Log24

Wednesday, October 2, 2024

Harmonious Resonance:  The Offensive TET

Filed under: General — Tags: — m759 @ 10:22 am

Friday, July 5, 2024

Desperately Seeking Harmonious Resonance

Filed under: General — Tags: — m759 @ 11:29 am

From a search in this journal for "harmonious" —

Jung —

“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.

 

Update, at 12:23 PM ET, to the above 11:29 AM post —


Saturday, July 10, 2021

Transformers

Filed under: General — Tags: , , — m759 @ 11:33 am

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.

"I have too much backstory" — Bryan Cranston, 2012

Or not enough.

Wednesday, March 22, 2017

The Story of Six

Filed under: General,Geometry — Tags: , , — m759 @ 8:01 pm

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

This wry parable by a psychotherapist contains one basic message: though death is inevitable, each moment in life is to be cherished. In the orderly but sterile kingdom of Numberland, digits live together harmoniously under a rigid president called The Professor. Their stable society is held intact by the firm conviction that they are immortal: When has a number ever died? This placid universe is plunged into chaos when the inquisitive hero SIX crosses over into the human world and converses with a young mathematician. This supposedly impossible transition convinces the ruling hierarchy that if SIX can talk to a mortal, then the rest of the numbers are, after all, mortal. The digits conclude that any effort or achievement is pointless in the face of inevitable death, and the cipher society breaks down completely. The solution? Banish SIX to the farthest corners of kingdom. Weinberg (The Heart of Psychotherapy ) uses his fable to gently satirize the military, academics, politicians and, above all, psychiatrists. But his tale is basically inspirational; a triumphant SIX miraculously returns from exile and quells the turmoil by showing his fellow digits that knowledge of one's mortality should enrich all other experiences and that death ultimately provides a frame for the magnificent picture that is life. 

Copyright 1987 Reed Business Information, Inc.

See also The Prisoner in this journal.

Tuesday, February 23, 2016

White Mischief

Filed under: General — m759 @ 11:29 am

From a post of Christmas Eve, 2012 —

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.

"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

Filed under: General,Geometry — Tags: — m759 @ 9:00 pm

Images related to the previous post

Detail of the 1697 Leibniz medal

Leibniz, letter of 1697:

“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

Quotation

Filed under: General — Tags: , , — m759 @ 1:09 pm

Edward Frenkel in a vulgar and stupid
LA Times  opinion piece, March 2, 2014 —

"In the words of the great mathematician Henri Poincare, mathematics is valuable because 'in binding together elements long-known but heretofore scattered and appearing unrelated to one another, it suddenly brings order where there reigned apparent chaos.' "

My attempts to find the source of these alleged words of Poincaré were fruitless.* Others may have better luck.

The search for Poincaré's words did, however, yield the following passage —

HENRI POINCARÉ
THE FUTURE OF MATHEMATICS

If a new result is to have any value, it must unite elements long since known, but till then scattered and seemingly foreign to each other, and suddenly introduce order where the appearance of disorder reigned. Then it enables us to see at a glance each of these elements in the place it occupies in the whole. Not only is the new fact valuable on its own account, but it alone gives a value to the old facts it unites. Our mind is frail as our senses are; it would lose itself in the complexity of the world if that complexity were not harmonious; like the short-sighted, it would only see the details, and would be obliged to forget each of these details before examining the next, because it would- be incapable of taking in the whole. The only facts worthy of our attention are those which introduce order into this complexity and so make it accessible to us.

Mathematicians attach a great importance to the elegance of their methods and of their results, and this is not mere dilettantism. What is it that gives us the feeling of elegance in a solution or a demonstration? It is the harmony of the different parts, their symmetry, and their happy adjustment; it is, in a word, all that introduces order, all that gives them unity, that enables us to obtain a clear comprehension of the whole as well as of the parts. But that is also precisely what causes it to give a large return; and in fact the more we see this whole clearly and at a single glance, the better we shall perceive the analogies with other neighbouring objects, and consequently the better chance we shall have of guessing the possible generalizations. Elegance may result from the feeling of surprise caused by the unlooked-for occurrence together of objects not habitually associated. In this, again, it is fruitful, since it thus discloses relations till then unrecognized. It is also fruitful even when it only results from the contrast between the simplicity of the means and the complexity of the problem presented, for it then causes us to reflect on the reason for this contrast, and generally shows us that this reason is not chance, but is to be found in some unsuspected law. ….

