“Knight move” remark from The Eiger Sanction —
“I like to put people on myself by skipping logical steps
in the conversation until they’re dizzy.”
The following logical step — a check of the date Nov. 18, 2017 —
was omitted in the post Futon Dream on this year’s St. Stephen’s Day.
For further context, see James Propp in this journal.
As noted in the previous post, the phrase “the ability to jump
in and out of spaces” was quoted in an update this morning to
a July 2 post, “The Maxwell Enticement.” Related jumping —
See also other Log24 posts now tagged Knight Move.
Ursula K. Le Guin, in Amazing Stories , Sept. 1992, published
"The Rock That Changed Things" (pp. 9-13) and her story from
thirty years earlier, "April in Paris" (Fantastic Stories , Sept. 1962.)
The latter (pp. 14-19) was followed by some brief remarks (p. 19)
comparing the two stories.
For "The Rock," see Le Guin + Rock in this journal.
"April in Paris" is about time travel by means of an alchemist's
pentagram. The following figure from 1962 is in lieu of a pentagram —
See as well a search for 1962 in this journal.
Some illustrations:
Chess Knight
(in German, Springer)
See also…
More technically (click image for details):
The "knight's move" of the title is the supplying of the above link.
For details, click on the link (a search on the link's two words).
* For the meaning of "knight's move," see To Make a Short Story Long.
† For the meaning of the phrase (as opposed to the search ),
see the birthplace of Tom Wicker, who died today.
"Metaphor in language — the prime mover"
— George Steiner in Real Presences (1989)
Not so prime —
See also the "Transformers" marketing saga.
Related marketing:
Disney Easter eggs —
From "A Four-Color Theorem:
Function Decomposition Over a Finite Field" —
Related material —
An image from Monday's post
"Scholastic Observation" —
With apologies to those readers unable to follow knight moves .
The Queen's Gambit , by Walter Tevis,
published Feb. 1983 —
“Would you care for a cocktail?” he asked pleasantly.
She looked around her at the quiet restaurant,
at the people eating lunch, at the table with desserts
near the velvet rope at the entrance to the dining room.
“A Gibson,” she said. “On the rocks.”
"A silver tide of phosphenes boiled across my field of vision
as the matrix began to unfold in my head, a 3-D chessboard,
infinite and perfectly transparent."
"'Rikki Don't Lose That Number' is a single
released in 1974 by rock/jazz rock group Steely Dan
and the opening track of their third album Pretzel Logic .
It was the most successful single of the group's career,
peaking at number 4 on the Billboard Hot 100 in
the summer of 1974." — Wikipedia
Brian Harley, Mate in Two Moves , 1931—
“The key is the cocktail that begins the proceedings.”
See as well my post "Introduction to Cyberspace" (May 26, 2020).
The title refers to the previous post, which quotes a
remark by a poetry critic in the current New Yorker .
Scholia —
From the post Structure and Sense of June 6, 2016 —
Structure
Sense
From the post Design Cube of July 23, 2015 —
Broken Symmetries in Diamond Space
"… the war of 70-some years ago
has already become something like the Trojan War
had been for the Homeric bards:
a major event in the mythic past
that gives structure and sense to our present reality."
— Justin E. H. Smith, a professor of philosophy at
the University of Paris 7–Denis Diderot,
in the New York Times column "The Stone"
(print edition published Sunday, June 5, 2016)
In memory of a British playwright who reportedly
died at 90 this morning —
Structure
Sense
From the Los Angeles Times yesterday—
"Chess player Elena Akhmilovskaya Donaldson sits
in deep concentration at the U.S. chess championship
in Seattle in 2002. (Greg Gilbert / Seattle Times /
January 5, 2002)"
Linda Shaw, Seattle Times :
"Elena Akhmilovskaya Donaldson, who was once the world's
second-ranked women's chess player and eloped in 1988
with the captain of the U.S. chess team when they were both
playing at a tournament in Greece, has died. She was 55.
Donaldson, who earned the title of international women's
grandmaster, died Nov. 18 in her adopted hometown of Seattle…."
From the Log24 post "Sermon" on the date of Donaldson's death,
Sunday, Nov. 18, 2012—
"You must allow us to play every conceivable combination of chess."
— Marie-Louise von Franz in Number and Time
An October 2011 post titled Realism in Plato's Cave displays
the following image:
Cover illustration: Knight, Death, and the Devil,
by Albrecht Dürer
George Steiner and myself in Closing the Circle, a Log24 post
of Sept. 4, 2009:
“Allegoric associations of death with chess are perennial….”
"Yes, they are."
For related remarks on knight moves and the devil, see
today's previous two posts, Knight's Labyrinth and The Rite.
In memory of Mike Wallace—
See also Knight Moves.
"I love gazing into things. Can you imagine with me how glorious it is, for example, to see into a dog, in passing— into him… to ease oneself into the dog exactly at his center, the place out of which he exists as a dog, that place in him where God would, so to speak, have sat down for a moment when the dog was complete, in order to watch him at his first predicaments and notions and let him know with a nod that he was good, that he lacked nothing, that no better dog could be made. For a while one can endure being in the middle of the dog, but one has to be sure to jump out in time, before the world closes in around him completely, otherwise one would remain the dog within the dog and be lost to everything else."
— Rainer Maria Rilke, quoted in The New York Times in 1988
Omitting unneeded narrative details,
a madman's knight move —
A novel search in memory of the late
uncrowned crown prince of Albania—
Nabokov, Pale Fire
Related narratives—
Prose Tale and The Meadow.
Oh, and happy birthday to Woody Allen (76 today)—
"Outside of a dog, a book is man's best friend.
Inside of a dog it's too dark to read." —Groucho Marx
Peter J. Cameron yesterday on Galois—
"He was killed in a duel at the age of 20…. His work languished for another 14 years until Liouville published it in his Journal; soon it was recognised as the foundation stone of modern algebra, a position it has never lost."
Here Cameron is discussing Galois theory, a part of algebra. Galois is known also as the founder* of group theory, a more general subject.
Group theory is an essential part of modern geometry as well as of modern algebra—
"In der Galois'schen Theorie, wie hier, concentrirt sich das Interesse auf Gruppen von Änderungen. Die Objecte, auf welche sich die Änderungen beziehen, sind allerdings verschieden; man hat es dort mit einer endlichen Zahl discreter Elemente, hier mit der unendlichen Zahl von Elementen einer stetigen Mannigfaltigkeit zu thun."
