In memory of an actor who in films played Bilbo Baggins,
but on the stage was most closely identified with works by
Harold Pinter, especially “The Homecoming.”
A search for Pinter in this journal yields, as well as the playwright,
some posts tagged The Pinterest Directive. These include . . .
Related image — The square and circle pictured here yesterday —
Material related to the previous post and to Alfred Bester's
1981 followup to The Stars My Destination titled The Deceivers —
|
The Lapis Philosophorum :
"The lapis was thought of as a unity and therefore often stands for the prima materia in general."
"Its discoverer was of the opinion that he had produced the equivalent of the primordial protomatter which exploded into the Universe." And from Bester's The Deceivers : Meta Physics "'… Think of a match. You've got a chemical head of potash, antimony, and stuff, full of energy waiting to be released. Friction does it. But when Meta excites and releases energy, it's like a stick of dynamite compared to a match. It's the chess legend for real.' 'I don't know it.' 'Oh, the story goes that a philosopher invented chess for the amusement of an Indian rajah. The king was so delighted that he told the inventor to name his reward and he'd get it, no matter what. The philosopher asked that one grain of rice be placed on the first square of the chessboard, two on the second, four on the third, and so on to the sixty-fourth.' 'That doesn't sound like much.'" Related material : |
Continued from earlier posts.
|
The Washington Post online yesterday: "Val Logsdon Fitch, the Nebraska rancher’s son who shared the Nobel Prize for detecting a breakdown in the overarching symmetry of physical laws, thus helping explain how the universe evolved after the Big Bang, died Feb. 5 in Princeton, N.J. He was 91. His death was confirmed by Princeton University, where he had been a longtime faculty member and led the physics department for several years. Dr. Fitch and his Princeton colleague James Cronin received the Nobel Prize in physics in 1980 for high-energy experiments conducted in 1964 that overturned fundamental assumptions about symmetries and invariances that are characteristic of the laws of physics." — By Martin Weil |
Fans of synchronicity may prefer some rather
ig -Nobel remarks quoted here on the date
of Fitch's death:
"The Harvard College Events Board presents
Harvard Thinks Big VI, a night of big ideas
and thinking beyond traditional boundaries.
On Thursday February 5th at 8 pm in
Sanders Theatre …."
— Log24 post The Big Spielraum
In several posts now tagged Chessboard,
an I Ching chessboard
image in which adjacent squares
have the Karnaugh property—
— has been replaced by a picture of
the original 1989 version in which
the Karnaugh property applies only to cells
that are adjacent in a cubic, not square,
arrangement—
"Boro makes Jim Jones look like Jim Henson."
— FUBAR, Netflix, Episode 1 (May 25, 2023)
"In The Electric Kool-Aid Acid Test , Tom Wolfe writes about encountering
'a young psychologist,' 'Clifton Fadiman’s nephew, it turned out,' in the
waiting room of the San Mateo County jail. Fadiman and his wife were
'happily stuffing three I-Ching coins into some interminable dense volume*
of Oriental mysticism' that they planned to give Ken Kesey, the Prankster-
in-Chief whom the FBI had just nabbed after eight months on the lam.
Wolfe had been granted an interview with Kesey, and they wanted him to
tell their friend about the hidden coins. During this difficult time, they
explained, Kesey needed oracular advice."
— Tim Doody in The Morning News web 'zine on July 26, 2012
Related material — Brown Acid.
* The volume Wolfe mentions was, according to Fadiman, the I Ching.
May 2003 was "Solomon's Mental Health Month" in this journal.
An essay linked to on the 9th of May in that month —
|
"Taking the Veil," by Jessica Kardon
https://web.archive.org/web/20021102182519/ James Hillman, writing in The Soul's Code, argues for his "acorn theory" of human individual identity, and suggests that "each person bears a uniqueness that asks to be lived and that is already present before it can be lived." He insists we are born with a given character, a daimon, the carrier of destiny. This theory is closely linked to the beautiful myth described by Plato in his Republic, when the soul stands before Lachesis and receives his specific soul guardian. Hillman maintains that the daimon will always emerge somehow, even if thwarted or unrecognized. I never had ambitions that reached fruition in the adult world. I have had only two career interests in my life – both formed precognitively. I wanted to be a mermaid or a nun. By the time I learned – shockingly late – that I could not be a mermaid, I had realized I would not be a nun. I concur with Hillman's emphasis on the persistence of early disposition, and I like to imagine that my dreamy, watery, Victorian and self-righteous psyche has held aspects of both of these early interests, throughout my life. I was adopted one month after my birth. I was tended by nuns during the first four weeks of my life. Thereafter, I spent my whole educational life in convent schools. It was the sisters of Saint Vincent de Paul that gave me my favorite musical and my early distortions about romantic love and the gender plans of Our Lord. My misconceptions about love and marriage were culled from the Lerner Loewe musical Gigi, a wonderful film based loosely on a Colette novel. I was summoned along with my whole class to the gymnasium to view the movie under the edgy eye of Sister Bernadette. Sister Bernadette was a large, mesomorphic nun famed for the beatings she gave to boys and girls alike, and feared for the mean zest with which she bestowed her favors upon many of us. I was not beaten – but once, believing I was wearing lipstick, she held my head in a sink and scrubbed my lips until they bled, then slapped me. I recall this with a mild, rueful whimsy. We were all manhandled. In memory, Bernadette seems more like an angry and troubled older sibling than a true figure of authority. Anyway, I loved Gigi. It fed directly into my Francophilia. I was convinced that at some future date, I, like Gigi, would be trained as a courtesan. I, too, would cause some hard case, experienced roué to abandon his chill and irony. I saw myself strolling down the Champs Elysee with Louis Jordan in rapt attendance, pushing a baby carriage, wearing a hat the size of a manhole cover, hoisting a parasol above that to assure the longevity of my adorable pallor. The gender plans of Our Lord had recently been revealed to me too. Sister B. had drawn a ladder on the blackboard, a ladder with three rungs. At the top, she explained, were the priests, the nuns, and the monks. These souls had surrendered their lives to God. All would be taken directly to heaven upon their passing from this vale of tears, as we all referred to the world in those lean emotional times. On the middle rung stood the married. If you married and kept the law – which meant leaving every act of marital congress open to the reception of a child, you would be eligible for heaven. If you were foul in marriage, seeking your pleasure, you were going to be damned. On the bottom rung were those selfish souls who had remained single and had imagined their lives their own. This group had never given themselves to Our Lord. They were headed to hell in a sort of preternatural laundry chute. So we little ladies had two viable options: marry and breed without ceasing – or take the veil. Despite my hat and perambulator fantasies, once given the sorry news of the ladder, the veil became the clear romantic favorite. Therefore I began my research. I obtained a catalogue of nunnery. It offered photographs of each order, describing the duties of the specific order, and displaying the garb of that order. I was looking for two things – a great looking veil and gown, and a contemplative order. I had no desire to sully my glorious vision of myself with a life in the outer world. It was apparent to me that the teaching of children was going to involve a whole range of miseries – making them cry, telling them the bad news about the ladder, and so forth. This was not for me. I saw myself kneeling on the floor of my pristine little cell, serene and untouched by human hands. Teaching would be certain to interfere with the proper lighting. Yoked to a bunch of messy children, I could not possibly have the opalescent illumination of heaven falling reliably on my upturned visage. What divided me from my dream of rebirth as a mermaid was the force of what was real: I could not morph. What divided me from my dream of life as a nun was the force of the erotic: I would not abstain. Now, long years later, I am still underwater, and I am still bending the knee. I live in the blue shadows of hidden grottoes, and I am swimming, too, in the gold of my drifting prayers. September 7th, this dream. I am standing in a dimly lit room, gazing at a group of heavy, antique silk burqas that look weirdly like Fortuny gowns. A holy woman approaches me, and tells me that my soul will leave my body, and enter these garments. She turns and points at a young girl standing nearby, a child with close-cropped hair and a solemn look. My heart knows her, but my eyes don't. For a moment I am thinking, exactly as I did in the seventies when holding a joint: "This isn't working." Suddenly, these things: I feel the shape of flame, then I am the shape. I am released into the air, and as pure essence I enter other forms, dissolving in them, gathering my energy back into myself, and flying out again. This was a sensation so exquisite that my dreaming brain woke up and announced to me: "This is a dream about death." I saw that child again as I flew. This time my eyes knew her. I flew to her, but the flame of my soul would not cohere with hers, this child who was, of course, my own self. In the shadows alone, I heard myself whisper: "I'm in the wind. I'm in the water." This lovely dream, which gave me the sublime gift of a little visceral preview of the soul in the death process, also showed me my guardian spirit; divided, but viable. I pass through my life swimming in one self, kneeling in the other. I thought of Rilke's 29th Sonnet to Orpheus and realized this was what I had been dreaming about all my life, moving between them.
