Log24

Monday, November 30, 2015

Chiaroscuro

Filed under: General — m759 @ 12:01 AM

An image from Log24 on May 21, 2005

An image posted here on Saturday, November 28, 2015

http://www.martin-missfeldt.de/kontrast/hell-dunkel-kontrast.php

Saturday, November 28, 2015

Hell-Dunkel

Filed under: General — m759 @ 10:00 PM

http://www.martin-missfeldt.de/kontrast/hell-dunkel-kontrast.php
 

Related material:

Montessori vs. Machivavelli 

http://www.condenaststore.com/-sp/A-group-holding-a-flag-that-says-
Machiavelli-School-spies-on-a-Montessori-New-Yorker-Cartoon-Prints
_i13739885_.htm

and Montessori Oberösterreich .

Saturday, September 5, 2015

Blockheads

Filed under: General — Tags: — m759 @ 11:35 AM

(Continued)

Cartoon from the current (Sept. 7, 2015) New Yorker , p. 25 —

See as well searches in this journal for Montessori and Machiavelli.

Midrash from Sept. 3 at the online New Yorker

"We don’t instinctively care about the brand unity
Google wants to achieve with its new mega-company,
Alphabet, of which it is now a part. Especially because
Alphabet takes our most elementally wonderful
general-use word—the name of the components of
language itself—and reassigns it, like the words tweet,
twitter, vine, facebook, friend, and so on, into a branded
realm. In Larry Page’s letter explaining it to us,
Alphabet is illustrated with a bunch of kids’ building blocks.
Operation Childlike Innocence, Phase One."

— Sarah Larson

Friday, April 8, 2011

Concepts of Space

Filed under: General,Geometry — Tags: — m759 @ 7:35 PM

Part I — Roberta Smith in today's New York Times

"… the argument that painting may ultimately be about
little more than the communication of some quality of
light and space, however abstract or indirect."

– Review of "Rooms With a View" at the Met

Box symbol

Pictorial version
of Hexagram 20,
Contemplation (View)

http://www.log24.com/log/pix10A/100522-Clouseau.gif

Space: what you damn well have to see.
– James Joyce, Ulysses

Part II — Window from A Crooked House

"Teal lifted the blind a few inches. He saw nothing, and raised it a little more—still nothing. Slowly he raised it until the window was fully exposed. They gazed out at—nothing.

Nothing, nothing at all. What color is nothing? Don't be silly! What shape is it? Shape is an attribute of something . It had neither depth nor form. It had not even blackness. It was nothing ."

Part III — Not So Crooked: The Cabinet of Dr. Montessori

An April 5 Wall Street Journal  article on Montessori schools, and…

http://www.log24.com/log/pix11/110408-MontessoriCabinet.jpg

A cabinet from Dr. Montessori's own
explanation of her method

Part IV — Pilate Goes to Kindergarten and The Seven

Friday, August 22, 2008

Friday August 22, 2008

Filed under: General,Geometry — m759 @ 5:01 AM

Tentative movie title:
Blockheads

Kohs Block Design Test

The Kohs Block Design
Intelligence Test

Samuel Calmin Kohs, the designer (but not the originator) of the above intelligence test, would likely disapprove of the "Aryan Youth types" mentioned in passing by a film reviewer in today's New York Times. (See below.) The Aryan Youth would also likely disapprove of Dr. Kohs.

Related material from
Notes on Finite Geometry:

Kohs Block Design figure illustrating the four-color decomposition theorem

Other related material:

1.  Wechsler Cubes (intelligence testing cubes derived from the Kohs cubes shown above). See…

Harvard psychiatry and…
The Montessori Method;
The Crimson Passion;
The Lottery Covenant.

2.  Wechsler Cubes of a different sort (Log24, May 25, 2008)

3.  Manohla Dargis in today's New York Times:

"… 'Momma’s Man' is a touchingly true film, part weepie, part comedy, about the agonies of navigating that slippery slope called adulthood. It was written and directed by Azazel Jacobs, a native New Yorker who has set his modestly scaled movie with a heart the size of the Ritz in the same downtown warren where he was raised. Being a child of the avant-garde as well as an A student, he cast his parents, the filmmaker Ken Jacobs and the artist Flo Jacobs, as the puzzled progenitors of his centerpiece, a wayward son of bohemia….

In American movies, growing up tends to be a job for either Aryan Youth types or the oddballs and outsiders…."