— Felix Christian Klein, Erlanger Programm , 1872
("In the Galois theory, as in ours, the interest centres on groups of transformations. The objects to which the transformations are applied are indeed different; there we have to do with a finite number of discrete elements, here with the infinite number of elements in a continuous manifoldness." (Translated by M.W. Haskell, published in Bull. New York Math. Soc. 2, (1892-1893), 215-249))
Related material from Hermann Weyl, Symmetry , Princeton University Press, 1952 (paperback reprint of 1982, pp. 143-144)—
"A field is perhaps the simplest algebraic structure we can invent. Its elements are numbers…. Space is another example of an entity endowed with a structure. Here the elements are points…. What we learn from our whole discussion and what has indeed become a guiding principle in modern mathematics is this lesson: Whenever you have to do with a structure-endowed entity Σ try to determine is group of automorphisms , the group of those element-wise transformations which leave all structural relations undisturbed. You can expect to gain a deep insight into the constitution of Σ in this way."
For a simple example of a group acting on a field (of 8 elements) that is also a space (of 8 points), see Generating the Octad Generator and Knight Moves.
* Joseph J. Rotman, An Introduction to the Theory of Groups , 4th ed., Springer, 1994, page 2
Knight Moves
Deborah Solomon, New York Times Magazine, Sunday, June 27, 1999:
Christopher Knight, LA Times art critic, on Solomon:
A reference to Solomon’s piece appeared in this journal in 2003.
See also yesterday’s entry, today’s 9 AM entry, and (for the Academy) an example of knight’s move thinking.
“Lord, I remember”
— Bob Seger
“Philosophers ponder the idea of identity: what it is to give something a name on Monday and have it respond to that name on Friday….”
— Bernard Holland in The New York Times of Monday, May 20, 1996
Yesterday’s afternoon entry cited philosopher John Holbo on chess. This, together with Holland’s remark above and Monday’s entries on Zizek, suggests…
In this excellent analysis,
Holbo quotes Kierkegaard:
“… the knight of faith
‘has the pain of being unable to
make himself intelligible to others'”
(Kierkegaard, Fear and Trembling)
Cardinal Manning
Click on the cardinal
for a link to some remarks
related to the upcoming film
“Angels & Demons” and to
a Paris “Sein Feld.”
Context: the five entries
ending at 9:26 AM
on March 10, 2009…
and, for Kierkegaard,
Diamonds Are Forever.
"Hmm, next paper… maybe
'An Unusually Complicated
Theory of Something.'"
Something:
From Friedrich Froebel,
who invented kindergarten:
Click on image for details.
An Unusually
Complicated Theory:
From Christmas 2005:
Click on image for details.
For the eightfold cube
as it relates to Klein's
simple group, see
"A Reflection Group
of Order 168."
For an even more
complicated theory of
Klein's simple group, see
Click on image for details.
The conclusion of yesterday’s commentary on the May 30-31 Pennsylvania Lottery numbers:
Thomas Pynchon, Gravity’s Rainbow:
“The fear balloons again inside his brain. It will not be kept down with a simple Fuck You…. A smell, a forbidden room, at the bottom edge of his memory. He can’t see it, can’t make it out. Doesn’t want to. It is allied with the Worst Thing.
He knows what the smell has to be: though according to these papers it would have been too early for it, though he has never come across any of the stuff among the daytime coordinates of his life, still, down here, back here in the warm dark, among early shapes where the clocks and calendars don’t mean too much, he knows that’s what haunting him now will prove to be the smell of Imipolex G.
Then there’s this recent dream he is afraid of having again. He was in his old room, back home. A summer afternoon of lilacs and bees and
286”
What are we to make of this enigmatic 286? (No fair peeking at page 287.)
One possible meaning, given The Archivist‘s claim that “existence is infinitely cross-referenced”–
Page 286 of Ernest G. Schachtel, Metamorphosis: On the Conflict of Human Development and the Psychology of Creativity (first published in 1959), Hillsdale NJ and London, The Analytic Press, 2001 (chapter– “On Memory and Childhood Amnesia”):
“Both Freud and Proust speak of the autobiographical [my italics] memory, and it is only with regard to this memory that the striking phenomenon of childhood amnesia and the less obvious difficulty of recovering any past experience may be observed.”
The concluding “summer afternoon of lilacs and bees” suggests that 286 may also be a chance allusion to the golden afternoon of Disney’s Alice in Wonderland. (Cf. St. Sarah’s Day, 2008)
Some may find the Disney afternoon charming; others may see it as yet another of Paul Simon’s dreaded cartoon graveyards.
More tastefully, there is poem 286 in the 1919 Oxford Book of English Verse– “Love.”
For a midrash on this poem, see Simone Weil, who became acquainted with the poem by chance:
“I always prefer saying chance rather than Providence.”
— Simone Weil, letter of about May 15, 1942
Weil’s brother André might prefer Providence (source of the Bulletin of the American Mathematical Society.)
(Photo from Providence)
For more on the mathematical significance of this figure, see (for instance) Happy Birthday, Hassler Whitney, and Combinatorics of Coxeter Groups, by Anders Björner and Francesco Brenti, Graduate Texts in Mathematics, vol. 231, Springer, New York, 2005.
This book is reviewed in the current issue (July 2008) of the above-mentioned Providence Bulletin.
The review in the Bulletin discusses reflection groups in continuous spaces.
Click on image for details.
The book is titled
Inside Modernism:
Relativity Theory,
Cubism, Narrative.
For a narrative about relativity
and cubes, see Knight Moves.
Related material:
Geek chic in
this week’s New Yorker—
“… it takes a system of symbols
to make numbers precise–
to ‘crystallize’ them….”
— and a mnemonic for three
days in October 2006
following a memorial to
the Amish schoolchildren
slain that month:
"An acute study of the links
between word and fact"
— Nina daVinci Nichols
| Virginia | /391062427/item.html? | 2/22/2008 7:37 PM |
Johnny Cash:
"And behold,
a white horse."
Chess Knight
(in German, Springer)
"Liebe Frau vBayern,
mich würde interessieren wie man
mit diesem Hintergrund
(vonbayern.de/german/anna.html)
zu Springer kommt?"
Background of "Frau vBayern" from thePeerage.com:
Anna-Natascha Prinzessin zu Sayn-Wittgenstein-Berleburg
F, #64640, b. 15 March 1978Last Edited=20 Oct 2005
Anna-Natascha Prinzessin zu Sayn-Wittgenstein-Berleburg was born on 15 March 1978. She is the daughter of Ludwig Ferdinand Prinz zu Sayn-Wittgenstein-Berleburg and Countess Yvonne Wachtmeister af Johannishus. She married Manuel Maria Alexander Leopold Jerg Prinz von Bayern, son of Leopold Prinz von Bayern and Ursula Mohlenkamp, on 6 August 2005 at Nykøping, Södermanland, Sweden.
The date of the above "Liebe Frau vBayern" inquiry, Feb. 1, 2007, suggests the following:
From Log24 on
St. Bridget's Day, 2007:
The quotation
"Science is a Faustian bargain"
and the following figure–
Change
From a short story by
the above Princess:
"'I don't even think she would have wanted to change you. But she for sure did not want to change herself. And her values were simply a part of her.' It was true, too. I would even go so far as to say that they were her basis, if you think about her as a geometrical body. That's what they couldn't understand, because in this age of the full understanding for stretches of values in favor of self-realization of any kind, it was a completely foreign concept."
