I prefer The Pride of Lowell —
Some literary background— Doctor Sax.
Sunday, May 10, 2020
Plato Again Thanks the Academy
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Monday, July 10, 2017
Plato Thanks the Academy (continued)
See also this journal on Feb. 15, 2017 —
Related item from Arts & Letters Daily today —
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Saturday, January 3, 2015
Plato Thanks the Academy
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Saturday, September 6, 2014
Plato Thanks the Academy
Plato at Stanford:
Lacan and the Matheme of Fantasy
“… [in] the matheme of fantasy ($ ◊ a ),
the diamond-shaped “lozenge” (poinçon ) ◊
can be read as a condensation of four symbols:
one, ∧ (the logical symbol for conjunction [“and”]);
two, ∨ (the logical symbol for disjunction [“or”]);
three, > (the mathematical symbol for “greater than”); and,
four, < (the mathematical symbol for “less than”). As per
Lacan’s matheme, the subject’s desires are scripted and
orchestrated by an unconscious fundamental fantasy
in which the desiring subject ($) is positioned in relation to
its corresponding object-cause of desire ( a ).”
— plato.stanford.edu, Stanford Encyclopedia of Philosophy
The Stanford author:
The author is a professor in Albuquerque.
For other perspectives, see that city in this journal.
For the film authors, see IMDb.
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Monday, August 25, 2014
Plato Thanks the Academy
See Shadowlands in this journal.
The film so titled was directed by Richard Attenborough,
President of the Royal Academy of Dramatic Art,
who reportedly died on Sunday, August 24, 2014.
“It’s all in Plato, all in Plato:
bless me, what do they
teach them at these schools!”
— C. S. Lewis
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Wednesday, March 19, 2014
Sunday, March 2, 2014
Plato Thanks the Academy…
… With a trip to yesteryear suggested by
the Feb. 28 New York Times article
"Casting Shadows on a Fanciful World"
("Wes Anderson Evokes Nostalgia in
'The Grand Budapest Hotel' ").
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Saturday, April 14, 2018
Thanking the Academy
"Again, Oscars for best director and best picture . . . ."
See also the previous post and a search for
"Plato thanks the Academy."
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Saturday, August 22, 2020
An Object Lesson
Posts tagged Plato’s Video continue.
Related literary remarks from this journal on Oct. 1, 2016 —
— A Heart for the Gods of Mexico , Conrad Aiken, 1939
Related imagery this morning from the Gulf of Mexico —
Meanwhile, also on Oct. 1, 2016, related imagery from Star Wars Rebels —
Click here to enlarge the holocrons.
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Sunday, February 2, 2020
Tetrads for McLuhan, or “Blame It on Video”
"I like to put people on myself by skipping logical steps
in the conversation until they're dizzy." — Jemima Brown
in The Eiger Sanction
Related posts — See "McLuhan Tetrad" in this journal.
Related theology — See "The Meaning of Perichoresis."
Background — The New Yorker , "On Religion:
Richard Rohr Reorders the Universe," by Eliza Griswold
on February 2, 2020, and a different reordering in posts
tagged Eightfold Metaphysics.
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Game of Shadows
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“Krauss, Portman; Portman, Krauss.”
Prominent in the oeuvre of art theorist Rosalind Krauss, the Klein group
is a four-element group named for Felix Christian Klein.
It is commonly known as the four-group.
Mathematicians sometimes call this group
"V," for its German name, Vierergruppe .
For those who prefer narrative to mathematics —
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Thursday, January 23, 2020
The Demarcation of Nothing
"… nothing could be demarcated as 'hors d'oeuvre'…"
— Geoffrey Hartman in his Haskins Lecture for 2000
(quoted here on Columbus Day, 2004).
See also May Day 2016 and Gap Dance.
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Friday, January 17, 2020
Orbits and Stabilizers
Sure it does.
See as well, in yesterday's Cornfield post, Plato on
tolerating "the presence of untruth." That not one
of the 29 (as of today) comments on Gowers's post
mentions the above presence of untruth is itself a
comment on the culture of the Academy.