by jessica kardon |
See as well yesterday's post "At a Still Point."
“… What is your dream—your ideal? What is your News from Nowhere,
or, rather, What is the result of the little shake your hand has given to
the old pasteboard toy with a dozen bits of colored glass for contents?
And, most important of all, can you present it in a narrative or romance
which will enable me to pass an idle hour not disagreeably? How, for instance,
does it compare in this respect with other prophetic books on the shelf?”
— Hudson, W. H.. A Crystal Age (p. 2). Open Road Media. Kindle Edition.
See as well . . .
The lexicographic Golay code
contains, embedded within it,
the Miracle Octad Generator.
"The man touched the white bishop, queen and king,
and ran his finger over the jagged crest of the rook.
Then, sitting down before the chess set owner could nod
his head, he made his first move with the white pawn."
— The late Stephen Dixon, "The Chess House," in
The Paris Review , Winter-Spring 1963 (early in 1963).
In Memoriam . . .
"When the men on the chessboard
get up and tell you where to go …."
"The I Ching encodes the geometry of the fabric of spacetime."
Blackboard Jungle , 1955 —
“Every transition from major to minor in a sonata, every transformation
of a myth or a religious cult, every classical or artistic formulation was,
I realized in that flashing moment, if seen with a truly meditative mind,
nothing but a direct route into the interior of the cosmic mystery….”
— Hermann Hesse, The Glass Bead Game
“How strange the change from major to minor….”
— Cole Porter, “Every Time We Say Goodbye“
Hurt, who reportedly died today, played a purveyor
of magic wands in the Harry Potter series and also
Control in “Tinker Tailor Soldier Spy.”
“In the original screenplay for the film adaptation
of Tinker Tailor Soldier Spy, Smiley muses that
Control had once told him that Howard Staunton
was the greatest chess master Britain had ever
produced. ‘Staunton’ later turns out to be the name
that Control used for the rental of his flat.”
— Wikipedia, Control (fictional character)
Related images —
Happy Chinese New Year.
A version of the I Ching’s Hexagram 19:
From Katherine Neville's The Eight , a book on the significance
of the date April 4 — the author's birthday —
|
The Eight by Katherine Neville —
“What does this have to do with why we’re here?” |
Related material: Posts now tagged Hourglass Code.
See also the hourglass in a search for Pilgrim's Progress Illustration.
On film director Stanley Kubrick:
|
From "Kubrick," by Michael Herr, Vanity Fair , August 1999— "He disliked the usual references to his having been a 'chess hustler' in his Greenwich Village days, as though this impugned the gravity and beauty of the exercise, the suggestion that his game wasn’t pour le sport or, more correctly, pour l’art . To win the game was important, to win the money was irresistible, but it was nothing compared with his game, with the searching, endless action of working on his game. But of course he was hustling, he was always hustling; as he grew older and moved beyond still photography, chess became movies, and movies became chess by other means. I doubt that he ever thought of chess as just a game, or even as a game at all. I do imagine that a lot of people sitting across the board from him got melted, fried, and fragmented when Stanley let that cool ray come streaming down out of his eyes— talk about penetrating looks and piercing intelligence; here they’d sat down to a nice game of chess, and all of a sudden he was doing the thinking for both of them." |
On physics writer Peter Woit:
|
From Part II of an interview with Peter Woit by Gerald Alper "For just a moment, he allows himself to become self reflective: 'I was always a smart kid. A very smart kid. I suppose if I ever took a standardized test I would do very well, especially, in the area of abstract reasoning.' Peter Woit says this as matter-of-factly as if he said, 'When I was a kid my father drove a Chevrolet.' He says it as Kareem Abdul-Jabbar, if asked to describe how he became the person he is, might have said 'I was always a tall kid. A very tall kid. In school, short kids bored me.' I felt I had to say, 'but there must be a few million people in the United States who would also score very high in abstract thinking in the standardized tests and none of them have your interests.' 'The people around here all do. And there are thousands of us all around the world.' 'But there are 7 billion people in the world.' Peter Woit had to concede the mathematical point, but I don't think he appreciated the psychological distinction I was alluding to. There is an astonishing divide between the culture of science and the culture of humanities that C.P. Snow famously alluded to. There is even a greater divide between the culture of pure mathematics and the culture of the earthbound evolutionarily programmed biological world into which we are born. There is a celebrated quip by Dick Cavett that encapsulates this. Reflecting on his famous interview of the then reigning world chess champion, Bobby Fischer, he observed: 'Throughout the interview I could feel the force of his IQ.' Paraphrasing this I could say that throughout the interview, which was at times exhilarating, at times daunting, I could feel the force of his two hundred QMIQ (quantum mechanics IQ). Norman Mailer once commented that the immediacy of television— the fact that most influential people in the world can be brought into your living room— creates the illusion that you have thereby been included in their inner power circle, and to that extent vicariously empowered. But you are no closer to the corridors of power then you were before. Analogously, you can sit just a few feet away from a world-class expert, close enough to reach out and touch them, but you are no closer to their accumulated wisdom— unless you are willing to go home and put in ten thousand hours of hard work trying to raise the level of your understanding." |
Illustration from a post of
Schicksalstag 2009
The title refers to a line by Louis Menand quoted
at the end of the previous post.