To make this excellent metaphor mathematically correct,
change "geometrical body" to "space"… as in
"For Princeton's Class of 2007"—
Review of a 2004 production of a 1972 Tom Stoppard play, "Jumpers"–
Related material:
Knight Moves (Log24, Jan. 16),
Kindergarten Theology (St. Bridget's Day, 2008),
and
(Click on image for details.)
For a related story about
knight moves and kindergarten,
see Knight Moves: The Relativity
Theory of Kindergarten Blocks,
and Log24, Jan. 16, 17, and 18.
See also Loder’s book
(poorly written, but of some
interest in light of the above):
“In a game of chess, the knight’s move is unique because it alone goes around corners. In this way, it combines the continuity of a set sequence with the discontinuity of an unpredictable turn in the middle. This meaningful combination of continuity and discontinuity in an otherwise linear set of possibilities has led some to refer to the creative act of discovery in any field of research as a ‘knight’s move’ in intelligence.
— James E. Loder and W. Jim Neidhardt (Helmers & Howard Publishing, 1992)
For a discussion, see Triplett’s
“Thinking Critically as a Christian.”
Many would deny that such
a thing is possible; let them
read the works of T. S. Eliot.
Related material:
The Knight’s Move
discusses (badly) Hofstadter’s
“strange loop” concept; see
Not Mathematics but Theology
(Log24, July 12, 2007).
"Mazur introduced the topic of prime numbers with a story from Don Quixote in which Quixote asked a poet to write a poem with 17 lines. Because 17 is prime, the poet couldn't find a length for the poem's stanzas and was thus stymied."
— Undated American Mathematical Society news item about a Nov. 1, 2007, event
Desconvencida,
Jueves, Enero 17, 2008
Horses of a Dream
(Log24, Sept. 12, 2003)
Knight Moves
(Log24 yesterday–
anniversary of the
Jan. 16 publication
of Don Quixote)
Windmill and Diamond
(St. Cecilia's Day 2006)
Click on the image for a larger version
and an expansion of some remarks
quoted here on Christmas 2005.
The Last Enemy
(See April 30)
"I was also impressed… by the intensity of Continental modes of literary-critical thought….
On the Continent, studies of Hölderlin and Rousseau, of Poe, Baudelaire, Mallarmé and Rilke, of Rabelais, Nietzsche, Kafka, and Joyce, challenged not only received ideas on the unity of the work of art but many aspects of western thought itself. Derrida, at the same time, who for nearly a decade found a home in Yale's Comparative Literature Department, expanded the concept of textuality to the point where nothing could be demarcated as 'hors d'œuvre' and escape the literary-critical eye. It was uncanny to feel hierarchic boundaries waver until the commentary entered the text—not literally, of course, but in the sense that the over-objectified work became a reflection on its own status, its stability as an object of cognition. The well-wrought urn contained mortal ashes."
— Geoffrey Hartman, A Life of Learning
In memory of
Jacques Derrida and James Chace,
both of whom died in Paris on
Friday, Oct. 8, 2004… continued…
(See previous three entries.)
Orson Welles |
Mate in 2 |
"The last enemy
that shall be destroyed is death."
— Saul of Tarsus, 1 Cor. 15:26
Knight move,
courtesy of V. Nabokov:
Nfe5 mate
Knight:
Sir John Falstaff
(See Chimes at Midnight.)
|
From "Knight to Move," by Fritz Leiber "… You were talking about basic games. Well, the chessboard is clearly a spider’s web with crisscross strands—in Go you even put the pieces on the intersections. The object of the game is to hunt down and immobilize the enemy King, just as a spider paralyzes its victim and sometimes wraps it in its silk. But here’s the clincher: the Knight, the piece most characteristic of chess, has exactly eight crooked moves when it stands in the clear—the number of a spider’s crooked legs, and eyes too! This suggests that all chess-playing planets are Spider-infiltrated from way back. It also suggests that all the chessplayers here for the tournament are Spiders—your shock battalion to take over 61 Cygni 5.” Colonel von Hohenwald sighed. “I was afraid you’d catch on, dear,” he said softly. “Now you’ve signed your abduction warrant at the very least. You may still be able to warn your HQ, but before they can come to your aid, this planet will be in our hands.” He frowned. “But why did you spill this to me, Erica? If you had played dumb—” “I spilled it to you,” she said, “because I wanted you to know that your plot’s been blown––and that my side has already taken countermeasures! We’ve made a crooked Knight’s move too. Has the significance of track games never occurred to you, Colonel? The one-dimensional track, sinuously turning, obviously symbolizes the snake. The pieces are the little bugs and animals the snake has swallowed. As for the dice, well, one of the throws is called Snake Eyes. So be assured that all the k’ta’hra players here are Snakes, ready to counter any Spider grab at 61 Cygni 5.” The Colonel’s mouth almost gaped. |
|
From "Knight to Move," by Fritz Leiber "… You were talking about basic games. Well, the chessboard is clearly a spider’s web with crisscross strands—in Go you even put the pieces on the intersections. The object of the game is to hunt down and immobilize the enemy King, just as a spider paralyzes its victim and sometimes wraps it in its silk. But here’s the clincher: the Knight, the piece most characteristic of chess, has exactly eight crooked moves when it stands in the clear—the number of a spider’s crooked legs, and eyes too! This suggests that all chess-playing planets are Spider-infiltrated from way back. It also suggests that all the chessplayers here for the tournament are Spiders—your shock battalion to take over 61 Cygni 5.” Colonel von Hohenwald sighed. “I was afraid you’d catch on, dear,” he said softly. “Now you’ve signed your abduction warrant at the very least. You may still be able to warn your HQ, but before they can come to your aid, this planet will be in our hands.” He frowned. “But why did you spill this to me, Erica? If you had played dumb—” “I spilled it to you,” she said, “because I wanted you to know that your plot’s been blown––and that my side has already taken countermeasures! We’ve made a crooked Knight’s move too. Has the significance of track games never occurred to you, Colonel? The one-dimensional track, sinuously turning, obviously symbolizes the snake. The pieces are the little bugs and animals the snake has swallowed. As for the dice, well, one of the throws is called Snake Eyes. So be assured that all the k’ta’hra players here are Snakes, ready to counter any Spider grab at 61 Cygni 5.” The Colonel’s mouth almost gaped. |
At Hiroshima on March 9, 2018, Aitchison discussed another
"hexagonal array" with two added points… not at the center, but
rather at the ends of a cube's diagonal axis of symmetry.
See some related illustrations below.
Fans of the fictional "Transfiguration College" in the play
"Heroes of the Fourth Turning" may recall that August 6,
another Hiroshima date, was the Feast of the Transfiguration.