4.  The bohemian who named his son Azazel:

"… I think that the deeper opportunity, the greater opportunity film can offer us is as an exercise of the mind. But an exercise, I hate to use the word, I won't say 'soul,' I won't say 'soul' and I won't say 'spirit,' but that it can really put our deepest psychological existence through stuff. It can be a powerful exercise. It can make us think, but I don't mean think about this and think about that. The very, very process of powerful thinking, in a way that it can afford, is I think very, very valuable. I basically think that the mind is not complete yet, that we are working on creating the mind. Okay. And that the higher function of art for me is its contribution to the making of mind."

Interview with Ken Jacobs, UC Berkeley, October 1999

5.  For Dargis's "Aryan Youth types"–

From a Manohla Dargis
New York Times film review
of April 4, 2007
   (Spy Wednesday) —

Scene from Paul Verhoeven's film 'Black Book'

See also, from August 1, 2008
(anniversary of Hitler's
opening the 1936 Olympics) —

For Sarah Silverman

and the 9/9/03 entry 

Olympic Style.

Doonesbury,
August 21-22, 2008:

http://www.log24.com/log/pix08A/080821-22-db16color.gif
 

Sunday, May 25, 2008

Sunday May 25, 2008

Filed under: General,Geometry — Tags: , — m759 @ 9:00 AM
Wechsler Cubes
“Confusion is nothing new.”
— Song lyric, Cyndi Lauper
Part I:
Magister Ludi

Hermann Hesse’s 1943 The Glass Bead Game (Picador paperback, Dec. 6, 2002, pp. 139-140)–

“For the present, the Master showed him a bulky memorandum, a proposal he had received from an organist– one of the innumerable proposals which the directorate of the Game regularly had to examine. Usually these were suggestions for the admission of new material to the Archives. One man, for example, had made a meticulous study of the history of the madrigal and discovered in the development of the style a curved that he had expressed both musically and mathematically, so that it could be included in the vocabulary of the Game. Another had examined the rhythmic structure of Julius Caesar’s Latin and discovered the most striking congruences with the results of well-known studies of the intervals in Byzantine hymns. Or again some fanatic had once more unearthed some new cabala hidden in the musical notation of the fifteenth century. Then there were the tempestuous letters from abstruse experimenters who could arrive at the most astounding conclusions from, say, a comparison of the horoscopes of Goethe and Spinoza; such letters often included pretty and seemingly enlightening geometric drawings in several colors.”

Part II:
A Bulky Memorandum

From Siri Hustvedt, author of Mysteries of the Rectangle: Essays on Painting (Princeton Architectural Press, 2005)– What I Loved: A Novel (Picador paperback, March 1, 2004, page 168)–

A description of the work of Bill Wechsler, a fictional artist:

“Bill worked long hours on a series of autonomous pieces about numbers. Like O’s Journey, the works took place inside glass cubes, but these were twice as large– about two feet square. He drew his inspiration from sources as varied as the Cabbala, physics, baseball box scores, and stock market reports. He painted, cut, sculpted, distorted, and broke the numerical signs in each work until they became unrecognizable. He included figures, objects, books, windows, and always the written word for the number. It was rambunctious art, thick with allusion– to voids, blanks, holes, to monotheism and the individual, the the dialectic and yin-yang, to the Trinity, the three fates, and three wishes, to the golden rectangle, to seven heavens, the seven lower orders of the sephiroth, the nine Muses, the nine circles of Hell, the nine worlds of Norse mythology, but also to popular references like A Better Marriage in Five Easy Lessons and Thinner Thighs in Seven Days. Twelve-step programs were referred to in both cube one and cube two. A miniature copy of a book called The Six Mistakes Parents Make Most Often lay at the bottom of cube six. Puns appeared, usually well disguised– one, won; two, too, and Tuesday; four, for, forth; ate, eight. Bill was partial to rhymes as well, both in images and words. In cube nine, the geometric figure for a line had been painted on one glass wall. In cube three, a tiny man wearing the black-and-white prison garb of cartoons and dragging a leg iron has