There "a6!" refers to the chessboard square in
column a, row 6. In Geometry of the I Ching,
this square represents Hexagram 61, "Inner Truth."
See also "inner truth" in this journal.
"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…
"Hancock" Powers to the Top
of July Fourth Box Office
— This evening's online
New York Times
|
New York Lottery
Sunday, July 6, 2008:
Mid-day 307
Evening 921 |
|
Symbols:
|
|
"The consolations of form,
the clean crystalline work"
— Iris Murdoch,
"Against Dryness" |
Will Smith
on Chess
Will Smith
"A devoted father, Smith passes on his philosophy of life to his children through chess, among other things.
'My father taught me how to play chess at seven and introduced beautiful concepts that I try to pass on to my kids. The elements and concepts of life are so perfectly illustrated on a chess board. The ability to accurately assess your position is the key to chess, which I also think is the key to life.'
He pauses, searching for an example. 'Everything you do in your life is a move. You wake up in the morning, you strap on a gun, and you walk out on the street– that's a move. You've made a move and the universe is going to respond with its move.
'Whatever move you're going to make in your life to be successful, you have to accurately access the next couple of moves– like what's going to happen if you do this? Because once you've made your move, you can't take it back. The universe is going to respond.'
Smith has just finished reading The Alchemist, by the Brazilian writer Paulo Coelho: 'It says the entire world is contained in one grain of sand, and you can learn everything you need to learn about the entire universe from that one grain of sand. That is the kind of concept I'm teaching my kids.'"
For further details, see
Gift of the Third Kind
and
Kindergarten Relativity.
Related material:
Kernel
Mathematical Reviews citation:
MR2163497 (2006g:81002) 81-03 (81P05)
Gieser, Suzanne The innermost kernel. Depth psychology and quantum physics. Wolfgang Pauli's dialogue with C. G. Jung. Springer-Verlag, Berlin, 2005. xiv+378 pp. ISBN: 3-540-20856-9
A quote from MR at Amazon.com:
"This revised translation of a Swedish Ph. D. thesis in philosophy offers far more than a discussion of Wolfgang Pauli's encounters with the psychoanalyst Carl Gustav Jung…. Here the book explains very well how Pauli attempted to extend his understanding beyond superficial esotericism and spiritism…. To understand Pauli one needs books like this one, which… seems to open a path to a fuller understanding of Pauli, who was seeking to solve a quest even deeper than quantum physics." (Arne Schirrmacher, Mathematical Reviews, Issue 2006g)
The four-group is also known as the Vierergruppe or Klein group. It appears, notably, as the translation subgroup of A, the group of 24 automorphisms of the affine plane over the 2-element field, and therefore as the kernel of the homomorphism taking A to the group of 6 automorphisms of the projective line over the 2-element field. (See Finite Geometry of the Square and Cube.)
The "chessboard" of
Nov. 7, 2006
(as revised Nov. 7, 2012)–
(Faust, Part Two, as
quoted by Jung in
Memories, Dreams, Reflections)
Examination Day
(For the college curriculum,
see the New Zealand
Qualifications Authority.)
If Cullinane College were Hogwarts–
Last-minute exam info:
The Lapis Philosophorum
"The lapis was thought of as a unity and therefore often stands for the prima materia in general."
— Aion, by C. G. Jung"Its discoverer was of the opinion that he had produced the equivalent of the primordial protomatter which exploded into the Universe."
— The Stars My Destination, by Alfred Bester
And from Bester's The Deceivers:
Meta Physics
"'… Think of a match. You've got a chemical head of potash, antimony, and stuff, full of energy waiting to be released. Friction does it. But when Meta excites and releases energy, it's like a stick of dynamite compared to a match. It's the chess legend for real.'
'I don't know it.'
'Oh, the story goes that a philosopher invented chess for the amusement of an Indian rajah. The king was so delighted that he told the inventor to name his reward and he'd get it, no matter what. The philosopher asked that one grain of rice be placed on the first square of the chessboard, two on the second, four on the third, and so on to the sixty-fourth.'
'That doesn't sound like much.'
'So the rajah said. …'"
Related material:
“Yo es que nací un 8 de marzo,
Día de la Mujer Trabajadora,
y no he hecho más que
trabajar toda mi vida.”
For background on Aldecoa,
see a paper (pdf) by
Sara Brenneis:
“Josefina Aldecoa intertwines
history, collective memory
and individual testimony in her
historical memory trilogy…”
The Triangle Shirtwaist Factory Fire in New York City on March 25, 1911, was the largest industrial disaster in the history of the city of New York, causing the death of 146 garment workers who either died in the fire or jumped to their deaths.
Propaganda, March 1977:
“On March 8, 1908, after the death of 128 women trapped in a fire at the Triangle Shirtwaist Factory in New York City, 15,000 women workers from the garment and textile industry marched echoing the demands of their sisters 50 years earlier…”
Propaganda, March 2006:
“First of all, on March 8th, 1857, a large number of factory workers in the United States took to the streets to demand their economic and political rights. The owners called the police who arrived immediately and opened fire, engaging in blind repression… Later on, in 1908, the same date of March 8th was once again a memorable date of struggle. On this day, capitalist bosses in Chicago set fire to a textile factory where over a thousand women worked. A very large number was terribly burnt. 120 died!”
Propaganda disguised as news, March 2007:
From today’s top story in 24 HoursTM, a commuter daily in Vancouver published by Sun Media Corporation:
Fight still on for equality
By Robyn Stubbs and Carly Krug
“International Women’s Day commemorates a march by female garment workers protesting low wages, 12-hour workdays and bad working conditions in New York City on March 8, 1857.
Then in 1908, after 128 women were trapped and killed in a fire at a New York City garment and textile factory, 15,000 women workers again took their protests to the street.”
Related historical fiction:
A version of the
I Ching’s Hexagram 19:
— Katherine Neville, The Eight
|
“What does this have to do with why we’re here?”
“I saw it in a chess book Mordecai showed me. The most ancient chess service ever discovered was found at the palace of King Minos on Crete– the place where the famous Labyrinth was built, named after this sacred axe. The chess service dates to 2000 B.C. It was made of gold and silver and jewels…. And in the center was carved a labrys.” … “But I thought chess wasn’t even invented until six or seven hundred A.D.,” I added. “They always say it came from Persia or India. How could this Minoan chess service be so old?” “Mordecai’s written a lot himself on the history of chess,” said Lily…. “He thinks that chess set in Crete was designed by the same guy who built the Labyrinth– the sculptor Daedalus….” Now things were beginning to click into place…. “Why was this axe carved on the chessboard?” I asked Lily, knowing the answer in my heart before she spoke. “What did Mordecai say was the connection?”…. “That’s what it’s all about,” she said quietly. “To kill the King.” The sacred axe was used to kill the King. The ritual had been the same since the beginning of time. The game of chess was merely a reenactment. Why hadn’t I recognized it before? |
Perhaps at the center of
Aldecoa’s labyrinth lurk the
capitalist bosses from Chicago
who, some say, set fire
to a textile factory
on this date in 1908.
