"The kaleidoscope of peoples, parties and religions…."
— Description of Vienna in the early 20th century from
"Black Gold and Yellow Star" by Jerome Segal (PDF, 16 pp.)
See as well Mosaic and Kaleidoscope in this journal.
"The kaleidoscope of peoples, parties and religions…."
— Description of Vienna in the early 20th century from
"Black Gold and Yellow Star" by Jerome Segal (PDF, 16 pp.)
See as well Mosaic and Kaleidoscope in this journal.
See posts now tagged "Kaleidoscope Society" and, more generally,
a search in this journal for "Kaleidoscope."
Related material —
Photo caption in a news story today:
"Father Gary Thomas attends the premiere of Warner Brothers’
'The Rite' at Grauman’s Chinese Theatre, in Los Angeles,
on January 26, 2011. Thomas is holding a special Mass
on Thursday and Saturday [Oct. 18 and 20] to counter
a planned hex on Supreme Court Justice Brett Kavanaugh."
See as well posts tagged "Rubik Exorcism."
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“All right, Jessshica. It’s time to open the boxsssschhh.” “Gahh,” she said. She began to walk toward the box, but her heart failed her and she retreated back to the chair. “Fuck. Fuck.” Something mechanical purred. The seam she had found cracked open and the top of the box began to rise. She squeezed shut her eyes and groped her way into a corner, curling up against the concrete and plugging her ears with her fingers. That song she’d heard the busker playing on the train platform with Eliot, “Lucy in the Sky with Diamonds”; she used to sing that. Back in San Francisco, before she learned card tricks. It was how she’d met Benny: He played guitar. Lucy was the best earner, Benny said, so that was mainly what she sang. She must have sung it five times an hour, day after day. At first she liked it but then it was like an infection, and there was nothing she could do and nowhere she could go without it running across her brain or humming on her lips, and God knew she tried; she was smashing herself with sex and drugs but the song began to find its way even there. One day, Benny played the opening chord and she just couldn’t do it. She could not sing that fucking song. Not again. She broke down, because she was only fifteen, and Benny took her behind the mall and told her it would be okay. But she had to sing. It was the biggest earner. She kind of lost it and then so did Benny and that was the first time he hit her. She ran away for a while. But she came back to him, because she had nothing else, and it seemed okay. It seemed like they had a truce: She would not complain about her bruised face and he would not ask her to sing “Lucy.” She had been all right with this. She had thought that was a pretty good deal. Now there was something coming out of a box, and she reached for the most virulent meme she knew. “Lucy in the sky!” she sang. “With diamonds!” • • •
Barry, Max. Lexicon: A Novel (pp. 247-248). |
Related material from Log24 on All Hallows' Eve 2013 —
"Just another shake of the kaleidoscope" —
Related material:
Kaleidoscope Puzzle,
Design Cube 2x2x2, and
Through the Looking Glass: A Sort of Eternity.
In appreciation of their essays in last
Sunday’s New York Times Book Review ,
a link for David Albert and Philip Kitcher—
Another interesting role for Liu — Head of MORA . . .
As for Mythological Oversight and Restoration . . .
Kaleidoscope, continued (August 11, 2005).
Related mythological material from August 11, 2005 —
Image reposted here on 9 October last year —
Moulin Bleu
Kaleidoscope turning…
Shifting pattern
within unalterable structure…
— Roger Zelazny, Eye of Cat
Instagram today —
Related art —
From part two of the recent film triptych "Kinds of Kindness" . . .
Window with Couch and Cat —

More later.
Update of 6:06 PM ET — An image from a post of Oct. 12, 2008 —
Moulin Bleu
Kaleidoscope turning…
Shifting pattern
within unalterable structure…
— Roger Zelazny, Eye of Cat
Also on the above Berlin date —
Wednesday, November 6, 2013
|
" Whether correspondences were achieved by means of
wordplay, atavistic formal resemblances, or serendipitous
coincidences, the attendant metamorphosis of literary
material into Frye's own scripture could become tiresome:
'just another shake of the kaleidoscope.' " [Link added.]
— From p. 61 of "The Master of the Myth of Literature:
An Interpenetrative Ogdoad for Northrop Frye,"
by Nohrnberg, James C., Comparative Literature ,
Vol. 53 (1), pp. 58-82, Duke University Press,
January 1, 2001.
"Savage ('wild,' 'undomesticated') modes of thought are primary
in human mentality. They are what we all have in common."
— "The Cerebral Savage: On the Work of Claude Lévi-Strauss,"
by Clifford Geertz (Encounter, vol. 28 no. 4, April 1967, pp. 25-32)
For more Geertz and some related art, see The Kaleidoscope Puzzle,
which lets you picture twin sixteens .