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Tuesday, October 15, 2019
A White Stone for Bloom
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Wednesday, January 10, 2018
Logos
Updates of 9:40 PM ET Jan. 10
to 5:45 AM ET the next day:
See a letter from the AMS on their new logo.
Recent revision (pre-2018) of the former AMS logo
The Society's letter describes perceptions of the pre-2018 logo —
"… market research on our current logo revealed that
the connection between a Greek temple and
a mathematical society has become increasingly tenuous
among non-members and younger mathematicians, who
associate the Greek temple with a financial institution."
The omission of the alleged motto of Plato's Academy,
AGEOMETRETOS ME EISITO, in the recent (pre-2018)
revision of the logo was part of the Society's ongoing
process of politically correct dumbing-down. That omission
may have influenced the perception of the logo as picturing
a Greek temple rather than the Academy.
Some related remarks from 2005 —
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Monday, December 26, 2016
Fanciful (continued)
From "Plato Thanks the Academy," March 19, 2014 —
“Click on fanciful .”
A possible result —
See also "Triple Cross."
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Monday, January 5, 2015
Gitterkrieg*
Wednesday, March 13, 2013
|
"I pondered deeply, then, over the
adventures of the jungle. And after
some work with a colored pencil
I succeeded in making my first drawing.
My Drawing Number One.
It looked something like this:
I showed my masterpiece to the
grown-ups, and asked them whether
the drawing frightened them.
But they answered: 'Why should
anyone be frightened by a hat?'"
* For the title, see Plato Thanks the Academy (Jan. 3).
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Sunday, November 9, 2014
Sermon
The Ideas
| “We tell ourselves stories in order to live…. We interpret what we see, select the most workable of multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the ‘ideas’ with which we have learned to freeze the shifting phantasmagoria which is our actual experience.” — Joan Didion |
See Didion and the I Ching and posts tagged Plato in China .
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Sunday, September 7, 2014
Sunday School
In memory of Joan Rivers
This post was suggested by the previous post‘s quote
“the subject’s desires are scripted and orchestrated
by an unconscious fundamental fantasy,”
and by one of my favorite musical fantasies:
Melanie – Brand New Key (’71) .
Academics may prefer the following —
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Wednesday, September 11, 2013
Language Game
In which Plato continues to thank the Academy.
From the Academy, a lead balloon for 9/11 —
continued from March First, 2002.
A search today for the name Eisenman
(see previous post) yields the following :
"We need a cameo from Plato, a safecracker,
a wrinkle or two to be ironed out, some ice,
some diamonds, and, above all, laughter
for this irony of ironies."
— Jeffrey Kipnis, "Twisting the Separatrix,"
Assemblage No. 14, April 1991, MIT Press
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Friday, March 23, 2012
Embedding the Stone
"Imbedding the God character in a holy book's very detailed narrative
and building an entire culture around this narrative
seems by itself to confer a kind of existence on Him."
— John Allen Paulos in the philosophy column "The Stone,"
New York Times online, Oct. 24, 2010
A related post from Log24 later that year—
Sunday, November 28, 2010The EmbeddingThe New York Times Magazine this morning on a seminar on film theory at Columbia University— "When the seminar reconvened after the break, Schamus said, 'Let’s dive into the Meno,' a dialogue in which Plato and Socrates consider virtue. 'The heart of it is the mathematical proof.' He rose from his seat and went to the whiteboard, where he drew figures and scribbled numbers as he worked through the geometry. 'You can only get the proof visually,' he concluded, stepping back and gazing at it. Plato may be skeptical about the category of the visual, he said, but 'you are confronted with a visual proof that gets you back to the idea embedded in visuality.'" The Meno Embedding
See also Plato's Code and |
"Next come the crown of thorns and Jesus' agonized crawl across the stage,
bearing the weight of his own crucifix. And at last, after making
yet another entrance, Mr. Nolan strikes the pose immortalized
in centuries of art, clad in a demure loincloth, arms held out to his sides,
one leg artfully bent in front of the other, head hanging down
in tortured exhaustion. Gently spotlighted, he rises from the stage
as if by magic, while a giant cross, pulsing with hot gold lights,
descends from above to meet him. Mr. Lloyd Webber's churning guitar rock
hits a climactic note, and the audience erupts in excited applause."