For a Freudian perspective
on the above passage,
see yesterday’s entry
In the Labyrinth of Time,
with its link to
John Irwin‘s essay
“The False Artaxerxes:
Borges and the
Dream of Chess.”
Symbols
S. H. Cullinane
March 7, 2007
Today, by the way, is the
feast of a chess saint.
On teachers of “core mathematics classes for non-majors, mathematics appreciation courses, and other lower level courses”:
“We are accustomed to being marginalized by society, our political leaders, and even our college and university administrations who often fail to see the scholarship involved in teaching. But how dare the Notices ignore us?”
— Complaint in the March 2007 Notices of the American Mathematical Society by “Julian F. Fleron, Ph.D., Professor of Mathematics, Westfield State College”
Let us examine Fleron’s alleged scholarship:
“Before each of my classes I put a quote on the board. The quote is either related to the mathematics we are studying, related to mathematics more generally, or related to learning and education. Student response has been tremendous, and I have found it to be very beneficial.” —Julian Fleron
Fleron offers us, without specifying an exact source, the following quotation:
“Mighty is geometry; joined with art, resistless. Euripides.“
A search for the source leads us to a quotation from 1914, a time when teaching did sometimes involve scholarship:
“1568. Mighty are numbers, joined with art resistless. EURIPIDES. Hecuba, Line 884.”
— Memorabilia Mathematica, by Robert Edouard Moritz, The Macmillan Company, 1914
But even in 1914, the scholarship, if one can call it that, was misleading. The 1914 quotation (which at least refers accurately to numbers, not geometry) is blatantly taken out of context to imply a connection with the mathematical art of number theory (as practiced by, say, G. H. Hardy) that is certainly not found in Euripides. The details:
HECUBA Sheltered beneath these tents is a host of Trojan women.
AGAMEMNON Dost mean the captives, the booty of the Hellenes?
HECUBA With their help will I punish my murderous foe.
AGAMEMNON How are women to master men?
HECUBA Numbers are a fearful thing, and joined to craft a desperate foe.
AGAMEMNON True; still I have a mean opinion of the female race.
This dialogue may have some relevance to today’s rumored selection at Harvard of a woman (Drew Gilpin Faust as Hecuba) to replace a man (Larry Summers as Agamemnon) in the president’s office. The dialogue’s only relevance to mathematics is in its reference to the perennial conflict between the sexes. Perhaps that conflict will serve to illustrate the title given by the Notices to Fleron’s complaint: “Teaching the Romance of Mathematics.”
An Epiphany
for the Birthday
of E. L. Doctorow,
Author of
City of God
(Doctorow wrote about
New York. A city more
closely associated with
God is Jerusalem.)
On the morning of January 2 this year, inspired by Sambin’s “basic picture,” I considered an entry dealing with Galois lattices (pdf). This train of thought was halted by news of the death earlier that morning of Teddy Kollek, 95, a founder of the Israeli intelligence service and six-term mayor of Jerusalem. (This led later to the entry “Damnation Morning“– a reference to the Fritz Leiber short story.)
This morning’s entry reboards the Galois train of thought.
Here are some relevant links:
Galois Connections (a French weblog entry providing an brief overview of Galois theory and an introduction to the use of Galois lattices in “formal concept analysis“)
Ontology (an introduction to formal concept analysis linked to on 3/31/06)
One motive for resuming consideration of Galois lattices today is to honor the late A. Richard Newton, a pioneer in engineering design who died at 55– also on Tuesday, Jan. 2, the date of Kollek’s death. Today’s New York Times obituary for Newton says that “most recently, Professor Newton championed the study of synthetic biology.”
A check of syntheticbiology.org leads to a web page on– again– ontology.
For the relationship between ontology (in the semantic-web sense) and Galois lattices, see (for instance)
“Knowledge Organisation and Information Retrieval Using Galois Lattices” (ps) and its references.
An epiphany within all this that Doctorow might appreciate is the following from Wikipedia, found by following a link to “upper ontology” in the syntheticbiology.org ontology page:
- There is no self-evident way of dividing the world up into concepts.
- There is no neutral ground that can serve as a means of translating between specialized (lower) ontologies.
- Human language itself is already an arbitrary approximation of just one among many possible conceptual maps. To draw any necessary correlation between English words and any number of intellectual concepts we might like to represent in our ontologies is just asking for trouble.
Related material:
The intellectual concepts
mentioned by Richard Powers
at the end of tomorrow’s
New York Times Book Review.
(See the links on these concepts
in yesterday’s “Goldberg Variation.”)
See also Old School Tie.
From the Online Etymology Dictionary:
crucial – 1706, from Fr. crucial… from L. crux (gen. crucis) “cross.” The meaning “decisive, critical” is extended from a logical term, Instantias Crucis, adopted by Francis Bacon (1620); the notion is of cross fingerboard signposts* at forking roads, thus a requirement to choose.
“… given the nature of our intellectual commerce with works of art, to lack a persuasive theory is to lack something crucial— the means by which our experience of individual works is joined to our understanding of the values they signify.”
— Hilton Kramer in The New York Times, April 28, 1974
“I realized that without making the slightest effort I had come upon one of those utterances in search of which psychoanalysts and State Department monitors of the Moscow or Belgrade press are willing to endure a lifetime of tedium: namely, the seemingly innocuous obiter dicta, the words in passing, that give the game away.
What I saw before me was the critic-in-chief of The New York Times saying: In looking at a painting today, ‘to lack a persuasive theory is to lack something crucial.’ I read it again. It didn’t say ‘something helpful’ or ‘enriching’ or even ‘extremely valuable.’ No, the word was crucial….
The more industrious scholars will derive considerable pleasure from describing how the art-history professors and journalists of the period 1945-75, along with so many students, intellectuals, and art tourists of every sort, actually struggled to see the paintings directly, in the old pre-World War II way, like Plato’s cave dwellers watching the shadows, without knowing what had projected them, which was the Word.”
— Tom Wolfe, The Painted Word
For some related material from the next 30 years, 1976-2006, see Art Wars.
* “Note that in the original Latin, the term is not by any means ‘fingerpost’ but simply ‘cross’ (Latin Crux, crucis) – a root term giving deeper meaning to the ‘crucial’ decision as to which if any of the narratives are ‘true,’ and echoing the decisive ‘crucifixion’ revealed in the story.”
Related material:
"At the still point,
there the dance is"
and
And the
"Meet Max Black"
Award goes to…
"For the Aeron and other designs,
Mr. Stumpf won this year’s
National Design Award
in Product Design,
which is to be presented
posthumously on Oct. 18
by the Cooper-Hewitt
National Design Museum
in Manhattan."
— Today's New York Times
Stumpf died on August 30,
the date of the Log24 entry
"The Seventh Symbol."
