The pointing of our thought to the tigers is known simply and solely as a procession of mental associates and motor consequences that follow on the thought, and that would lead harmoniously, if followed out, into some ideal or real context, or even into the immediate presence, of the tigers….
… In all this there is no self-transcendency in our mental images taken by themselves. They are one phenomenal fact; the tigers are another; and their pointing to the tigers is a perfectly commonplace intra-experiential relation, if you once grant a connecting world to be there. In short, the ideas and the tigers are in themselves as loose and separate, to use Hume’s language, as any two things can be, and pointing means here an operation as external and adventitious as any that nature yields.
I hope you may agree with me now that in representative knowledge there is no special inner mystery, but only an outer chain of physical or mental intermediaries connecting thought and thing. To know an object is here to lead to it through a context which the world supplies….
Let us next pass on to the case of immediate or intuitive acquaintance with an object, and let the object be the white paper before our eyes…. What now do we mean by ‘knowing’ such a sort of object as this? For this is also the way in which we should know the tiger if our conceptual idea of him were to terminate by having led us to his lair?
… the paper seen and the seeing of it are only two names for one indivisible fact which, properly named, is the datum, the phenomenon, or the experience. The paper is in the mind and the mind is around the paper, because paper and mind are only two names that are given later to the one experience, when, taken in a larger world of which it forms a part, its connections are traced in different directions.1“
James’s The Varieties of
Religious Experience.
“The Tigers in India” is
only a part of a 20-page
James address originally titled
“The Knowing of Things Together“
(my emphasis).
Wednesday, May 23, 2007
Wednesday May 23, 2007
to geometry"
— Attributed to Euclid
There are, however, various non-royal roads. One of these is indicated by yesterday's Pennsylvania lottery numbers:
The mid-day number 515 may be taken as a reference to 5/15. (See the previous entry, "Angel in the Details," and 5/15.)
The evening number 062, in the context of Monday's entry "No Royal Roads" and yesterday's "Jewel in the Crown," may be regarded as naming a non-royal road to geometry: either U. S. 62, a major route from Mexico to Canada (home of the late geometer H.S.M. Coxeter), or a road less traveled– namely, page 62 in Coxeter's classic Introduction to Geometry (2nd ed.):
of regular tessellations of the plane.
This topic Coxeter offers as an
illustration of remarks by G. H. Hardy
that he quotes on the preceding page:
Another example of strong emergence: a group of 322,560 transformations acting naturally on the 4×4 square grid— a much larger group than the group of 8 symmetries of each component (square) part.
The lottery numbers above also supply an example of strong emergence– one that nicely illustrates how it can be, in the words of Mark Bedau, "uncomfortably like magic."
(Those more comfortable with magic may note the resemblance of the central part of Coxeter's illustration to a magical counterpart– the Ojo de Dios of Mexico's Sierra Madre.)
Saturday, September 16, 2006
Saturday September 16, 2006
Pandora's Box
Part I:
The Pandora Cross
— Rosalind Krauss in "Grids"
Part II:
The Opening
Remarks by the Pope on Sept. 12,
as reported by the Vatican:
Faith, Reason, and the University:
Memories and Reflections
For the result of
the Pope's remarks, see
a transcript of
yesterday's Google News
and the following
from BBC today:
Click to enlarge the screenshot.
Part III:
Hope
"In September [2005], she had a private audience with Pope Benedict XVI at Castel Gandolfo, his summer residence outside Rome. She had criticized John Paul II for making overtures to Muslims, and for not condemning terrorism heartily enough, but she has hopes for Joseph Ratzinger."
For further details, see yesterday's Log24.
Part IV:
The Sibyl's Song
— From The Magic Circle,
a spiritual narrative
by Katherine Neville
For more on "the long-mute voice
of the past," on "darkness beneath
the volcano," and on uncorking,
see Glory Season and Harrowing.
Related material from
Log24 on Dec. 2, 2005:
Benedict XVI, before he became Pope:
and a related
Christian symbol,
the Greek Cross
(adapted from
Ad Reinhardt).
Moral of the Pandora Cross:
"Nine is a very powerful Nordic number."
— Katherine Neville in The Magic Circle…
quoted in The Nine, a Log24 entry
for Hermann Weyl's birthday,
November 9, 2004.
Wednesday, July 5, 2006
Wednesday July 5, 2006
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:
Friday, December 2, 2005
Friday December 2, 2005
“… a purely harmonious concept of beauty is not enough…. Apollo, who for Plato’s Socrates was ‘the God’ and the guarantor of unruffled beauty as ‘the truly divine’ is absolutely no longer sufficient.”
symbol of Apollo
as the source of
a Christian symbol–
the Greek Cross.
Related material:
The play
“now then again“
(Time-Bending Love Story
Comes Home to Fermilab)
with cover art by Roz Francis
illustrating the time 8:05:19,
Hexagram 19 in the
Cullinane series
(“A dance results”
— Marie-Louise von Franz),
and
Paul Preuss on Apollo,
quantum physics, and
the isle of Delos.