— End of page 168 —

opened the door to his cell. The hidden rhyme is “free.” Looking closely through the walls of the cube, one can see the parallel rhyme in another language: the German word drei is scratched into one glass wall. Lying at the bottom of the same box is a tiny black-and-white photograph cut from a book that shows the entrance to Auschwitz: ARBEIT MACHT FREI. With every number, the arbitrary dance of associations worked togethere to create a tiny mental landscape that ranged in tone from wish-fulfillment dream to nightmare. Although dense, the effect of the cubes wasn’t visually disorienting. Each object, painting, drawing, bit of text, or sculpted figure found its rightful place under the glass according to the necessary, if mad, logic of numerical, pictorial, and verbal connection– and the colors of each were startling. Every number had been given a thematic hue. Bill had been interested in Goethe’s color wheel and in Alfred Jensen’s use of it in his thick, hallucinatory paintings of numbers. He had assigned each number a color. Like Goethe, he included black and white, although he didn’t bother with the poet’s meanings. Zero and one were white. Two was blue. Three was red, four was yellow, and he mixed colors: pale blue for five, purples in six, oranges in seven, greens in eight, and blacks and grays in nine. Although other colors and omnipresent newsprint always intruded on the basic scheme, the myriad shades of a single color dominated each cube.

The number pieces were the work of a man at the top of his form. An organic extension of everything Bill had done before, these knots of symbols had an explosive effect. The longer I looked at them, the more the miniature constructions seemed on the brink of bursting from internal pressure. They were tightly orchestrated semantic bombs through which Bill laid bare the arbitrary roots of meaning itself– that peculiar social contract generated by little squiggles, dashes, lines, and loops on a page.”

Part III:
Wechsler Cubes(named not for
Bill Wechsler, the
fictional artist above,
but for the non-fictional
David Wechsler) —

From 2002:

Above: Dr. Harrison Pope, Harvard professor of psychiatry, demonstrates the use of the Wechsler Adult Intelligence Scale “block design” subtest.

Part IV:
A Magic Gallery
Log24, March 4, 2004

ZZ
WW

Figures from the
Kaleidoscope Puzzle
of Steven H. Cullinane:


Poem by Eugen Jost:
Zahlen und Zeichen,
Wörter und Worte

Mit Zeichen und Zahlen
vermessen wir Himmel und Erde
schwarz
auf weiss
schaffen wir neue Welten
oder gar Universen

 Numbers and Names,
Wording and Words

With numbers and names
we measure heaven and earth
black
on white
we create new worlds
and universes


English translation
by Catherine Schelbert
A related poem:

Alphabets
by Hermann Hesse

From time to time
we take our pen in hand
and scribble symbols
on a blank white sheet
Their meaning is
at everyone’s command;
it is a game whose rules
are nice and neat.

But if a savage
or a moon-man came
and found a page,
a furrowed runic field,
and curiously studied
lines and frame:
How strange would be
the world that they revealed.
a magic gallery of oddities.
He would see A and B
as man and beast,
as moving tongues or
arms or legs or eyes,
now slow, now rushing,
all constraint released,
like prints of ravens’
feet upon the snow.
He’d hop about with them,
fly to and fro,
and see a thousand worlds
of might-have-been
hidden within the black
and frozen symbols,
beneath the ornate strokes,
the thick and thin.
He’d see the way love burns
and anguish trembles,
He’d wonder, laugh,
shake with fear and weep
because beyond this cipher’s
cross-barred keep
he’d see the world
in all its aimless passion,
diminished, dwarfed, and
spellbound in the symbols,
and rigorously marching
prisoner-fashion.
He’d think: each sign
all others so resembles
that love of life and death,
or lust and anguish,
are simply twins whom
no one can distinguish…
until at last the savage
with a sound
of mortal terror
lights and stirs a fire,
chants and beats his brow
against the ground
and consecrates the writing
to his pyre.
Perhaps before his
consciousness is drowned
in slumber there will come
to him some sense
of how this world
of magic fraudulence,
this horror utterly
behind endurance,
has vanished as if
it had never been.
He’ll sigh, and smile,
and feel all right again.

— Hermann Hesse (1943),
Buchstaben,” from
Das Glasperlenspiel,
translated by
Richard and Clara Winston

Friday, September 17, 2004

Friday September 17, 2004

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

God is in…
The Details

From an entry for Aug. 19, 2003 on
conciseness, simplicity, and objectivity:

Above: Dr. Harrison Pope, Harvard professor of psychiatry, demonstrates the use of the Wechsler Adult Intelligence Scale "block design" subtest.