The exceptional role of 0 and ∞ in Aitchison's diagram is echoed
by the occurence of these symbols in the "knight" labeling of a
Miracle Octad Generator octad —
Transposition of 0 and ∞ in the knight coordinatization
induces the symplectic polarity of PG(3,2) discussed by
(for instance) Anne Duncan in 1968.
This journal on the above date —
The New York Times yesterday reported that the above dancer,
no longer very young, died on February 3, 2022.
Some Log24 flashback images reposted on that date —
See as well two Dec. 22, 2002, posts
now tagged Trifecta —
The Miracle Octad Generator (MOG) —
The Conway-Sloane version of 1988:
See also the 1976 R. T. Curtis version, of which the Conway-Sloane version
is a mirror reflection —
“There is a correspondence between the two systems
of 35 groups, which is illustrated in Fig. 4 (the MOG or
Miracle Octad Generator).”
—R.T. Curtis, “A New Combinatorial Approach to M24,”
Mathematical Proceedings of the Cambridge Philosophical
Society (1976), 79: 25-42
Curtis’s 1976 Fig. 4. (The MOG.)
The Guy Embedding (named for M.J.T., not Richard K., Guy) states that
the MOG is naturally embedded in the codewords of the extended binary
Golay code, if those codewords are generated in lexicographic order.
The above reading order for the MOG 4×6 array —
down the columns, from left to right — yields the Conway-Sloane MOG.
Since that is a mirror image of the original Curtis MOG, the reading order
yielding that MOG is down the columns, from right to left.
"Traditionally, Chinese, Japanese, Vietnamese and Korean are written vertically
in columns going from top to bottom and ordered from right to left, with each
new column starting to the left of the preceding one." — Wikipedia
The Asian reading order has certain artistic advantages:
George Steiner on chess —
"… the common bond between chess, music, and mathematics
may, finally, be the absence of language."
— George Steiner, Fields of Force: Fischer and Spassky at Reykjavik ,
Viking hardcover, June 1974.
In memory of George Steiner, of Walter Tevis, and of B&B Smoke Shop,
corner of Third Ave. and Liberty St., Warren, Pennsylvania, in the 1950s,
where I purchased . . .
At that point in my life, language interested me more than chess.
But I can identify with the protagonist of Walter Tevis's Queen's Gambit ,
(the book, not the film) who visited a similar smoke shop in 1960 —
… There was a long rack of magazines behind her. When she
got the cigarettes, she turned and began looking. Senator
Kennedy’s picture was on the cover of Time and Newsweek :
he was running for President . . . .
. . . Walking home with the folded [chess] magazine tucked
securely against her flat belly she thought again about that
rook move Morphy hadn’t made. The magazine said
Morphy was “perhaps the most brilliant player in the
history of the game.” The rook could come to bishop seven,
and Black had better not take it with his knight because…
She stopped, halfway down the block. A dog was barking
somewhere, and across the street from her on a well-mowed
lawn two small boys were loudly playing tag. After the
second pawn moved to king knight five, then the remaining
rook could slide over, and if the black player took
the pawn, the bishop could uncover, and if he didn’t…
She closed her eyes. If he didn’t capture it, Morphy
could force a mate in two, starting with the bishop sacrificing
itself with a check. If he did take it, the white pawn
moved again, and then the bishop went the other way
and there was nothing Black could do. There it was. One
of the little boys across the street began crying. There was
nothing Black could do. The game would be over in
twenty-nine moves at least. The way it was in the book, it
had taken Paul Morphy thirty-six moves to win. He
hadn’t seen the move with the rook. But she had.
Overhead the sun shone in a blank blue sky. The dog
continued barking. The child wailed. Beth walked slowly
home and replayed the game. Her mind was as lucid as a
perfect, stunning diamond.
***
John Calder, an independent British publisher who built a prestigious list
of authors like Samuel Beckett and Heinrich Böll and spiritedly defended
writers like Henry Miller against censorship, died on Aug. 13 in Edinburgh.
He was 91.
— Richard Sandomir in the online New York Times this evening
On Beckett —
Also on August 13th —
.gif)
From previous posts on this topic —
|
"It is said that the students of medieval Paris came to blows in the streets over the question of universals. The stakes are high, for at issue is our whole conception of our ability to describe the world truly or falsely, and the objectivity of any opinions we frame to ourselves. It is arguable that this is always the deepest, most profound problem of philosophy. It structures Plato's (realist) reaction to the sophists (nominalists). What is often called 'postmodernism' is really just nominalism, colourfully presented as the doctrine that there is nothing except texts. It is the variety of nominalism represented in many modern humanities, paralysing appeals to reason and truth."
— Simon Blackburn, Think, |
". . . a perfect triptych of horsitude"
— James Parker on the 2007 film "Michael Clayton"
Related material —
Horsitude in the 4×2 grid, and
Continues, in memory of chess grandmaster Viktor Korchnoi,
who reportedly died at 85 yesterday in Switzerland —
The coloring of the 4×4 "base" in the above image
suggests St. Bridget's cross.
From this journal on St. Bridget's Day this year —
"Possible title:
A new graphic approach
to an old geometric approach
to a new combinatorial approach
to an old algebraic approach
to M24"
The narrative leap from image to date may be regarded as
an example of "knight's move" thinking.
For geeks* —
" Domain, Domain on the Range , "
where Domain = the Galois tesseract and
Range = the four-element Galois field.
This post was suggested by the previous post,
by a Log24 search for Knight + Move, and by
the phrase "discouraging words" found in that search.
* A term from the 1947 film "Nightmare Alley."
The previous post suggests a review of
the phrase "strange loop" in this journal.
Meanwhile…
|
Log24 on Sunday, October 5, 2008— “In a game of chess, the knight’s move is unique because it alone goes around corners. In this way, it combines the continuity of a set sequence with the discontinuity of an unpredictable turn in the middle. This meaningful combination of continuity and discontinuity in an otherwise linear set of possibilities has led some to refer to the creative act of discovery in any field of research as a ‘knight’s move’ in intelligence.” Related material: Terence McKenna: “Schizophrenia is not a psychological disorder peculiar to human beings. Schizophrenia is not a disease at all but rather a localized traveling discontinuity of the space time matrix itself. It is like a travelling whirl-wind of radical understanding that haunts time. It haunts time in the same way that Alfred North Whitehead said that the color dove grey ‘haunts time like a ghost.’” Anonymous author: “‘Knight’s move thinking’ is a psychiatric term describing a thought disorder where in speech the usual logical sequence of ideas is lost, the sufferer jumping from one idea to another with no apparent connection. It is most commonly found in schizophrenia.” |
Related journalism—
"What's the 'S' stand for?" — Amy Adams
The two symbols on the monolith from yesterday —
— may, if one likes, be interpreted as standing for
Damnation Morning and for the Windmill of Time
(alternately, as motifs for a ukara cloth).