— Charles Isherwood, review of "Jesus Christ Superstar" in today's New York Times
Other remarks on embedding —
Part I
Review of a new book on linguistics, embedding, and a South American tribe—
"Imagine a linguist from Mars lands on Earth to survey the planet's languages…."
— Chronicle of Higher Education , March 20, 2012
Part II
The Embedding , by Ian Watson (Review of a 1973 novel from Shakespeare's birthday, 2006)
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Tuesday, August 30, 2011
Boundary
A comment yesterday on the New York Times philosophy column “The Stone” quoted Karl Barth—
“Man is the creature of the boundary between heaven and earth.”
See also Plato’s theory of ideas (or “forms”) and the I Ching—
The eight trigrams are images not so much of objects as of states of change. This view is associated with the concept expressed in the teachings of Lao-tse, as also in those of Confucius, that every event in the visible world is the effect of an “image,” that is, of an idea in the unseen world. Accordingly, everything that happens on earth is only a reproduction, as it were, of an event in a world beyond our sense perception; as regards its occurrence in time, it is later than the suprasensible event. The holy men and sages, who are in contact with those higher spheres, have access to these ideas through direct intuition and are therefore able to intervene decisively in events in the world. Thus man is linked with heaven, the suprasensible world of ideas, and with earth, the material world of visible things, to form with these a trinity of the primal powers.
— Richard Wilhelm, Introduction to the I Ching
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Sunday, November 28, 2010
The Embedding
The New York Times Magazine this morning on a seminar on film theory at Columbia University—
"When the seminar reconvened after the break, Schamus said, 'Let’s dive into the Meno,' a dialogue in which Plato and Socrates consider virtue. 'The heart of it is the mathematical proof.' He rose from his seat and went to the whiteboard, where he drew figures and scribbled numbers as he worked through the geometry. 'You can only get the proof visually,' he concluded, stepping back and gazing at it. Plato may be skeptical about the category of the visual, he said, but 'you are confronted with a visual proof that gets you back to the idea embedded in visuality.'"
The Meno Embedding
See also Plato's Code and
Plato Thanks the Academy.
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Monday, August 3, 2009
Monday August 3, 2009
For Your Consideration—
Steven Miessner, keeper
of the Academy’s Oscars,
died of a heart attack at 48
on Wednesday, July 29, 2009:
Click the above to enlarge.
Steve Miessner, the keeper of the Oscars,
packages the statues for transport
to Kodak Theatre in Los Angeles
in preparation for the 81st
Academy Awards ceremony held
on Sunday, Feb. 22, 2009
(Chris Carlson/AP).
From the date of
Miessner’s death:
Log24 on Thursday, July 30, 2009Annals of Aesthetics, continued: Academy Awards “First of all, I’d like “A poem cannot exhaust reality, — At War with the Word: |
“Who knows where madness lies?”
— Quoted here July 29, 2009
(the day the keeper of
the Oscars died)
Possible clues:
From Google News at about
7 AM ET Mon., Aug. 3, 2009:
Henry Louis Gates Jr. mulls moving over death threatsBoston Herald – – 6 hours ago
CHILMARK – Black scholar Henry Louis Gates Jr. has received numerous death threats since he accused a white officer of …
Death threats may make Gates moveThe Daily Inquirer – 4 hours ago
Henry Louis Gates Jr. said yesterday that Harvard University suggested he move after receiving numerous death threats since he accused a white officer of …
Gates: I’ve received death threatsNECN – 9 hours ago
… Gates spoke at a book signing on Martha’s Vineyard. He also said that he has received death and bomb threats after the incident at his Cambridge home. …
Black scholar says he’s able to joke about arrestThe Associated Press – – 17 hours ago
Gates said he received numerous threats after the incident, including an e-mail that read, “You should die, you’re a racist.” Gates has changed his e-mail …
Gates grateful for island havenCape Cod Times – – 4 hours ago
As a result of death threats and bomb threats, he hasn’t returned to his Cambridge home, leased from Harvard University. The university has encouraged him …
Gates makes public appearance after race debateWorcester Telegram – – 20 hours ago
Gates, who spoke at a book signing on Martha’s Vineyard Sunday, says there also have been some serious moments. He says he received death and bomb threats …
|
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Thursday, July 30, 2009
Thursday July 30, 2009
Academy Awards
for Cambridge
“First of all, I’d like
to thank the Academy.”