HENRI POINCARÉ
L'AVENIR DES MATHÉMATIQUES

Si un résultat nouveau a du prix, c'est quand en reliant des éléments connus depuis longtemps, mais jusque-là épars et paraissant étrangers les uns aux autres, il introduit subitement l'ordre là où régnait l'apparence du désordre. Il nous permet alors de voir d'un coup d'œil chacun de ces éléments et la place qu'il occupe dans l'ensemble. Ce fait nouveau non-seulement est précieux par lui-même, mais lui seul donne leur valeur à tous les faits anciens qu'il relie. Notre esprit est infirme comme le sont nos sens; il se perdrait dans la complexité du monde si cette complexité n'était harmonieuse, il n'en verrait que les détails à la façon d'un myope et il serait forcé d'oublier chacun de ces détails avant d'examiner le suivant, parce qu'il serait incapable de tout embrasser. Les seuls faits dignes de notre attention sont ceux qui introduisent de l'ordre dans cette complexité et la rendent ainsi accessible.

Les mathématiciens attachent une grande importance à l'élégance de leurs mé-thodes et de leurs résultats; ce n'est pas là du pur dilettantisme. Qu'est ce qui nous donne en effet dans une solution, dans une démonstration, le sentiment de l'élégance? C'est l'harmonie des diverses parties, leur symétrie, leur heureux balancement; c'est en un mot tout ce qui y met de l'ordre, tout ce qui leur donne de l'unité, ce qui nous permet par conséquent d'y voir clair et d'en comprendre l'ensemble en même temps que les détails. Mais précisément, c'est là en même temps ce qui lui donne un grand rendement ; en effet, plus nous verrons cet ensemble clairement et d'un seul coup d'œil, mieux nous apercevrons ses analogies avec d'autres objets voisins, plus par conséquent nous aurons de chances de deviner les généralisations possibles. L'élé-gance peut provenir du sentiment de l'imprévu par la rencontre inattendue d'objets qu'on n'est pas accoutumé à rapprocher; là encore elle est féconde, puisqu'elle nous dévoile ainsi des parentés jusque-là méconnues; elle est féconde même quand elle ne résulte que du contraste entre la simplicité des moyens et la complexité du problème posé ; elle nous fait alors réfléchir à la raison de ce contraste et le plus souvent elle nous fait voir que cette raison n'est pas le hasard et qu'elle se trouve dans quelque loi insoupçonnée. ….

* Update of 1:44 PM ET March 14 — A further search, for "it suddenly brings order," brought order. Words very close to Frenkel's quotation appear in a version of Poincaré's "Future of Mathematics" from a 1909 Smithsonian report

"If a new result has value it is when, by binding together long-known elements, until now scattered and appearing unrelated to each other, it suddenly brings order where there reigned apparent disorder."

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

Filed under: General,Geometry — Tags: — m759 @ 12:00 pm

New York Times online front page
Christmas morning:

"Arthur Koestler, Man of Darkness"–

NY Times front page, Christmas morning 2009

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)."

Leibniz, design for medallion showing binary numbers as an 'imago creationis'

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).

Leibniz, letter of 1697:

"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

Filed under: General — m759 @ 10:30 am
Roman Religion

Pope Benedict XVI, formerly the modern equivalent of The Grand Inquisitor

ET SUPER HANC PETRAM
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.”

Tom O’Bedlam:

I know more than Apollo….

Wikipedia:

“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.”

Related material:

Log24 on      
August 24,     
October 5, and
November 8.  

Wednesday, July 18, 2007

Wednesday July 18, 2007

Filed under: General — m759 @ 7:03 am
Burning Bright

“What is real?”
Pope Benedict XVI
in Brazil on May 13

Yesterday in
the Keystone State:

PA Lottery July 17, 2007: Mid-day 853, Evening 856

This suggests– via a search on “853-856” + “universals”– that we consult pages 853-856 in The Library of America’s William James: Writings 1902-1910.