The above explanation may help those confused by
knight's-move discourse like that described by
Jemima in The Eiger Sanction .
A quote from The Oxford Murders ,
a novel by Guillermo Martinez—
"Anyone can follow the path once it’s been marked out.
But there is of course an earlier moment of illumination,
what you called the knight’s move. Only a few people,
sometimes only one person in many centuries,
manage to see the correct first step in the darkness.”
“A good try,” said Seldom.
In memory of "Mr. Piano" Roger Williams, who died today—
Related material— A quote from The Oxford Murders ,
a novel by Guillermo Martinez—
"Anyone can follow the path once it’s been marked out.
But there is of course an earlier moment of illumination,
what you called the knight’s move. Only a few people,
sometimes only one person in many centuries,
manage to see the correct first step in the darkness.”
“A good try,” said Seldom.
King Arthur and the Deathly Hallows
BLACK KNIGHT: None shall pass.
ARTHUR: What?
BLACK KNIGHT: None shall pass.
ARTHUR: I have no quarrel with you, good Sir Knight,
but I must cross this bridge.
BLACK KNIGHT: Then you shall die.
ARTHUR: I command you as King of the Britons
to stand aside!
BLACK KNIGHT: I move for no man.
ARTHUR: So be it!
— Monty Python
Above: Anthony Bushell as King Arthur in 1954.
Bushell died on April 2, 1997 (4/2/97).
"Well, she was just seventeen…."
“Music and mathematics are among the pre-eminent wonders of the race. Levi-Strauss sees in the invention of melody ‘a key to the supreme mystery’ of man– a clue, could we but follow it, to the singular structure and genius of the species. The power of mathematics to devise actions for reasons as subtle, witty, manifold as any offered by sensory experience and to move forward in an endless unfolding of self-creating life is one of the strange, deep marks man leaves on the world. Chess, on the other hand, is a game in which thirty-two bits of ivory, horn, wood, metal, or (in stalags) sawdust stuck together with shoe polish, are pushed around on sixty-four alternately coloured squares. To the addict, such a description is blasphemy. The origins of chess are shrouded in mists of controversy, but unquestionably this very ancient, trivial pastime has seemed to many exceptionally intelligent human beings of many races and centuries to constitute a reality, a focus for the emotions, as substantial as, often more substantial than, reality itself. Cards can come to mean the same absolute. But their magnetism is impure. A mania for whist or poker hooks into the obvious, universal magic of money. The financial element in chess, where it exists at all, has always been small or accidental.
To a true chess player, the pushing about of thirty-two counters on 8×8 squares is an end in itself, a whole world next to which that of a mere biological or political or social life seems messy, stale, and contingent. Even the patzer, the wretched amateur who charges out with his knight pawn when the opponent’s bishop decamps to R4, feels this daemonic spell. There are siren moments when quite normal creatures otherwise engaged, men such as Lenin and myself, feel like giving up everything– marriage, mortgages, careers, the Russian Revolution– in order to spend their days and nights moving little carved objects up and down a quadrate board. At the sight of a set, even the tawdriest of plastic pocket sets, one’s fingers arch and a coldness as in a light sleep steals over one’s spine. Not for gain, not for knowledge or reknown, but in some autistic enchantment, pure as one of Bach’s inverted canons or Euler’s formula for polyhedra.”
— George Steiner in “A Death of Kings,” The New Yorker, issue dated September 7, 1968, page 133
“Examples are the stained-glass windows of knowledge.” —Nabokov
Click above images for some context.
Dialogue from the classic film Forbidden Planet—
"… Which makes it a gilt-edged priority that one of us gets into that Krell lab and takes that brain boost."
— Taken from a video (5:18-5:24 of 6:09) at David Lavery's weblog in the entry of Tuesday, April 7.
(Cf. this journal on that date.)
Thanks to Professor Lavery for his detailed notes on his viewing experiences.
My own viewing recently included, on the night of Good Friday, April 10, the spiritually significant film Indiana Jones and the Kingdom of the Crystal Skull.
The mystic circle of 13 aliens at the end of that film, together with Leslie Nielsen's Forbidden Planet remark quoted above, suggests the following:
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"The aim of Conway’s game M13 is to get the hole at the top point and all counters in order 1,2,…,12 when moving clockwise along the circle." —Lieven Le Bruyn
The illustration is from the weblog entry by Lieven Le Bruyn quoted below. The colored circles represent 12 of the 13 projective points described below, the 13 radial strokes represent the 13 projective lines, and the straight lines in the picture, including those that form the circle, describe which projective points are incident with which projective lines. The dot at top represents the "hole."
From "The Mathieu Group M12 and Conway’s M13-Game" (pdf), senior honors thesis in mathematics by Jeremy L. Martin under the supervision of Professor Noam D. Elkies, Harvard University, April 1, 1996–
"Let P3 denote the projective plane of order 3. The standard construction of P3 is to remove the zero point from a three-dimensional vector space over the field F3 and then identify each point x with -x, obtaining a space with
Conway [3] proposed the following game…. Place twelve numbered counters on the points… of P3 and leave the thirteenth point… blank. (The empty point will be referred to throughout as the "hole.") Let the location of the hole be p; then a primitive move of the game consists of selecting one of the lines containing the hole, say There is an obvious characterization of a move as a permutation in S13, operating on the points of P3. By limiting our consideration to only those moves which return the hole to its starting point…. we obtain the Conway game group. This group, which we shall denote by GC, is a subgroup of the symmetric group S12 of permutations of the twelve points…, and the group operation of GC is concatenation of paths. Conway [3] stated, but did not prove explicitly, that GC is isomorphic to the Mathieu group M12. We shall subsequently verify this isomorphism. The set of all moves (including those not fixing the hole) is given the name M13 by Conway. It is important that M13 is not a group…." [3] John H. Conway, "Graphs and Groups and M13," Notes from New York Graph Theory Day XIV (1987), pp. 18–29. Another exposition (adapted to Martin's notation) by Lieven le Bruyn (see illustration above):
"Conway’s puzzle M13 involves the 13 points and 13 lines of P3. On all but one point numbered counters are placed holding the numbers 1,…,12 and a move involves interchanging one counter and the 'hole' (the unique point having no counter) and interchanging the counters on the two other points of the line determined by the first two points. In the picture [above] the lines are represented by dashes around the circle in between two counters and the points lying on this line are those that connect to the dash either via a direct line or directly via the circle. In the first part we saw that the group of all reachable positions in Conway's M13 puzzle having the hole at the top position contains the sporadic simple Mathieu group M12 as a subgroup." |
For the religious significance of the circle of 13 (and the "hole"), consider Arthur and the 12 knights of the round table, et cetera.
