Log24

MORAN

MOLLOY

"I lived in the garden. I have spoken of a voice
telling me things. I was getting to know it better
now, to understand what it wanted. It did not
use the words that Moran had been taught
when he was little and that he in his turn had
taught to his little one. So that at first I did not
know what it wanted. But in the end I understood
this language. I understood it, I understood it,
all wrong perhaps. That is not what matters.
It told me to write the report. Does this mean
I am freer now than I was? I do not know.
I shall learn. Then I went back into the house
and wrote, It is midnight. The rain is beating on
the windows. It was not midnight. It was not
raining."

— Molloy , by Samuel Beckett

The above excerpts are in memory of some wordplay
in this journal on March 2, of a sneering joke in the 
Daily Princetonian  on March 11, and of a possible saint
who reportedly died around midnight on the night of
March 13-14. 

See also the morning of March 13.

Note, at the end of the Princetonian  piece, a comment
worthy of Beckett—

"These words. They've been played on."

 
Two reviews from the February 2008 Notices of the American Mathematical Society:

From a review of

A Certain Ambiguity
(A Mathematical Novel)
by Gaurav Suri and Hartosh Singh Bal
Princeton University Press
Hardcover, US$27.95, 281 pages —

“From the Habermas-Lyotard debate (see [1] for an introduction) to the Sokal hoax ([4]), to recent atheist manifestos on the bestseller lists (e.g., [2]) the question of foundations for intellectual thought and especially for intellectual debate has never been more critical or urgent.”

[1] M. Bérubé, What’s Liberal about the Liberal Arts? Classroom Politics and “Bias” in Higher Education, W. W. Norton, 2006.
[2] S. Harris, Letter to a Christian Nation, Knopf, 2006.
[4] A. Sokal and P. Bricmont, Fashionable Nonsense: Postmodern Intellectuals’ Abuse of Science, Picador, 1999.

— Danny Calegari of Caltech

Also in the February Notices– a review of a book, Superior Beings: If They Exist, How Would We Know?, in which the author

“.. uses elementary ideas from game theory to create situations between a Person (P) and God (Supreme Being, SB) and discusses how each reacts to the other in these model scenarios….

In the ‘Revelation Game,’ for example,
the Person (P) has two options:
1) P can believe in SB’s existence
2) P can not believe in SB’s existence
The Supreme Being also has two options:
1) SB can reveal Himself
2) SB can not reveal Himself….

… [and] goals allow us to rank all the outcomes for each player from best… to worst…. The question we must answer is: what is the Nash equilibrium in this case?”

The answer is what one might expect from the American Mathematical Society:

“… the dominant strategy for both is when SB does not reveal Himself and P does not believe in His existence.”

Other strategies are, of course, possible. See last year’s entries.

See also
the life of John Nash,

for whom the above
equilibrium is named.

The Artist’s Signature

This title is taken from the final chapter of Carl Sagan’s novel Contact.

“There might be a game in which paper figures were put together to form a story, or at any rate were somehow assembled. The materials might be collected and stored in a scrap-book, full of pictures and anecdotes. The child might then take various bits from the scrap-book to put into the construction; and he might take a considerable picture because it had something in it which he wanted and he might just include the rest because it was there.”

— Ludwig Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief

“Not games. Puzzles. Big difference. That’s a whole other matter. All art — symphonies, architecture, novels — it’s all puzzles. The fitting together of notes, the fitting together of words have by their very nature a puzzle aspect. It’s the creation of form out of chaos. And I believe in form.”

— Stephen Sondheim, in Stephen Schiff, Deconstructing Sondheim,” The New Yorker, March 8, 1993, p. 76

This passage from Weil is quoted in
Gateway to God,
p. 42, paperback, fourth impression,
printed in Glasgow in 1982 by
Fontana Books

“He would leave enigmatic messages on blackboards,
signed Ya Ya Fontana.”

— Brian Hayes on John Nash,
The Sciences magazine, Sept.-Oct., 1998

“I have a friend who is a Chief of the Aniunkwia (Cherokee) people and I asked him the name of the Creator in which
he replied… Ya Ho Wah. This is also how it is spoken in Hebrew. In my native language it is spoken
Ya Ya*,
which is also what Moses was told
at the ‘Burning Bush’ incident.”

— “Tank” (of Taino ancestry), Bronx, NY, Wednesday, April 17, 2002

From a website reviewing books published by
 Fontana:

1/17/02: NEW YORK (Variety) – Russell Crowe is negotiating to star in 20th Century Fox’s “Master and Commander,” the Peter Weir-directed adaptation of the Patrick O’Brian book series.

Hmmm.

*For another religious interpretation of this phrase, see my note of October 4, 2002, “The Agony and the Ya-Ya.”

Today's birthdays: Mike Nichols and Sally Field.

From A Beautiful Mind, by Sylvia Nasar:

Prologue

Where the statue stood
Of Newton with his prism and silent face,
The marble index of a mind for ever
Voyaging through strange seas of Thought, alone.
— WILLIAM WORDSWORTH

John Forbes Nash, Jr. — mathematical genius, inventor of a theory of rational behavior, visionary of the thinking machine — had been sitting with his visitor, also a mathematician, for nearly half an hour. It was late on a weekday afternoon in the spring of 1959, and, though it was only May, uncomfortably warm. Nash was slumped in an armchair in one corner of the hospital lounge, carelessly dressed in a nylon shirt that hung limply over his unbelted trousers. His powerful frame was slack as a rag doll's, his finely molded features expressionless. He had been staring dully at a spot immediately in front of the left foot of Harvard professor George Mackey, hardly moving except to brush his long dark hair away from his forehead in a fitful, repetitive motion. His visitor sat upright, oppressed by the silence, acutely conscious that the doors to the room were locked. Mackey finally could contain himself no longer. His voice was slightly querulous, but he strained to be gentle. "How could you," began Mackey, "how could you, a mathematician, a man devoted to reason and logical proof…how could you believe that extraterrestrials are sending you messages? How could you believe that you are being recruited by aliens from outer space to save the world? How could you…?"

Nash looked up at last and fixed Mackey with an unblinking stare as cool and dispassionate as that of any bird or snake. "Because," Nash said slowly in his soft, reasonable southern drawl, as if talking to himself, "the ideas I had about supernatural beings came to me the same way that my mathematical ideas did. So I took them seriously."

What I  take seriously:

Introduction to Topology and Modern Analysis, by George F. Simmons, McGraw-Hill, New York, 1963 

An Introduction to Abstract Harmonic Analysis, by Lynn H. Loomis, Van Nostrand, Princeton, 1953

"Harmonic Analysis as the Exploitation of Symmetry — A Historical Survey," by George W. Mackey, pp. 543-698, Bulletin of the American Mathematical Society, July 1980

Walsh Functions and Their Applications, by K. G. Beauchamp, Academic Press, New York, 1975

Walsh Series: An Introduction to Dyadic Harmonic Analysis, by F. Schipp, P. Simon, W. R. Wade, and J. Pal, Adam Hilger Ltd., 1990

The review, by W. R. Wade, of Walsh Series and Transforms (Golubov, Efimov, and Skvortsov, publ. by Kluwer, Netherlands, 1991) in the Bulletin of the American Mathematical Society, April 1992, pp. 348-359

Music courtesy of Franz Schubert.