Another Harvard psychiatrist, Armand Nicholi, is in the news lately with his book The Question of God: C.S. Lewis and Sigmund Freud Debate God, Love, Sex, and the Meaning of Life.

Pope

Nicholi

Old
Testament
Logos

New
Testament
Logos

For the meaning of the Old-Testament logos above, see the remarks of Plato on the immortality of the soul at

Cut-the-Knot.org.

For the meaning of the New-Testament logos above, see the remarks of R. P. Langlands at

The Institute for Advanced Study.

On Harvard and psychiatry: see

The Crimson Passion:
A Drama at Mardi Gras

(February 24, 2004)

This is a reductio ad absurdum of the Harvard philosophy so eloquently described by Alston Chase in his study of Harvard and the making of the Unabomber, Ted Kaczynski.  Kaczynski's time at Harvard overlapped slightly with mine, so I may have seen him in Cambridge at some point.  Chase writes that at Harvard, the Unabomber "absorbed the message of positivism, which demanded value-neutral reasoning and preached that (as Kaczynski would later express it in his journal) 'there is no logical justification for morality.'" I was less impressed by Harvard positivism, although I did benefit from a course in symbolic logic from Quine.  At that time– the early 60's– little remained at Harvard of what Robert Stone has called "our secret culture," that of the founding Puritans– exemplified by Cotton and Increase Mather.

From Robert Stone, A Flag for Sunrise:

"Our secret culture is as frivolous as a willow on a tombstone.  It's a wonderful thing– or it was.  It was strong and dreadful, it was majestic and ruthless.  It was a stranger to pity.  And it's not for sale, ladies and gentlemen."

Some traces of that culture:

A web page
in Australia:

A contemporary
Boston author:

Click on pictures for details.

A more appealing view of faith was offered by PBS on Wednesday night, the beginning of this year's High Holy Days:

Armand Nicholi: But how can you believe something that you don't think is true, I mean, certainly, an intelligent person can't embrace something that they don't think is true — that there's something about us that would object to that.

Jeremy Fraiberg: Well, the answer is, they probably do believe it's true.

Armand Nicholi: But how do they get there? See, that's why both Freud and Lewis was very interested in that one basic question. Is there an intelligence beyond the universe? And how do we answer that question? And how do we arrive at the answer of that question?

Michael Shermer: Well, in a way this is an empirical question, right? Either there is or there isn't.

Armand Nicholi: Exactly.

Michael Shermer: And either we can figure it out or we can't, and therefore, you just take the leap of faith or you don't.

Armand Nicholi: Yeah, now how can we figure it out?

Winifred Gallagher: I think something that was perhaps not as common in their day as is common now — this idea that we're acting as if belief and unbelief were two really radically black and white different things, and I think for most people, there's a very — it's a very fuzzy line, so that —

Margaret Klenck: It's always a struggle.

Winifred Gallagher: Rather than — I think there's some days I believe, and some days I don't believe so much, or maybe some days I don't believe at all.

Doug Holladay: Some hours.

Winifred Gallagher: It's a, it's a process. And I think for me the big developmental step in my spiritual life was that — in some way that I can't understand or explain that God is right here right now all the time, everywhere.

Armand Nicholi: How do you experience that?

Winifred Gallagher: I experience it through a glass darkly, I experience it in little bursts. I think my understanding of it is that it's, it's always true, and sometimes I can see it and sometimes I can't. Or sometimes I remember that it's true, and then everything is in Technicolor. And then most of the time it's not, and I have to go on faith until the next time I can perhaps see it again. I think of a divine reality, an ultimate reality, uh, would be my definition of God.

Winifred
Gallagher

Sangaku

Gallagher seemed to be the only participant in the PBS discussion that came close to the Montessori ideals of conciseness, simplicity, and objectivity.  Dr. Montessori intended these as ideals for teachers, but they seem also to be excellent religious values.  Just as the willow-tombstone seems suited to Geoffrey Hill's style, the Pythagorean sangaku pictured above seems appropriate to the admirable Gallagher.

Tuesday, August 19, 2003

Tuesday August 19, 2003

Filed under: General,Geometry — Tags: — m759 @ 5:23 PM

Intelligence Test

From my August 31, 2002, entry quoting Dr. Maria Montessori on conciseness, simplicity, and objectivity:

Above: Dr. Harrison Pope, Harvard professor of psychiatry, demonstrates the use of the Wechsler Adult Intelligence Scale "block design" subtest.