Related material:
From
Geometry of the I Ching,
a chessboard:
From the
National Design Museum:
From Log24 on the
date of Stumpf's death,
Pictorial version of
Hexagram 20,
Contemplation (View)
See also
Fearful Symmetry
and
Symmetry Framed.
In Defense of Hilbert
(On His Birthday)
Michael Harris (Log24, July 25 and 26, 2003) in a recent essay, Why Mathematics? You Might Ask (pdf), to appear in the forthcoming Princeton Companion to Mathematics:
“Mathematicians can… claim to be the first postmodernists: compare an art critic’s definition of postmodernism– ‘meaning is suspended in favor of a game involving free-floating signs’– with Hilbert’s definition of mathematics as ‘a game played according to certain simple rules with meaningless marks on paper.'”
Harris adds in a footnote:
“… the Hilbert quotation is easy to find but is probably apocryphal, which doesn’t make it any less significant.”
If the quotation is probably apocryphal, Harris should not have called it “Hilbert’s definition.”
For a much more scholarly approach to the concepts behind the alleged quotation, see Richard Zach, Hilbert’s Program Then and Now (pdf):
[Weyl, 1925] described Hilbert’s project as replacing meaningful mathematics by a meaningless game of formulas. He noted that Hilbert wanted to ‘secure not truth, but the consistency of analysis’ and suggested a criticism that echoes an earlier one by Frege: Why should we take consistency of a formal system of mathematics as a reason to believe in the truth of the pre-formal mathematics it codifies? Is Hilbert’s meaningless inventory of formulas not just ‘the bloodless ghost of analysis’?”
Some of Zach’s references:
[Ramsey, 1926] Frank P. Ramsey. Mathematical logic. The Mathematical Gazette, 13:185-94, 1926. Reprinted in [Ramsey, 1990, 225-244].
[Ramsey, 1990] Frank P. Ramsey. Philosophical Papers, D. H. Mellor, editor. Cambridge University Press, Cambridge, 1990
From Frank Plumpton Ramsey’s Philosophical Papers, as cited above, page 231:
“… I must say something of the system of Hilbert and his followers…. regarding higher mathematics as the manipulation of meaningless symbols according to fixed rules….
Mathematics proper is thus regarded as a sort of game, played with meaningless marks on paper rather like noughts and crosses; but besides this there will be another subject called metamathematics, which is not meaningless, but consists of real assertions about mathematics, telling us that this or that formula can or cannot be obtained from the axioms according to the rules of deduction….
Now, whatever else a mathematician is doing, he is certainly making marks on paper, and so this point of view consists of nothing but the truth; but it is hard to suppose it the whole truth.”
[Weyl, 1925] Hermann Weyl. Die heutige Erkenntnislage in der Mathematik. Symposion, 1:1-23, 1925. Reprinted in: [Weyl, 1968, 511-42]. English translation in: [Mancosu, 1998a, 123-42]….
[Weyl, 1968] Hermann Weyl. Gesammelte Abhandlungen, volume 1, K. Chandrasekharan, editor. Springer Verlag, Berlin, 1968.
[Mancosu, 1998a] Paolo Mancosu, editor. From Brouwer to Hilbert. The Debate on the Foundations of Mathematics in the 1920s. Oxford University Press, Oxford, 1998.
From Hermann Weyl, “Section V: Hilbert’s Symbolic Mathematics,” in Weyl’s “The Current Epistemogical Situation in Mathematics,” pp. 123-142 in Mancosu, op. cit.:
“What Hilbert wants to secure is not the truth, but the consistency of the old analysis. This would, at least, explain that historic phenomenon of the unanimity amongst all the workers in the vineyard of analysis.
To furnish the consistency proof, he has first of all to formalize mathematics. In the same way in which the contentual meaning of concepts such as “point, plane, between,” etc. in real space was unimportant in geometrical axiomatics in which all interest was focused on the logical connection of the geometrical concepts and statements, one must eliminate here even more thoroughly any meaning, even the purely logical one. The statements become meaningless figures built up from signs. Mathematics is no longer knowledge but a game of formulae, ruled by certain conventions, which is very well comparable to the game of chess. Corresponding to the chess pieces we have a limited stock of signs in mathematics, and an arbitrary configuration of the pieces on the board corresponds to the composition of a formula out of the signs. One or a few formulae are taken to be axioms; their counterpart is the prescribed configuration of the pieces at the beginning of a game of chess. And in the same way in which here a configuration occurring in a game is transformed into the next one by making a move that must satisfy the rules of the game, there, formal rules of inference hold according to which new formulae can be gained, or ‘deduced,’ from formulae. By a game-conforming [spielgerecht] configuration in chess I understand a configuration that is the result of a match played from the initial position according to the rules of the game. The analogue in mathematics is the provable (or, better, the proven) formula, which follows from the axioms on grounds of the inference rules. Certain formulae of intuitively specified character are branded as contradictions; in chess we understand by contradictions, say, every configuration which there are 10 queens of the same color. Formulae of a different structure tempt players of mathematics, in the way checkmate configurations tempt chess players, to try to obtain them through clever combination of moves as the end formula of a correctly played proof game. Up to this point everything is a game; nothing is knowledge; yet, to use Hilbert’s terminology, in ‘metamathematics,’ this game now becomes the object of knowledge. What is meant to be recognized is that a contradiction can never occur as an end formula of a proof. Analogously it is no longer a game, but knowledge, if one shows that in chess, 10 queens of one color cannot occur in a game-conforming configuration. One can see this in the following way: The rules are teaching us that a move can never increase the sum of the number of queens and pawns of one color. In the beginning this sum = 9, and thus– here we carry out an intuitively finite [anschaulich-finit] inference through complete induction– it cannot be more than this value in any configuration of a game. It is only to gain this one piece of knowledge that Hilbert requires contentual and meaningful thought; his proof of consistency proceeds quite analogously to the one just carried out for chess, although it is, obviously, much more complicated.
It follows from our account that mathematics and logic must be formalized together. Mathematical logic, much scorned by philosophers, plays an indispensable role in this context.”
Constance Reid says it was not Hilbert himself, but his critics, who described Hilbert’s formalism as reducing mathematics to “a meaningless game,” and quotes the Platonist Hardy as saying that Hilbert was ultimately concerned not with meaningless marks on paper, but with ideas:
“Hilbert’s program… received its share of criticism. Some mathematicians objected that in his formalism he had reduced their science to ‘a meaningless game played with meaningless marks on paper.’ But to those familiar with Hilbert’s work this criticism did not seem valid.
‘… is it really credible that this is a fair account of Hilbert’s view,’ Hardy demanded, ‘the view of the man who has probably added to the structure of significant mathematics a richer and more beautiful aggregate of theorems than any other mathematician of his time? I can believe that Hilbert’s philosophy is as inadequate as you please, but not that an ambitious mathematical theory which he has elaborated is trivial or ridiculous. It is impossible to suppose that Hilbert denies the significance and reality of mathematical concepts, and we have the best of reasons for refusing to believe it: “The axioms and demonstrable theorems,” he says himself, “which arise in our formalistic game, are the images of the ideas which form the subject-matter of ordinary mathematics.”‘”— Constance Reid in Hilbert-Courant, Springer-Verlag, 1986 (The Hardy passage is from “Mathematical Proof,” Mind 38, 1-25, 1929, reprinted in Ewald, From Kant to Hilbert.)