In memory of
physics historian
Martin J. Klein,
(June 25, 1924-
March 28, 2009)
"… in physics itself, there was what appeared, briefly, to be an ending, which then very quickly gave way to a new beginning: The quest for the ultimate building-blocks of the universe had been taken down to the molecular level in nineteenth-century kinetic theory… and finally to the nuclear level in the second and third decades of the twentieth century. For a moment in the 1920s the quest appeared to have ended…. However… this paradise turned out to be, if not exactly a fool's paradise, then perhaps an Eden lost."
— No Truth Except in the Details: Essays in Honor of Martin J. Klein, introduction by A.J. Kox and Daniel Siegel, June 25, 1994
New York Times obituary dated April 1, 2009:
"Martin J. Klein, a historian of modern physics…. died Saturday, [March 28, 2009] in Chapel Hill, N.C. He was 84 and lived in Chapel Hill."
Klein edited, among other things, Paul Ehrenfest: Collected Scientific Papers (publ. by North-Holland, Amsterdam, 1959).
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Related material:
"Almost every famous chess game
is a well-wrought urn
in Cleanth Brooks’ sense."
— John Holbo,
Now We See
Wherein Lies the Pleasure
"The entire sequence of moves in these… chapters reminds one– or should remind one– of a certain type of chess problem where the point is not merely the finding of a mate in so many moves, but what is termed 'retrograde analysis'…."
— Vladimir Nabokov, foreword to The Defense
“Music, mathematics, and chess are in vital respects dynamic acts of location. Symbolic counters are arranged in significant rows. Solutions, be they of a discord, of an algebraic equation, or of a positional impasse, are achieved by a regrouping, by a sequential reordering of individual units and unit-clusters (notes, integers, rooks or pawns). The child-master, like his adult counterpart, is able to visualize in an instantaneous yet preternaturally confident way how the thing should look several moves hence. He sees the logical, the necessary harmonic and melodic argument as it arises out of an initial key relation or the preliminary fragments of a theme. He knows the order, the appropriate dimension, of the sum or geometric figure before he has performed the intervening steps. He announces mate in six because the victorious end position, the maximally efficient configuration of his pieces on the board, lies somehow ‘out there’ in graphic, inexplicably clear sight of his mind….”
“… in some autistic enchantment, pure as one of Bach’s inverted canons or Euler’s formula for polyhedra.”
— George Steiner, “A Death of Kings,” in The New Yorker, issue dated Sept. 7, 1968
“Classrooms are filled with discussions not of the Bible and Jesus but of 10 ‘core values’– perseverance and curiosity, for instance– that are woven into the curriculum.”
— “Secular Education, Catholic Values,” by Javier C. Hernandez, The New York Times, Sunday, March 8, 2009
— Raymond Chandler, The Big Sleep
The Chandler quotation appears in “Language Game,” an entry in this journal on April 7, 2008.
Some say the “Language Game” date, April 7, is the true date (fixed, permanent) of the Crucifixion– by analogy, Eliot’s “still point” and Jung’s “centre.” (See yesterday, noon.)
The New York Times Magazine for next Sunday:
“Weeks before the election of 1960, Norman Mailer, already an accomplished novelist, sat down to write his first major work of political journalism, an essay for Esquire in which he argued that only John F. Kennedy could save America… the only kind of leader who could rescue it, who could sweep in an era of what Mailer called ‘existential’ politics, was a ‘hipster’ hero– someone who welcomed risk and adventure, someone who sought out new experience, both for himself and for the country….
… Mailer essentially created a new genre for a generation of would-be literary philosophers covering politics…. By 1963, Mailer and other idealists were crushed to discover that Kennedy was in fact a fairly conventional and pragmatic politician, more Harvard Yard than Fortress of Solitude.”
“… what I want from the Obama administration is something more than Harvard-to-the-Beltway smarts. I want magical realism.”
Mailer and Cohen, taken together, suggest I should review two authors– Picard and Hesse– I encountered as a Harvard freshman in 1960.
MEPHISTOPHELES:
Den Doktor?
DER HERR:
Meinen Knecht!
Further background on the word “Knecht”–
“… For although in a certain sense and for light-minded persons non-existent things can be more easily and irresponsibly represented in words than existing things, for the serious and conscientious historian it is just the reverse. Nothing is harder, yet nothing is more necessary, than to speak of certain things whose existence is neither demonstrable nor probable. The very fact that serious and conscientious men treat them as existing things brings them a step closer to existence and to the possibility of being born.”
Last night's entry presented a
short story summarized by
four lottery numbers.
Today's mid-day lotteries
and associated material:
Pennsylvania, 201– i.e., 2/01:
Kindergarten Theology —
"In a game of chess, the knight's move is unique because it alone goes around corners. In this way, it combines the continuity of a set sequence with the discontinuity of an unpredictable turn in the middle. This meaningful combination of continuity and discontinuity in an otherwise linear set of possibilities has led some to refer to the creative act of discovery in any field of research as a 'knight's move' in intelligence."
"One must join forces with friends of like mind"
Related material:
"Schizophrenia is not a psychological disorder peculiar to human beings. Schizophrenia is not a disease at all but rather a localized traveling discontinuity of the space time matrix itself. It is like a travelling whirl-wind of radical understanding that haunts time. It haunts time in the same way that Alfred North Whitehead said that the color dove grey 'haunts time like a ghost.'"
"'Knight's move thinking' is a psychiatric term describing a thought disorder where in speech the usual logical sequence of ideas is lost, the sufferer jumping from one idea to another with no apparent connection. It is most commonly found in schizophrenia."
I know more than Apollo,
For oft when he lies sleeping
I see the stars at mortal wars
In the wounded welkin weeping.
For more on the sleep of Apollo,
see the front page of today's
New York Times Book Review.
Garrison Keillor's piece there,
"Dying of the Light," is
about the fear of death felt
by an agnostic British twit.
For relevant remarks by
a British non-twit, see
William Dunbar–
For further details, see
Gift of the Third Kind
and
Kindergarten Relativity.
Related material:
"Like all men of the Library,
I have traveled in my youth."
— Jorge Luis Borges,
The Library of Babel
"Papá me mandó un artículo
de J. G. Ballard en el que
se refiere a cómo el lugar
de la muerte es central en
nuestra cultura contemporánea."
— Sonya Walger,
interview dated September 14
(Feast of the Triumph of the Cross),
Anno Domini 2006
Sonya Walger,
said to have been
born on D-Day,
the sixth of June,
in 1974
Walger's father is, like Borges,
from Argentina.
She "studied English Literature
at Christ Church College, Oxford,
where she received
a First Class degree…. "
"… un artículo de J. G. Ballard…."–
A Handful of Dust, by J. G. Ballard
(The Guardian, March 20, 2006):
"… The Atlantic wall was only part of a huge system of German fortifications that included the Siegfried line, submarine pens and huge flak towers that threatened the surrounding land like lines of Teutonic knights. Almost all had survived the war and seemed to be waiting for the next one, left behind by a race of warrior scientists obsessed with geometry and death.