— Remark attributed to Plato
“A poem cannot exhaust reality,
but it can arrest it.“
— At War with the Word:
Literary Theory and
Liberal Education,
by R. V. Young,
Chapter One
For one such poem, see
“Life and Death United:
An Intimate Portrait of
a Man Named Miles Davis,”
from a seminar’s weblog
at DePauw University on
Sunday, November 21, 2004.
See also the four Log24
entries on that date as well
as yesterday’s entry on Davis
and the entries preceding it.
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Wednesday, April 8, 2009
Wednesday April 8, 2009
Where Entertainment
Is God
Is God
“For every kind of vampire,
there is a kind of cross.”
— Thomas Pynchon in
Gravity’s Rainbow
“Since 1963, when Pynchon’s first novel, V., came out, the writer– widely considered America’s most important novelist since World War II– has become an almost mythical figure,
— Nancy Jo Sales in the November 11, 1996, issue of New York Magazine
A Cross Between
(Click on images for their
source in past entries.)
In a Nutshell:
“Plato’s Ghost evokes Yeats’s lament that any claim to worldly perfection inevitably is proven wrong by the philosopher’s ghost….”
— Princeton University Press on Plato’s Ghost: The Modernist Transformation of Mathematics (by Jeremy Gray, September 2008)
|
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Tuesday, March 17, 2009
Tuesday March 17, 2009
Deep Structures
The Square of Oppositon
at Stanford Encylopedia of Philosophy
The Square of Opposition
in its original form
"The diagram above is from a ninth century manuscript of Apuleius' commentary on Aristotle's Perihermaneias, probably one of the oldest surviving pictures of the square."
— Edward Buckner at The Logic Museum
From the webpage "Semiotics for Beginners: Paradigmatic Analysis," by Daniel Chandler:
The Semiotic Square
"The structuralist semiotician Algirdas Greimas introduced the semiotic square (which he adapted from the 'logical square' of scholastic philosophy) as a means of analysing paired concepts more fully (Greimas 1987,* xiv, 49). The semiotic square is intended to map the logical conjunctions and disjunctions relating key semantic features in a text. Fredric Jameson notes that 'the entire mechanism… is capable of generating at least ten conceivable positions out of a rudimentary binary opposition' (in Greimas 1987,* xiv). Whilst this suggests that the possibilities for signification in a semiotic system are richer than the either/or of binary logic, but that [sic] they are nevertheless subject to 'semiotic constraints' – 'deep structures' providing basic axes of signification."
* Greimas, Algirdas (1987): On Meaning: Selected Writings in Semiotic Theory (trans. Paul J Perron & Frank H Collins). London: Frances Pinter
Another version of the semiotic square:
Krauss says that her figure "is, of course, a Klein Group."
Here is a more explicit figure representing the Klein group:
There is also the logical
diamond of opposition —
A semiotic (as opposed to logical)
diamond has been used to illustrate
remarks by Fredric Jameson,
a Marxist literary theorist:
| "Introduction to Algirdas Greimas, Module on the Semiotic Square," by Dino Felluga at Purdue University–
The semiotic square has proven to be an influential concept not only in narrative theory but in the ideological criticism of Fredric Jameson, who uses the square as "a virtual map of conceptual closure, or better still, of the closure of ideology itself" ("Foreword"* xv). (For more on Jameson, see the [Purdue University] Jameson module on ideology.) Greimas' schema is useful since it illustrates the full complexity of any given semantic term (seme). Greimas points out that any given seme entails its opposite or "contrary." "Life" (s1) for example is understood in relation to its contrary, "death" (s2). Rather than rest at this simple binary opposition (S), however, Greimas points out that the opposition, "life" and "death," suggests what Greimas terms a contradictory pair (-S), i.e., "not-life" (-s1) and "not-death" (-s2). We would therefore be left with the following semiotic square (Fig. 1): 
As Jameson explains in the Foreword to Greimas' On Meaning, "-s1 and -s2"—which in this example are taken up by "not-death" and "not-life"—"are the simple negatives of the two dominant terms, but include far more than either: thus 'nonwhite' includes more than 'black,' 'nonmale' more than 'female'" (xiv); in our example, not-life would include more than merely death and not-death more than life.