Harris concludes his essay with a footnote giving an unsourced Weyl quotation he found on a web page of David Corfield:
“.. we find ourselves in [mathematics] at exactly that crossing point of constraint and freedom which is the very essence of man’s nature.”
One source for the Weyl quotation is the above-cited book edited by Mancosu, page 136. The quotation in the English translation given there:
“Mathematics is not the rigid and petrifying schema, as the layman so much likes to view it; with it, we rather stand precisely at the point of intersection of restraint and freedom that makes up the essence of man itself.”
Corfield says of this quotation that he’d love to be told the original German. He should consult the above references cited by Richard Zach.
For more on the intersection of restraint and freedom and the essence of man’s nature, see the Kierkegaard chapter cited in the previous entry.
For Loomis Dean
See also
For Rita Moreno
on Her Birthday
(Dec. 11, 2005)
|
Los Angeles Times
Tuesday, Dec. 13, 2005
OBITUARIES 
LOOMIS DEAN Loomis Dean, 88; By Jon Thurber, Times Staff Writer
Loomis Dean, a Life magazine photographer who made memorable pictures of the royalty of both Europe and Hollywood, has died. He was 88.
Dean died Wednesday [December 7, 2005] at Sonoma Valley Hospital in Sonoma, Calif., of complications from a stroke, according to his son, Christopher. In a photographic career spanning six decades, Dean's leading images included shirtless Hollywood mogul Darryl F. Zanuck trying a one-handed chin-up on a trapeze bar, the ocean liner Andrea Doria listing in the Atlantic and writer Ernest Hemingway in Spain the year before he committed suicide. One of his most memorable photographs for Life was of cosmopolitan British playwright and composer Noel Coward in the unlikely setting of the Nevada desert. Dean shot 52 covers for Life, either as a freelance photographer or during his two stretches as a staffer with the magazine, 1947-61 and 1966-69. After leaving the magazine, Dean found steady freelance work in magazines and as a still photographer on film sets, including several of the early James Bond movies starring Sean Connery. Born in Monticello, Fla., Dean was the son of a grocer and a schoolteacher. When the Dean family's business failed during the Depression, they moved to Sarasota, Fla., where Dean's father worked as a curator and guide at the John and Mable Ringling Museum of Art. Dean studied engineering at the University of Florida but became fascinated with photography after watching a friend develop film in a darkroom. He went off to what is now the Rochester Institute of Technology, which was known for its photography school. After earning his degree, Dean went to work for the Ringling circus as a junior press agent and, according to his son, cultivated a side job photographing Ringling's vast array of performers and workers. He worked briefly as one of Parade magazine's first photographers but left after receiving an Army Air Forces commission during World War II. During the war, he worked in aerial reconnaissance in the Pacific and was along on a number of air raids over Japan. His first assignment for Life in 1946 took him back to the circus: His photograph of clown Lou Jacobs with a giraffe looking over his shoulder made the magazine's cover and earned Dean a staff job. In the era before television, Life magazine photographers had some of the most glamorous work in journalism. Life assigned him to cover Hollywood. In 1954, the magazine published one of his most memorable photos, the shot of Coward dressed for a night on the town in New York but standing alone in the stark Nevada desert. Dean had the idea of asking Coward, who was then doing a summer engagement at the Desert Inn in Las Vegas, to pose in the desert to illustrate his song "Mad Dogs and Englishmen Go Out in the Midday Sun." As Dean recalled in an interview with John Loengard for the book "Life Photographers: What They Saw," Coward wasn't about to partake of the midday sun. "Oh, dear boy, I don't get up until 4 o'clock in the afternoon," Dean recalled him saying. But Dean pressed on anyway. As he related to Loengard, he rented a Cadillac limousine and filled the back seat with a tub loaded with liquor, tonic and ice cubes — and Coward. The temperature that day reached 119 as Coward relaxed in his underwear during the drive to a spot about 15 miles from Las Vegas. According to Dean, Coward's dresser helped him into his tuxedo, resulting in the image of the elegant Coward with a cigarette holder in his mouth against his shadow on the dry lake bed. "Splendid! Splendid! What an idea! If we only had a piano," Coward said of the shoot before hopping back in the car and stripping down to his underwear for the ride back to Las Vegas. In 1956, Life assigned Dean to Paris. While sailing to Europe on the Ile de France, he was awakened with the news that the Andrea Doria had collided with another liner, the Stockholm. The accident occurred close enough to Dean's liner that survivors were being brought aboard. His photographs of the shaken voyagers and the sinking Andrea Doria were some of the first on the accident published in a U.S. magazine. During his years in Europe, Dean photographed communist riots and fashion shows in Paris, royal weddings throughout Europe and noted authors including James Jones and William S. Burroughs. He spent three weeks with Hemingway in Spain in 1960 for an assignment on bullfighting. In 1989, Dean published "Hemingway's Spain," about his experiences with the great writer. In 1965, Dean won first prize in a Vatican photography contest for a picture of Pope Paul VI. The prize included an audience with the pope and $750. According to his son, it was Dean's favorite honor. In addition to his son, he is survived by a daughter, Deborah, and two grandsons. Instead of flowers, donations may be made to the American Child Photographer's Charity Guild (www.acpcg.com) or the Make-A-Wish Foundation. |
Related material:
The Big Time
(Log 24, July 29, 2003):
A Story That Works
|
1:00:19 EST
The Lion, the Witch
and the Wardrobe
premieres tonight at
the Royal Albert Hall.
Hexagram 19 in the
Cullinane series:
— Katherine Neville, The Eight
|
“What does this have to do with why we’re here?”
“I saw it in a chess book Mordecai showed me. The most ancient chess service ever discovered was found at the palace of King Minos on Crete– the place where the famous Labyrinth was built, named after this sacred axe. The chess service dates to 2000 B.C. It was made of gold and silver and jewels…. And in the center was carved a labrys.” … “But I thought chess wasn’t even invented until six or seven hundred A.D.,” I added. “They always say it came from Persia or India. How could this Minoan chess service be so old?” “Mordecai’s written a lot himself on the history of chess,” said Lily…. “He thinks that chess set in Crete was designed by the same guy who built the Labyrinth– the sculptor Daedalus….” Now things were beginning to click into place…. “Why was this axe carved on the chessboard?” I asked Lily, knowing the answer in my heart before she spoke. “What did Mordecai say was the connection?”…. “That’s what it’s all about,” she said quietly. “To kill the King.” The sacred axe was used to kill the King. The ritual had been the same since the beginning of time. The game of chess was merely a reenactment. Why hadn’t I recognized it before? |
|
“But what does it all mean?” asked Susan when they were somewhat calmer. “It means,” said Aslan, “that though the Witch knew the Deep Magic, there is a magic deeper still which she did not know. Her knowledge goes back only to the dawn of Time. But if she could have looked a little further back, into the stillness and the darkness before Time dawned, she would have read there a different incantation. She would have known that when a willing victim who had committed no treachery was killed in a traitor’s stead, the Table would crack and Death itself would start working backward.” |
Upper part of above picture–
From today’s New York Times,
Seeing Mountains in
Starry Clouds of Creation.