Beginning on page 853 in this book, and ending on page 856, is an excerpt from a James address that the editor has titled…

The Tigers in India

“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, Writings 1902-1910, page 856

The same volume also contains
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

Filed under: General,Geometry — m759 @ 7:00 am
 
Strong Emergence Illustrated:
 
The Beauty Test
 
"There is no royal road
to geometry"

— Attributed to Euclid

There are, however, various non-royal roads.  One of these is indicated by yesterday's Pennsylvania lottery numbers:

PA Lottery May 22, 2007: Mid-day 515, Evening 062

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.):

The image “http://www.log24.com/log/pix07/070523-Coxeter62.jpg” cannot be displayed, because it contains errors.

The illustration (and definition) is
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:

The image “http://www.log24.com/log/pix07/070523-Hardy.jpg” cannot be displayed, because it contains errors.

One might argue that such beauty is strongly emergent because of the "harmonious way" the parts fit together: the regularity (or fitting together) of the whole is not reducible to the regularity of the parts.  (Regular triangles, squares, and hexagons fit together, but regular pentagons do not.)

The symmetries of these regular tessellations of the plane are less well suited as illustrations of emergence, since they are tied rather closely to symmetries of the component parts.

But the symmetries of regular tessellations of the sphere— i.e., of the five Platonic solids– do emerge strongly, being apparently independent of symmetries of the component parts.

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

Filed under: General — Tags: — m759 @ 11:07 am

Pandora's Box

Part I:
The Pandora Cross

"There is no painter in the West who can be unaware of the symbolic power of the cruciform shape and the Pandora's box of spiritual reference that is opened once one uses it."

— Rosalind Krauss in "Grids"


The image “http://www.log24.com/log/pix06A/060916-Art.jpg” cannot be displayed, because it contains errors.

(See Log24, Sept. 13)

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:

The image “http://www.log24.com/log/pix06A/060916-Benedict16.jpg” cannot be displayed, because it contains errors.
Click to enlarge the screenshot.

Part III:
Hope

The New Yorker (issue of June 5, 2006) on the late Oriana Fallaci:

"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

The image “http://www.log24.com/log/pix06A/060916-MC7.GIF” cannot be displayed, because it contains errors.

— 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:

"… 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."

A symbol of Apollo:

IMAGE- The ninefold square

and a related
Christian symbol,

The image �http://www.log24.com/log/pix05B/051202-Cross.gif� cannot be displayed, because it contains errors.

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

Filed under: General — Tags: — m759 @ 11:07 pm

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.)
 

Bulletin of the
American
Mathematical Society,
July 2006 (pdf):

The image “http://www.log24.com/log/pix06A/060705-Dioph1.gif” cannot be displayed, because it contains errors.

"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 x2 + y2 = z2, the marginal comment that hints at the existence of a proof (a demonstratio sane mirabilis) of what has come to be known as Fermat’s Last Theorem."

— Barry Mazur, Gade University Professor at Harvard

Mazur's concluding remarks are as follows:
 

"But however you classify the branch of mathematics it is concerned with, Diophantus’s Arithmetica can claim the title of founding document, and inspiring muse, to modern number theory. This brings us back to the goddess with her lyre in the frontispiece, which is the cover of this issue. As is only fitting, given the passion of the subject, this goddess is surely Erato, muse of erotic poetry."

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:

"You are the words,
I am the tune;
Play me."

Neil Diamond    

Friday, December 2, 2005

Friday December 2, 2005

Filed under: General — m759 @ 8:05 pm
For St. Robertson Davies,
whose feast is today:

Apollo and Christ

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.”

Discuss the following
symbol of Apollo

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as the source of
a Christian symbol–

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the Greek Cross.

Related material:

The play
now then again

(Time-Bending Love Story
Comes Home to Fermilab
)

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with cover art by Roz Francis

illustrating the time 8:05:19,

Hexagram 19 in the
Cullinane series

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(“A dance results”
— Marie-Louise von Franz),

and

Paul Preuss on Apollo,
quantum physics, and
the isle of Delos.

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