* Jameson, Fredric. "Foreword." On Meaning: Selected Writings in Semiotic Theory. By Algirdas Greimas. Trans. Paul J. Perron and Frank H. Collins. Minneapolis: U of Minnesota P, 1976. |
"The Game in the Ship cannot be approached as a job, a vocation, a career, or a recreation. To the contrary, it is Life and Death itself at work there. In the Inner Game, we call the Game Dhum Welur, the Mind of God."
— The Gameplayers of Zan, by M.A. Foster
"For every kind of vampire,
there is a kind of cross."
— Thomas Pynchon,
Gravity's Rainbow
Crosses used by semioticians
to baffle their opponents
are illustrated above.
Some other kinds of crosses,
and another kind of opponent:
| Monday, July 11, 2005
Logos
for St. Benedict's Day Click on either of the logos below for religious meditations– on the left, a Jewish meditation from the Conference of Catholic Bishops; on the right, an Aryan meditation from Stormfront.org.
Both logos represent different embodiments of the "story theory" of truth, as opposed to the "diamond theory" of truth. Both logos claim, in their own ways, to represent the eternal Logos of the Christian religion. I personally prefer the "diamond theory" of truth, represented by the logo below.
See also the previous entry Sunday, July 10, 2005 Mathematics
and Narrative Click on the title for a narrative about Nikolaos K. Artemiadis,
"First of all, I'd like to
— Remark attributed to Plato
|
||||||||
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Monday, March 16, 2009
Monday March 16, 2009
Plato’s Ghost
“Plato’s Ghost evokes Yeats’s lament that any claim to worldly perfection inevitably is proven wrong by the philosopher’s ghost….”
— Princeton University Press on Plato’s Ghost: The Modernist Transformation of Mathematics (by Jeremy Gray, September 2008)
“She’s a brick house…”
— Plato’s Ghost according to
Log24, April 2007
“First of all, I’d like
to thank the Academy.”
— Remark attributed to Plato
(Cf. the “I tell you a mystery”
link of March 11 in
“Politics, Religion, Scarlett.”)
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Saturday, December 1, 2007
Saturday December 1, 2007
Rhetoric, 1; Dialectic, 0.
— Robert M. Pirsig,
Zen and the Art of
Motorcycle Maintenance
— Robert M. Pirsig,
Zen and the Art of
Motorcycle Maintenance
(Pirsig is describing the response of Phaedrus to an obnoxious member of the Academy in a discussion of Plato’s figure of the horses and charioteer.)
Wallace Stevens,
opening lines of
The Necessary Angel:
“In the Phaedrus, Plato speaks of the soul in a figure. He says:
Let our figure be of a composite nature– a pair of winged horses and a charioteer. Now the winged horses and the charioteer of the gods are all of them noble, and of noble breed, while ours are mixed; and we have a charioteer who drives them in a pair, and one of them is noble and of noble origin, and the other is ignoble and of ignoble origin; and, as might be expected, there is a great deal of trouble in managing them. I will endeavor to explain to you in what way the mortal differs from the immortal creature. The soul or animate being has the care of the inanimate, and traverses the whole heaven in divers forms appearing;– when perfect and fully winged she soars upward, and is the ruler of the universe; while the imperfect soul loses her feathers, and drooping in her flight at last settles on the solid ground.
Let our figure be of a composite nature– a pair of winged horses and a charioteer. Now the winged horses and the charioteer of the gods are all of them noble, and of noble breed, while ours are mixed; and we have a charioteer who drives them in a pair, and one of them is noble and of noble origin, and the other is ignoble and of ignoble origin; and, as might be expected, there is a great deal of trouble in managing them. I will endeavor to explain to you in what way the mortal differs from the immortal creature. The soul or animate being has the care of the inanimate, and traverses the whole heaven in divers forms appearing;– when perfect and fully winged she soars upward, and is the ruler of the universe; while the imperfect soul loses her feathers, and drooping in her flight at last settles on the solid ground.