Lower part of above picture–
Pilgrimage to Spider Rock:
Vine Deloria Jr.,
Evolution, Creationism,
and Other Modern Myths:
“The continuing struggle between evolutionists and creationists, a hot political topic for the past four decades, took a new turn in the summer of 1999 when the Kansas Board of Education voted to omit the mention of evolution in its newly approved curriculum, setting off outraged cries of foul by the scientific establishment. Don Quixotes on both sides mounted their chargers and went searching for windmills.”
A figure from
last night’s entry,
Spider Woman:
From Sunday, the day
of Vine Deloria’s death,
a picture that might be
called Changing Woman:
Kaleidoscope turning…
Shifting pattern
within unalterable structure…
— Roger Zelazny, Eye of Cat
in Time and Eternity
(Log 24, Feb. 1, 2003)
and
a review
of Fritz Leiber’s
The Big Time,
“… the Board of Education went as far as to redefine what science is: it’s no longer just a search for natural explanations for natural phenomena. Now it’s a search for… well, that’s a bit hard to say. Any sort of explanation, apparently. Pixies, ghosts, telekinesis, auras, ancient astronauts, excesses of choleric humor, they all seem to be fair game in the interest of ‘academic freedom.'”
| Kansas Definition of Science Adopted Feb. 14, 2001 “Science is the human activity of seeking natural explanations for what we observe in the world around us. Science does so through the use of observation, experimentation, and logical argument while maintaining strict empirical standards and healthy skepticism. Scientific explanations are built on observations, hypotheses, and theories. A hypothesis is a testable statement about the natural world that can be used to build more complex inferences and explanations. A theory is a well-substantiated explanation of some aspect of the natural world that can incorporate observations, inferences, and tested hypotheses |
Kansas Definition of Science Approved Nov. 8, 2005 “Science is a systematic method of continuing investigation that uses observations, hypothesis testing, measurement, experimentation, logical argument and theory building to lead to more adequate explanations of natural phenomena. Science does so while maintaining strict empirical standards and healthy skepticism. Scientific explanations are built on observations, hypotheses, and theories. A hypothesis is a testable statement about the natural world that can be used to build more complex inferences and explanations. A theory is a well-substantiated explanation of some aspect of the natural world that can incorporate observations, inferences, and tested hypotheses. |
| Scientific explanations must meet certain criteria. Scientific explanations are consistent with experimental and/or observational data and testable by scientists through additional experimentation and/or observation. Scientific explanation must meet criteria that govern the repeatability of observations and experiments. The effect of these criteria is to insure that scientific explanations about the world are open to criticism and that they will be modified or abandoned in favor of new explanations if empirical evidence so warrants. Because all scientific explanations depend on observational and experimental confirmation, all scientific knowledge is, in principle, subject to change as new evidence becomes available. The core theories of science have been subjected to a wide variety of confirmations and have a high degree of reliability within the limits to which they have been tested. In areas where data or understanding are incomplete, new data may lead to changes in current theories or resolve current conflicts. In situations where information is still fragmentary, it is normal for scientific ideas to be incomplete, but this is also where the opportunity for making advances may be greatest. Science has flourished in different regions during different time periods, and in history, diverse cultures have contributed scientific knowledge and technological inventions. Changes in scientific knowledge usually occur as gradual modifications, but the scientific enterprise also experiences periods of rapid advancement. The daily work of science and technology results in incremental advances in our understanding of the world about us.” | Scientific explanations must meet certain criteria. Scientific explanations are consistent with experimental and/or observational data and testable by scientists through additional experimentation and/or observation. Scientific explanation must meet criteria that govern the repeatability of observations and experiments. The effect of these criteria is to insure that scientific explanations about the world are open to criticism and that they will be modified or abandoned in favor of new explanations if empirical evidence so warrants. Because all scientific explanations depend on observational and experimental confirmation, all scientific knowledge is, in principle, subject to change as new evidence becomes available. The core theories of science have been subjected to a wide variety of confirmations and have a high degree of reliability within the limits to which they have been tested. In areas where data or understanding is incomplete, new data may lead to changes in current theories or resolve current conflicts. In situations where information is still fragmentary, it is normal for scientific ideas to be incomplete, but this is also where the opportunity for making advances may be greatest. Science has flourished in different regions during different time periods, and in history, diverse cultures have contributed scientific knowledge and technological inventions. Changes in scientific knowledge usually occur as gradual modifications, but the scientific enterprise also experiences periods of rapid advancement. The daily work of science and technology results in incremental advances in understanding the world.” |
“A teacher is an important role model for demonstrating respect, sensitivity, and civility. Teachers should not ridicule, belittle or embarrass a student for expressing an alternative view or belief.”
— Oscar Hammerstein,
“Getting to Know You”
Scientism and Civility:
A Google blog search for
fucking kansas evolution standards -fuck
yields “about 47” entries.
A search for
fuck kansas evolution standards -fucking
yields “about 34” entries.
A search for
fuck fucking kansas evolution standards
yields “about 42” entries.
Part I: Mathematics and Narrative
Apostolos Doxiadis on last month's conference on "mathematics and narrative"–
Doxiadis is describing how talks by two noted mathematicians were related to
"… a sense of a 'general theory bubbling up' at the meeting… a general theory of the deeper relationship of mathematics to narrative…. "
Doxiadis says both talks had "a big hole in the middle."
"Both began by saying something like: 'I believe there is an important connection between story and mathematical thinking. So, my talk has two parts. [In one part] I’ll tell you a few things about proofs. [And in the other part] I’ll tell you about stories.' …. And in both talks it was in fact implied by a variation of the post hoc propter hoc, the principle of consecutiveness implying causality, that the two parts of the lectures were intimately related, the one somehow led directly to the other."
"And the hole?"
"This was exactly at the point of the link… [connecting math and narrative]… There is this very well-known Sidney Harris cartoon… where two huge arrays of formulas on a blackboard are connected by the sentence ‘THEN A MIRACLE OCCURS.’ And one of the two mathematicians standing before it points at this and tells the other: ‘I think you should be more explicit here at step two.’ Both… talks were one half fascinating expositions of lay narratology– in fact, I was exhilarated to hear the two most purely narratological talks at the meeting coming from number theorists!– and one half a discussion of a purely mathematical kind, the two parts separated by a conjunction roughly synonymous to ‘this is very similar to this.’ But the similarity was not clearly explained: the hole, you see, the ‘miracle.’ Of course, both [speakers]… are brilliant men, and honest too, and so they were very clear about the location of the hole, they did not try to fool us by saying that there was no hole where there was one."
"At times, bullshit can only be countered with superior bullshit."