Another Harvard psychiatrist, Armand Nicholi, is in the news lately with his book The Question of God: C.S. Lewis and Sigmund Freud Debate God, Love, Sex, and the Meaning of Life

 

Pope

Nicholi

Old
Testament
Logos

New
Testament
Logos

For the meaning of the Old-Testament logos above, see the remarks of Plato on the immortality of the soul at

Cut-the-Knot.org.

For the meaning of the New-Testament logos above, see the remarks of R. P. Langlands at

The Institute for Advanced Study.

For the meaning of life, see

The Gospel According to Jill St. John,

whose birthday is today.

"Some sources credit her with an I.Q. of 162."
 

Saturday, July 5, 2003

Saturday July 5, 2003

Filed under: General,Geometry — m759 @ 4:17 AM

Elements

In memory of Walter Gropius, founder of the Bauhaus and head of the Harvard Graduate School of Design.  Gropius died on this date in 1969.  He said that

"The objective of all creative effort in the visual arts is to give form to space. … But what is space, how can it be understood and given a form?"

"Alle bildnerische Arbeit will Raum gestalten. … Was ist Raum, wie können wir ihn erfassen und gestalten?"


Gropius

— "The Theory and Organization
of the Bauhaus
" (1923)

I designed the following logo for my Diamond Theory site early this morning before reading in a calendar that today is the date of Gropius's death.  Hence the above quote.

"And still those voices are calling
from far away…"
— The Eagles
 

Stoicheia:

("Stoicheia," Elements, is the title of
Euclid's treatise on geometry.)

Tuesday, June 10, 2003

Tuesday June 10, 2003

Filed under: General — m759 @ 4:35 PM

The Triangular God

From the New York Times of June 10, 2003:

As Spinoza noted, “If a triangle could speak, it would say… that God is eminently triangular.”

— “Giving God a Break,” by Nicholas D. Kristof

Related material:


The figure above is by
Robert Anton Wilson.

From “The Cocktail Party,” Act One, Scene One, by T. S. Eliot:

UNIDENTIFIED GUEST [Sings]:

Tooryooly toory-iley
   What’s the matter with One Eyed Riley?

[Exit.]

JULIA:  Edward, who is that dreadful man? 

From T. S. Eliot, The Complete Poems and Plays, 1909-1950 (Harcourt, Brace and Company, 1952), page 144:

“The end is where we start from.”

From the end of that same book:

“And me be-in’ the One-Eyed Ri-ley”

For more on this song, see

Reilly’s Daughter (with midi tune),

One-Eyed Riley (adults only), and

Riley’s Daughter question (forum).

See also my previous journal entry of June 6, 2003

and the perceptive analysis of the Shakti-Shiva symbol that I quoted on May 25, 2003.

Here is a note from Sept. 15, 1984, for those who would like to
block that metaphor.

See also Block Designs from the Cabinet of Dr. Montessori and Sacerdotal Jargon.

Saturday, August 31, 2002

Saturday August 31, 2002

Filed under: General,Geometry — m759 @ 3:36 AM
Today’s birthday: Dr. Maria Montessori

THE MONTESSORI METHOD: CHAPTER VI

HOW LESSONS SHOULD BE GIVEN

“Let all thy words be counted.”
Dante, Inf., canto X.

CONCISENESS, SIMPLICITY, OBJECTIVITY.

…Dante gives excellent advice to teachers when he says, “Let thy words be counted.” The more carefully we cut away useless words, the more perfect will become the lesson….

Another characteristic quality of the lesson… is its simplicity. It must be stripped of all that is not absolute truth…. The carefully chosen words must be the most simple it is possible to find, and must refer to the truth.

The third quality of the lesson is its objectivity. The lesson must be presented in such a way that the personality of the teacher shall disappear. There shall remain in evidence only the object to which she wishes to call the attention of the child….

Above: Dr. Harrison Pope, Harvard professor of psychiatry, demonstrates the use of the Wechsler Adult Intelligence Scale “block design” subtest.

Mathematicians mean something different by the phrase “block design.”

A University of London site on mathematical design theory includes a link to my diamond theory site, which discusses the mathematics of the sorts of visual designs that Professor Pope is demonstrating. For an introduction to the subject that is, I hope, concise, simple, and objective, see my diamond 16 puzzle.

Powered by WordPress