Death was what the Atlantic wall and Siegfried line were all about….
… modernism of the heroic period, from 1920 to 1939, is dead, and it died first in the blockhouses of Utah beach and the Siegfried line…
Modernism's attempt to build a better world with the aid of science and technology now seems almost heroic. Bertolt Brecht, no fan of modernism, remarked that the mud, blood and carnage of the first world war trenches left its survivors longing for a future that resembled a white-tiled bathroom. Architects were in the vanguard of the new movement, led by Le Corbusier and the Bauhaus design school. The old models were thrown out. Function defined form, expressed in a pure geometry that the eye could easily grasp in its entirety."
"This is the garden of Apollo,
the field of Reason…."
— John Outram, architect
(Click on picture for details.)
Related material:
Mate in 6
(White moves.)
(White: Ke8, Nd7, Be5,
b5, e4, f2. Black: Ke6.)
(For solution, click here.)
“… There was a problem laid out on the board, a six-mover. I couldn’t solve it, like a lot of my problems. I reached down and moved a knight….
I looked down at the chessboard. The move with the knight was wrong. I put it back where I had moved it from. Knights had no meaning in this game. It wasn’t a game for knights.”— Raymond Chandler, The Big Sleep, begun in the summer of 1938
“In this way we are offered a formidable lesson for every Christian community.”
— Pope Benedict XVI on Pentecost, June 4, 2006, St. Peter’s Square.
Culture War
The New York Times, August 6, 2003,
on its executive editor Bill Keller:
“‘It is past time for our magnificent coverage of culture and lifestyles, so essential to our present allure and to our future growth, to get the kind of attention we routinely bestow on hard news,’ Mr. Keller wrote in an e-mail message to the staff.”
The New York Times, June 25, 2006,
on art in Mexico:
“At the Hilario Galguera gallery, newly opened in a fortresslike, century-old building, was Damien Hirst’s gory new series ‘The Death of God– Towards a Better Understanding of Life Without God Aboard the Ship of Fools.’ He conceived the work at his part-time home in the Mexican surf town Troncones.”
Raymond Chandler in The Big Sleep:
“I went over to a floor lamp and pulled the switch, went back to put off the ceiling light, and went across the room again to the chessboard on a card table under the lamp. There was a problem laid out on the board, a six-mover. I couldn’t solve it, like a lot of my problems. I reached down and moved a knight, then pulled my hat and coat off and threw them somewhere. All this time the soft giggling went on from the bed, that sound that made me think of rats behind a wainscoting in an old house.
…………I looked down at the chessboard. The move with the knight was wrong. I put it back where I had moved it from. Knights had no meaning in this game. It wasn’t a game for knights.”
“Mr. Denker was of the romantic school
of chess – always looking to attack.”
Related material:
From Endgame:
Black the knight upon that ocean,
Bright the sun upon the king.
Dark the queen that stands beside him,
White his castle, threatening.
In the shadows’ see a bishop
Guards his queen of love and hate.
Another move, the game will be up;
Take the queen, her knight will mate.
The knight said “Move, be done. It’s over.”
“Love and resign,” the bishop cried.
“When it’s done you’ll stand forever
By the darkest beauty’s side.”
From Log24.net, Feb. 18, 2003:
Kali, a goddess sometimes depicted
as a dancing girl; Kali is related to kAla,
time, according to one website, as
“the force which governs and stops time.”
See also the novel The Fermata,
by Nicholson Baker.
From an entry of Sunday, Jan. 2,
the day Denker died:
“Time had been canceled.”
— Stephen King, The Shining
From Truth and Style, a tribute
to the late Amy Spindler, style editor
of the New York Times Magazine:
“I don’t believe in truth. I believe in style.”
— Hugh Grant in Vogue magazine, July 1995
From a related page,
The Crimson Passion:
“He takes us to the central activity
of mathematics—which is imagining….”
— Harvard Magazine on
Harvard mathematician
and author Barry Mazur.
For related material on Mazur, see
“The teenagers aren’t all bad.
I love ’em if nobody else does.
There ain’t nothing wrong
with young people.
Jus’ quit lyin’ to ’em.”
Star Wars
In memory of Melvin J. Lasky, editor, 1958-1990, of the CIA-funded journal Encounter:
“Once called as lively, and as bitchy, as a literary cocktail party, Encounter published articles of unrivalled authority on politics, history and literature.”
Lasky died on Wednesday, May 19, 2004. From a journal entry of my own on that date:
This newly-digitized diagram is from a
paper journal note of October 21, 1999.
Note that the diagram’s overall form is that of an eight-point star. Here is an excerpt from a Fritz Leiber story dealing with such a star, the symbol of a fictional organization:
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Time traveling, which is not quite the good clean boyish fun it’s cracked up to be, started for me when this woman with the sigil on her forehead looked in on me from the open doorway of the hotel bedroom where I’d hidden myself and the bottles and asked me, “Look, Buster, do you want to live?” Her right arm was raised and bent, the elbow touching the door frame, the hand brushing back the very dark bangs from her forehead to show me the sigil, as if that had a bearing on her question. The sigil was an eight-limbed asterisk made of fine dark lines and about as big as a silver dollar. An X superimposed on a plus sign. It looked permanent. … “Here is how it stacks up: You’ve bought your way with something other than money into an organization of which I am an agent….” “It’s a very big organization,” she went on, as if warning me. “Call it an empire or a power if you like. So far as you are concerned, it has always existed and always will exist. It has agents everywhere, literally. Space and time are no barriers to it. Its purpose, so far as you will ever be able to know it, is to change, for its own aggrandizement, not only the present and the future, but also the past. It is a ruthlessly competitive organization and is merciless to its employees.” “I. G. Farben?” I asked grabbing nervously and clumsily at humor. She didn’t rebuke my flippancy, but said, “And it isn’t the Communist Party or the Ku Klux Klan, or the Avenging Angels or the Black Hand, either, though its enemies give it a nastier name.” “Which is?” I asked. “The Spiders,” she said. That word gave me the shudders, coming so suddenly. I expected the sigil to step off her forehead and scuttle down her face and leap at me—something like that. She watched me. “You might call it the Double Cross,” she suggested, “if that seems better.” — Fritz Leiber, |
From last year’s entry,
Indiana Jones and the Hidden Coffer,
of 6/14:
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From Borges’s “The Aleph“:
From The Hunchback of Notre Dame:
Lena Olin and Harrison Ford |
Finally, from an excellent site
on the Knights Templar,
a quotation from Umberto Eco:
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When all the archetypes burst out shamelessly, we plumb the depths of Homeric profundity. Two cliches make us laugh but a hundred cliches move us because we sense dimly that the cliches are talking among themselves, celebrating a reunion . . . Just as the extreme of pain meets sensual pleasure, and the extreme of perversion borders on mystical energy, so too the extreme of banality allows us to catch a glimpse of the Sublime. — “Casablanca: Cult Movies and Intertextual Collage” (1984) from Travels in Hyperreality |
ART WARS:
Toward Eternity
April is Poetry Month, according to the Academy of American Poets. It is also Mathematics Awareness Month, funded by the National Security Agency; this year's theme is "Mathematics and Art."