"Can you imagine the mathematical possibilities?"
— Line from "Annie Hall" (1977)
|
Changing Woman: “Kaleidoscope turning…
Shifting pattern — Roger Zelazny, Eye of Cat |
“DEVIL – MUSIC
20 pages of incidental music written at school
for G. K. Chesterton’s play MAGIC
by D. Coxeter.”
See also other posts now tagged Infernovision.
In memory of New York personality Pete Hamill ,
who reportedly died yesterday —
Seven years ago yesterday —
In memory of another New York personality, a parking-garage mogul
who reportedly died on August 9, 2005 —
Icon Parking posts and . . .
"But perhaps the desire for story
is what gets us into trouble to begin with."
— Sarah Marshall on June 5, 2018
"Beckett wrote that Joyce believed fervently in
the significance of chance events and of
random connections. ‘To Joyce reality was a paradigm,
an illustration of a possibly unstateable rule…
According to this rule, reality, no matter how much
we try to manipulate it, can only shift about
in continual movement, yet movement
limited in its possibilities…’ giving rise to
‘the notion of the world where unexpected simultaneities
are the rule.’ In other words, a coincidence … is actually
just part of a continually moving pattern, like a kaleidoscope.
Or Joyce likes to put it, a ‘collideorscape’."
— Gabrielle Carey, "Breaking Up with James Joyce,"
Sydney Review of Books , 15 June 2018
Carey's carelessness with quotations suggests a look at another
author's quoting of Ellmann on Joyce —

The glitter-ball-like image discussed in the previous post
is of an artwork by Olafur Eliasson.
See the kaleidoscopic section of his website.
From that section —
Related art in keeping with the theme of last night's Met Gala —
See also my 2005 webpage Kaleidoscope Puzzle.
Actor James Spader in a 2014 interview —
". . . my father taught English. My mother taught art . . . ."
Detail of part of a text by Magritte (1929) that appeared
without attribution in the online New York Times today —
See also, from a search for the phrase "Word and Image"
in this journal —
The Philosophers' Stone as originally
illustrated in The New York Times —
.
Related images —
See as well a Log24 search for "Philosophers' Stone"
and remarks related to the Magritte pictures above
in the post Story of March 13, 2014.
Harrison Ford in "Blade Runner 2049" —
Click the above quote for a scholium.
See also the previous post and . . .
(Night at the Museum continues.)
"Strategies for making or acquiring tools
While the creation of new tools marked the route to developing the social sciences,
the question remained: how best to acquire or produce those tools?"
— Jamie Cohen-Cole, “Instituting the Science of Mind: Intellectual Economies
and Disciplinary Exchange at Harvard’s Center for Cognitive Studies,”
British Journal for the History of Science vol. 40, no. 4 (2007): 567-597.
Obituary of a co-founder, in 1960, of the Center for Cognitive Studies at Harvard:
"Disciplinary Exchange" —
In exchange for the free Web tools of HTML and JavaScript,
some free tools for illustrating elementary Galois geometry —
The Kaleidoscope Puzzle, The Diamond 16 Puzzle,
The 2x2x2 Cube, and The 4x4x4 Cube
"Intellectual Economies" —
In exchange for a $10 per month subscription, an excellent
"Quilt Design Tool" —
This illustrates not geometry, but rather creative capitalism.
Related material from the date of the above Harvard death: Art Wars.
|
From Northrop Frye's The Great Code: The Bible and Literature , Ch. 3: Metaphor I — "In the preceding chapter we considered words in sequence, where they form narratives and provide the basis for a literary theory of myth. Reading words in sequence, however, is the first of two critical operations. Once a verbal structure is read, and reread often enough to be possessed, it 'freezes.' It turns into a unity in which all parts exist at once, without regard to the specific movement of the narrative. We may compare it to the study of a music score, where we can turn to any part without regard to sequential performance. The term 'structure,' which we have used so often, is a metaphor from architecture, and may be misleading when we are speaking of narrative, which is not a simultaneous structure but a movement in time. The term 'structure' comes into its proper context in the second stage, which is where all discussion of 'spatial form' and kindred critical topics take their origin." |
Related material:
|
"The Great Code does not end with a triumphant conclusion or the apocalypse that readers may feel is owed them or even with a clear summary of Frye’s position, but instead trails off with a series of verbal winks and nudges. This is not so great a fault as it would be in another book, because long before this it has been obvious that the forward motion of Frye’s exposition was illusory, and that in fact the book was devoted to a constant re-examination of the same basic data from various closely related perspectives: in short, the method of the kaleidoscope. Each shake of the machine produces a new symmetry, each symmetry as beautiful as the last, and none of them in any sense exclusive of the others. And there is always room for one more shake."