— Norman Mailer
Many Worlds and Possible Worlds in Literature and Art, in Wikipedia:
"The concept of possible worlds dates back to a least Leibniz who in his Théodicée tries to justify the apparent imperfections of the world by claiming that it is optimal among all possible worlds. Voltaire satirized this view in his picaresque novel Candide….
Borges' seminal short story El jardín de senderos que se bifurcan ("The Garden of Forking Paths") is an early example of many worlds in fiction."
Background:
Modal Logic in Wikipedia
Possible Worlds in Wikipedia
Possible-Worlds Theory, by Marie-Laure Ryan
(entry for The Routledge Encyclopedia of Narrative Theory)
— Many Dimensions, by Charles Williams, 1931 (Eerdmans paperback, April 1979, pp. 43-44)
— Aion, by C. G. Jung, 1951 (Princeton paperback, 1979, p. 236)
"Its discoverer was of the opinion that he had produced the equivalent of the primordial protomatter which exploded into the Universe."
|
"We symbolize
logical necessity with the box  )and logical possibility with the diamond  ).
"The possibilia that exist,
— Michael Sudduth, |
A Date Which Will
Live in Infamy
|
Log24.net Sunday, Annals of Education: Eyes on the Prize Dialogue from Will: He used to just put a belt, Sean: Gotta go with the belt, there. Will: I used to go with the wrench.
|
Today’s saint’s day:
St. Ursula
Today’s birthday:
Ursula K. Le Guin
Today’s Scripture:
Zen and the Art
of Motorcycle Maintenance
“Then, on impulse, Phædrus went over to his bookshelf and picked out a small, blue, cardboard-bound book. He’d hand-copied this book and bound it himself years before, when he couldn’t find a copy for sale anywhere. It was the 2,400-year-old Tao Te Ching of Lao Tzu. He began to read….
Phædrus read on through line after line, verse after verse of this, watched them match, fit, slip into place. Exactly. This was what he meant. This was what he’d been saying all along, only poorly, mechanistically. There was nothing vague or inexact about this book. It was as precise and definite as it could be. It was what he had been saying, only in a different language with different roots and origins. He was from another valley seeing what was in this valley, not now as a story told by strangers but as a part of the valley he was from. He was seeing it all.
He had broken the code.
He read on. Line after line. Page after page. Not a discrepancy. What he had been talking about all the time as Quality was here the Tao, the great central generating force of all religions, Oriental and Occidental, past and present, all knowledge, everything.”
The Silver Table
“And suddenly all was changed. I saw a great assembly of gigantic forms all motionless, all in deepest silence, standing forever about a little silver table and looking upon it. And on the table there were little figures like chessmen who went to and fro doing this and that. And I knew that each chessman was the idolum or puppet representative of some one of the great presences that stood by. And the acts and motions of each chessman were a moving portrait, a mimicry or pantomine, which delineated the inmost nature of his giant master. And these chessmen are men and women as they appear to themselves and to one another in this world. And the silver table is Time. And those who stand and watch are the immortal souls of those same men and women. Then vertigo and terror seized me and, clutching at my Teacher, I said, ‘Is that the truth?….’ ”
— C.S. Lewis, The Great Divorce, final chapter
Follow-up to the previous four entries:
St. Art Carney, whom we may imagine to be a passenger on the heavenly bus in The Great Divorce, died on Sunday, Nov. 9, 2003.
The entry for that date (Weyl’s birthday) asks for the order of the automorphism group of a 4×4 array. For a generalization to an 8×8 array — i.e., a chessboard — see
Audrey Meadows, said to have been the youngest daughter of her family, was born in Wuchang, China.
 |
Tui: The Youngest Daughter |
“Tui means to ‘give joy.’ Tui leads the common folk and with joy they forget their toil and even their fear of death. She is sometimes also called a sorceress because of her association with the gathering yin energy of approaching winter. She is a symbol of the West and autumn, the place and time of death.”
Force Field of Dreams
Metaphysics and chess in today’s New York Times Magazine:
Joss Whedon, creator of a new TV series —
“I’m a very hard-line, angry atheist” and
“I want to invade people’s dreams.”
Garry Kasparov on chess —
“When the computer sees forced lines,
it plays like God.”
Putting these quotations together, one is tempted to imagine God having a little game of chess with Whedon, along the lines suggested by C. S. Lewis:
As Lewis tells it the time had come for his “Adversary [as he was wont to speak of the God he had so earnestly sought to avoid] to make His final moves.” (C. S. Lewis, Surprised by Joy, Harcourt, Brace, and World, Inc., 1955, p. 216) Lewis called them “moves” because his life seemed like a chess match in which his pieces were spread all over the board in the most disadvantageous positions. The board was set for a checkmate….
For those who would like to imagine such a game (God vs. Whedon), the following may be helpful.
George Steiner has observed that
The common bond between chess, music, and mathematics may, finally, be the absence of language.
This quotation is apparently from
Fields of Force:
Fischer and Spassky at Reykjavik. by George Steiner, Viking hardcover, June 1974.
George Steiner as quoted in a review of his book Grammars of Creation:
“I put forward the intuition, provisional and qualified, that the ‘language-animal’ we have been since ancient Greece so designated us, is undergoing mutation.”
The phrase “language-animal” is telling. A Google search reveals that it is by no means a common phrase, and that Steiner may have taken it from Heidegger. From another review, by Roger Kimball:
In ”Grammars of Creation,” for example, he tells us that ”the classical and Judaic ideal of man as ‘language animal,’ as uniquely defined by the dignity of speech . . . came to an end in the antilanguage of the death camps.”
This use of the Holocaust not only gives the appearance of establishing one’s credentials as a person of great moral gravity; it also stymies criticism. Who wants to risk the charge of insensitivity by objecting that the Holocaust had nothing to do with the ”ideal of man as ‘language animal’ ”?
Steiner has about as clear an idea of the difference between “classical” and “Judaic” ideals of man as did Michael Dukakis. (See my notes of September 9, 2002.)
Clearly what music, mathematics, and chess have in common is that they are activities based on pure form, not on language. Steiner is correct to that extent. The Greeks had, of course, an extremely strong sense of form, and, indeed, the foremost philosopher of the West, Plato, based his teachings on the notion of Forms. Jews, on the other hand, have based their culture mainly on stories… that is, on language rather than on form. The phrase “language-animal” sounds much more Jewish than Greek. Steiner is himself rather adept at the manipulation of language (and of people by means of language), but, while admiring form-based disciplines, is not particularly adept at them.
I would argue that developing a strong sense of form — of the sort required to, as Lewis would have it, play chess with God — does not require any “mutation,” but merely learning two very powerful non-Jewish approaches to thought and life: the Forms of Plato and the “archetypes” of Jung as exemplified by the 64 hexagrams of the 3,000-year-old Chinese classic, the I Ching.
For a picture of how these 64 Forms, or Hexagrams, might function as a chessboard,
Other relevant links:
“As you read, watch for patterns. Pay special attention to imagery that is geometric…”
and
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