Some previous journal entries for this month seem to be summarized by Emily Dickinson's remarks:
"Because I could not stop for Death–
He kindly stopped for me–
The Carriage held but just Ourselves–
And Immortality.
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Math Awareness Month April is Math Awareness Month.
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An Offer He Couldn't Refuse Today's birthday: Francis Ford Coppola is 64.
From a note on geometry of April 28, 1985:
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The Eight Today, the fourth day of the fourth month, plays an important part in Katherine Neville's The Eight. Let us honor this work, perhaps the greatest bad novel of the twentieth century, by reflecting on some properties of the number eight. Consider eight rectangular cells arranged in an array of four rows and two columns. Let us label these cells with coordinates, then apply a permutation.
The resulting set of arrows that indicate the movement of cells in a permutation (known as a Singer 7-cycle) outlines rather neatly, in view of the chess theme of The Eight, a knight. This makes as much sense as anything in Neville's fiction, and has the merit of being based on fact. It also, albeit rather crudely, illustrates the "Mathematics and Art" theme of this year's Mathematics Awareness Month. The visual appearance of the "knight" permutation is less important than the fact that it leads to a construction (due to R. T. Curtis) of the Mathieu group M24 (via the Curtis Miracle Octad Generator), which in turn leads logically to the Monster group and to related "moonshine" investigations in the theory of modular functions. See also "Pieces of Eight," by Robert L. Griess. |
The Eight
Today, the fourth day of the fourth month, plays an important part in Katherine Neville's The Eight. Let us honor this work, perhaps the greatest bad novel of the twentieth century, by reflecting on some properties of the number eight. Consider eight rectangular cells arranged in an array of four rows and two columns. Let us label these cells with coordinates, then apply a permutation.
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The resulting set of arrows that indicate the movement of cells in a permutation (known as a Singer 7-cycle) outlines rather neatly, in view of the chess theme of The Eight, a knight. This makes as much sense as anything in Neville's fiction, and has the merit of being based on fact. It also, albeit rather crudely, illustrates the "Mathematics and Art" theme of this year's Mathematics Awareness Month. (See the 4:36 PM entry.)
The visual appearance of the "knight" permutation is less important than the fact that it leads to a construction (due to R. T. Curtis) of the Mathieu group M24 (via the Curtis Miracle Octad Generator), which in turn leads logically to the Monster group and to related "moonshine" investigations in the theory of modular functions. See also "Pieces of Eight," by Robert L. Griess.
16 Years Ago Today:
Endgame
Metaphor for Morphean morphosis,
Dreams that wake, transform, and die,
Calm and lucid this psychosis,
Joyce’s nightmare in Escher’s eye.
At the end there is a city
With cathedral bright and sane
Facing inward from the pity
On the endgame’s wavy plane.
Black the knight upon that ocean,
Bright the sun upon the king.
Dark the queen that stands beside him,
White his castle, threatening.
In the shadows’ see a bishop
Guards his queen of love and hate.
Another move, the game will be up;
Take the queen, her knight will mate.
The knight said “Move, be done. It’s over.”
“Love and resign,” the bishop cried.
“When it’s done you’ll stand forever
By the darkest beauty’s side.”
Dabo claves regni caelorum. By silent shore
Ripples spread from castle rock. The metaphor
For metamorphosis no keys unlock.
— Steven H. Cullinane, November 7, 1986
Accompaniment from
“The Thomas Crown Affair”:
Michel Legrand, “Les Moulins de Mon Coeur”
Lyrics by Eddy Marnay:
Comme une pierre que l’on jette
Dans l’eau vive d’un ruisseau
Et qui laisse derrière elle
Des milliers de ronds dans l’eau….
The Boys from Uruguay
If one were to write a “secret history” of the twentieth century, one possible organizing theme might be the religious struggle between worshippers of the Semitic deity (variously known as Yahweh, God, and Allah) and worshippers of the Aryan deities… notably, the Aryan god of music, light, and reason, Apollo.
(See my jounal notes of Monday, Sept. 2, 2002, below.)
In perhaps the best academic website I have ever seen, Karey L. Perkins quotes Walker Percy:
“The truth is that man’s capacity for symbol-mongering in general and language in particular is…intimately part and parcel of his being human, of his perceiving and knowing, of his very consciousness…”
The greatest symbol-monger of the twentieth century was, of course, Adolf Hitler. His use of the Aryan sun-wheel symbol rose to the level of genius. Of course, it ultimately failed to win the approval of the sun god himself, Apollo, who is also the god of reason.
Since symbol-mongering cannot be avoided, let us hope that it can be done in a somewhat more reasonable way than that of the National Socialist movement. Two examples suggest themselves.
From Karey Perkins’s website:
On this Rosh Hashanah, the cross as a symbol of intelligence may be offensive to some worshippers of Yahweh. Let them read The Archivist, a novel by Martha Cooley, and then my journal note The Matthias Defense.
They might also contemplate the biblical quotation in the musical “Contact” broadcast from Lincoln Center on September 1, 2002: “Let there be light!”
Three Jews named Paul have been associated with light…
Saul of Tarsus, who later assumed an alias.
Paul Newman, whose performance in “The Verdict” continues, indirectly, to trouble Cardinal Law of Boston.
Paul R. Halmos, a personal hero of mine ever since I saw his Finite Dimensional Vector Spaces and Measure Theory as an ignorant young undergraduate browsing the bookstores of Harvard Square.
In accordance with the “secret history” theme mentioned above, the struggle between Aryan and Semitic religions may also be viewed in the light of the struggle between Christianity and Communism. Hitler exploited this viewpoint very successfully, pretending to be the champion of the Christians against the godless Reds. Peggy Noonan also successfully uses this strategy. Both Hitler and Noonan manage to ignore the fact that Christianity is itself one of the Semitic religions, and that at least two of its three deities are Jewish.
As for me, I rather identify with the young Hitler clone at the end of the film “The Boys from Brazil.” Forced to decide between Gregory Peck and Sir Laurence Olivier, he sides with Olivier. His reason? Peck lied.
In a similar situation, forced to decide between Peggy Noonan and the Jew Halmos, I would probably side with Halmos. Halmos, who should, if not a saint, be at least dubbed a knight, does not, unlike the great majority of the damned human race, lie.
See Halmos’s memoir, I Want to Be a Mathematician. In particular, see the single index entry “communist by allegation” and the 29 entries under “Uruguay.”
Happy birthday to Elia Kazan and Peggy Noonan, and a happy and prosperous New Year to should-be-Sir Paul R. Halmos.
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