— Charles Wheeler, "Professor Frye and the Bible," South Atlantic Quarterly 82 (Spring 1983), pp. 154-164, reprinted in a collection of reviews of the book. |
For code in a different sense, but related to the first passage above,
see Diamond Theory Roullete, a webpage by Radamés Ajna.
For "the method of the kaleidoscope" mentioned in the second
passage above, see both the Ajna page and a webpage of my own,
Kaleidoscope Puzzle.
“DEVIL – MUSIC
20 pages of incidental music written at school
for G. K. Chesterton’s play MAGIC
by D. Coxeter.”
See also…
Related material — Chesterton + Magic in this journal.
The essay excerpted in last night's post on structuralism
is of value as part of a sustained attack by the late
Robert de Marrais on the damned nonsense of the late
French literary theorist Jacques Derrida—
Catastrophes, Kaleidoscopes, String Quartets:
Deploying the Glass Bead Game
Part I: Ministrations Concerning Silliness, or:
Is “Interdisciplinary Thought” an Oxymoron?
Part II: Canonical Collage-oscopes, or:
Claude in Jacques’ Trap? Not What It Sounds Like!
Part III: Grooving on the Sly with Klein Groups
Part IV: Claude’s Kaleidoscope . . . and Carl’s
Part V: Spelling the Tree, from Aleph to Tav
(While Not Forgetting to Shin)
The response of de Marrais to Derrida's oeuvre nicely
exemplifies the maxim of Norman Mailer that
"At times, bullshit can only be countered
with superior bullshit."
The title is from an essay by James C. Nohrnberg—
"Just another shake of the kaleidoscope" —
Related material:
Kaleidoscope Puzzle,
Design Cube 2x2x2, and
Through the Looking Glass: A Sort of Eternity.
From an academic's website:
For Josefine Lyche and Ignotus the Mage,
as well as Rose the Hat and other Zingari shoolerim —
Sabbatha hanti, lodsam hanti, cahanna risone hanti :
words that had been old when the True Knot moved
across Europe in wagons, selling peat turves and trinkets.
They had probably been old when Babylon was young.
The girl was powerful, but the True was all-powerful,
and Rose anticipated no real problem.
— King, Stephen (2013-09-24).
Doctor Sleep: A Novel
(pp. 278-279). Scribner. Kindle Edition.
From a post of November 10, 2008:
Twenty-four Variations on a Theme of Plato,
a version by Barry Sharples based on the earlier
kaleidoscope puzzle version of Steven H. Cullinane
"The king asked, in compensation for his toils
during this strangest of all the nights he had
ever known, that the twenty-four riddle tales
told him by the specter, together with the story
of the night itself, should be made known
over the whole earth and remain eternally
famous among men."
Frame Tale:
"The quad gospellers may own the targum
but any of the Zingari shoolerim may pick a peck
of kindlings yet from the sack of auld hensyne."
An example of lines in a Galois space * —
The 35 lines in the 3-dimensional Galois projective space PG(3,2)—
There are 15 different individual linear diagrams in the figure above.
These are the points of the Galois space PG(3,2). Each 3-set of linear diagrams
represents the structure of one of the 35 4×4 arrays and also represents a line
of the projective space.
The symmetry of the linear diagrams accounts for the symmetry of the
840 possible images in the kaleidoscope puzzle.
* For further details on the phrase "Galois space," see
Beniamino Segre's "On Galois Geometries," Proceedings of the
International Congress of Mathematicians, 1958 [Edinburgh].
(Cambridge U. Press, 1960, 488-499.)
(Update of Jan. 5, 2013— This post has been added to finitegeometry.org.)
Or: Night of Lunacy
From 9 PM Monday —

Note that the last line, together with the page number, forms
a sort of key—
The rest of the story—
For one reinterpretation of the page number 304, see a link—
Sermon— from Tuesday's post Diamond Speech.
The linked-to sermon itself has a link, based on a rereading
of 304 as 3/04, to a post of March 4, 2004, with…
WW and ZZ
as rendered by figures from the Kaleidoscope Puzzle—
Yesterday morning the same letter-combinations occurred
in a presentation at CERN of a newly discovered particle—
(Click for context.)
Since the particle under discussion may turn out to be the
God particle, it seems fitting to interpret WW and ZZ as part
of an imagined requiem High Mass.
Ron Howard, director of a film about CERN and the God particle,
may regard this imaginary Mass as performed for the late
Andy Griffith, who played Howard's father in a television series.
Others may prefer to regard the imaginary Mass as performed
for the late John E. Brooks, S. J., who served as president of
The College of the Holy Cross, Worcester, Mass., for 24 years.
Griffith died Tuesday. Brooks died Monday.
For some background on the Holy Cross, see posts of
Sept. 14 (Holy Cross Day) and Sept. 15, 2010—
For more lunacy, see…
Continue a search for thirty-three and three
— Katherine Neville, The Eight
Lurching Toward Decision
"Suskind… nails, I think, Obama's intellectual blind spot. Indeed, Obama himself nails it, telling Suskind that he was too inclined to search for 'the perfect technical answer' to the myriad of complex issues coming at him."
— Frank Rich on Ron Suskind's new book about the White House, Confidence Men
Very distantly related material—
From "Confidence Game," an Oct. 12, 2008, post in this journal, a quasi-European perspective—
|
Kaleidoscope turning… – Roger Zelazny, Eye of Cat |
See also …
Gravity’s Rainbow , Penguin Classics, 1995, page 742:
"… knowing his Tarot, we would expect to look among the Humility, among the gray and preterite souls, to look for him adrift in the hostile light of the sky, the darkness of the sea….
Now there’s only a long cat’s-eye of bleak sunset left over the plain tonight, bright gray against a purple ceiling of clouds, with an iris of
742"
In memory of Robert de Marrais, an excerpt from an obituary at Legacy.com—
Robert “Bob” Paul de Marrais died April 4, 2011 in Boston, Mass. One measure of a life is those that grieve our absence. Bob is dearly missed. He is survived by his 92 year old mother Yvette (nee Pétronille) in NY, his brother John A. in NY, his Aunt Mae in NJ; three children Luc, Sylvie, and Nathalie in Mass, and his devoted wife Dali (nee Zangurashvili) from Georgia of the ex-Soviet-Union. Bob was born Nov. 30, 1948, grew up in Cresskill, NJ, made life-long friends during some of his happiest days at MIT in Mass., and did not wander far from there for the rest of his life. He had a lifelong interest in history, his French heritage, music, history of science, and multidimensional algebras. His wife, friends Izzy and Mitch, brother John (and wife Caroline), little nephew Louis J., and two of his own children got to say goodbye. He found the energy to reward us with a smile. Bob has now joined his loving dad Louis J., Uncle Jack, Aunt Ginny, Uncle Gil, et. al.
For some details of de Marrais's life, see a separate biography from Legacy.com.
Related material— A search for "deMarrais" in this journal. (The name often occurs only within links.)
Cached copies of the 5-part "Kaleidoscopes" work by de Marrais referred to in the search can be found here.
A more personal note, from a quotation linked to here on the date of de Marrais's death—
… and who shall ever tell the sorrow of being on this earth,
lying, on quilts, on the grass, in a summer evening, among the sounds of the night.
May God bless my people, my uncle, my aunt, my mother, my good father,
oh, remember them kindly in their time of trouble;
and in the hour of their taking away.
After a little I am taken in and put to bed.
— James Agee, "Knoxville: Summer of 1915"
In memory of kaleidoscope enthusiast Cozy Baker, who died at 86, according to Saturday's Washington Post , on October 19th.
This journal on that date — Savage Logic and Savage Logic continued.
See this journal on All Saints' Day 2006 for some background to those posts—
“Savage logic works like a kaleidoscope whose chips can fall into a variety of patterns while remaining unchanged in quantity, form, or color. The number of patterns producible in this way may be large if the chips are numerous and varied enough, but it is not infinite. The patterns consist in the disposition of the chips vis-a-vis one another (that is, they are a function of the relationships among the chips rather than their individual properties considered separately). And their range of possible transformations is strictly determined by the construction of the kaleidoscope, the inner law which governs its operation. And so it is too with savage thought. Both anecdotal and geometric, it builds coherent structures out of ‘the odds and ends left over from psychological or historical process.’
These odds and ends, the chips of the kaleidoscope, are images drawn from myth, ritual, magic, and empirical lore. (How, precisely, they have come into being in the first place is one of the points on which Levi-Strauss is not too explicit, referring to them vaguely as the ‘residue of events… fossil remains of the history of an individual or a society.’) Such images are inevitably embodied in larger structures– in myths, ceremonies, folk taxonomies, and so on– for, as in a kaleidoscope, one always sees the chips distributed in some pattern, however ill-formed or irregular. But, as in a kaleidoscope, they are detachable from these structures and arrangeable into different ones of a similar sort. Quoting Franz Boas that ‘it would seem that mythological worlds have been built up, only to be shattered again, and that new worlds were built from the fragments,’ Levi-Strauss generalizes this permutational view of thinking to savage thought in general.”
– Clifford Geertz, “The Cerebral Savage: the Structural Anthropology of Claude Levi-Strauss,” in Encounter, Vol. 28 No. 4 (April 1967), pp. 25-32.
Related material —
See also "Levi-Strauss" in this journal and "At Play in the Field."
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