We recognize at once, in this figure, Plato’s pure poetry; and at the same time we recognize what Coleridge called Plato’s dear, gorgeous nonsense. The truth is that we have scarcely read the passage before we have identified ourselves with the charioteer, have, in fact, taken his place and, driving his winged horses, are traversing the whole heaven.”
Stevens, who was educated at Harvard, adds:
“Then suddenly we remember, it may be, that the soul no longer exists and we droop in our flight and at last settle on the solid ground. The figure becomes antiquated and rustic.”
Many who lack a Harvard education to make them droop will prefer to remember Robert Craig Knievel (Oct. 17, 1938 – Nov. 30, 2007) not as antiquated and rustic but as young and soaring.
Related material:
the previous entry
(a story for Gennie).
the previous entry
(a story for Gennie).
See also the entries for
last February’s
Academy Awards night:
Hollywood Sermon and
Between Two Worlds.
Comments Off on Saturday December 1, 2007
Friday, March 31, 2006
Friday March 31, 2006
Women's History Month continues…
Ontology Alignment
"He had with him a small red book of Mao's poems, and as he talked he squared it on the table, aligned it with the table edge first vertically and then horizontally. To understand who Michael Laski is you must have a feeling for that kind of compulsion."
— Joan Didion in the
Saturday Evening Post,
Nov. 18, 1967 (reprinted in
Slouching Towards Bethlehem)
"Or were you," I said.
He said nothing.
"Raised a Catholic," I said.
He aligned a square crystal paperweight with the edge of his desk blotter.
— Joan Didion in
The Last Thing He Wanted,
Knopf, 1996
"It was Plato who best expressed– who veritably embodied– the tension between the narrative arts and mathematics….
Plato clearly loved them both, both mathematics and poetry. But he approved of mathematics, and heartily, if conflictedly, disapproved of poetry. Engraved above the entrance to his Academy, the first European university, was the admonition: Oudeis ageometretos eiseto. Let none ignorant of geometry enter. This is an expression of high approval indeed, and the symbolism could not have been more perfect, since mathematics was, for Plato, the very gateway for all future knowledge. Mathematics ushers one into the realm of abstraction and universality, grasped only through pure reason. Mathematics is the threshold we cross to pass into the ideal, the truly real."
— Rebecca Goldstein,
Mathematics and
the Character of Tragedy
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Sunday, July 10, 2005
Sunday July 10, 2005
Mathematics
and Narrative
Click on the title
for a narrative about
and Narrative
Click on the title
for a narrative about
Nikolaos K. Artemiadis,
(Co-) author of
| From Artemiadis’s website: | |
| 1986: | Elected Regular Member of the Academy of Athens |
| 1999: | Vice President of the Academy of Athens |
| 2000: | President of the Academy of Athens |
“First of all, I’d like to
thank the Academy…”
— remark attributed to Plato
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Sunday, December 12, 2004
Sunday December 12, 2004
Ideas, Stories, Values:
Literati in Deep Confusion
“We tell ourselves stories in order to live….
We interpret what we see, select the most workable of multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the ‘ideas‘ with which we have learned to freeze the shifting phantasmagoria which is our actual experience.
Or at least we do for a while. I am talking here about a time when I began to doubt the premises of all the stories I had ever told myself, a common condition but one I found troubling.”
Interview with Joseph Epstein:
“You can do in stories things that are above those in essays,” says Epstein. “In essays and piecework, you are trying to make a point, whereas in stories you are not quite sure what the point is. T.S. Eliot once said of Henry James, ‘He had a mind so fine no idea could violate it,’ which, I think, is the ultimate compliment for an author. Stories are above ideas.”
Harvard President Lawrence H. Summers, Sept. 12, 2004:
“You are entering a remarkable community, the Harvard community. It is a community built on the idea of searching for truth… on the idea of respect for others….
… we practice the values we venerate. The values of seeking truth, the values of respecting others….”
“… Hegel discusses ‘culture’ as the ‘world of self-alienated spirit.’ The idea seems to be that humans in society not only interact, but that they collectively create relatively enduring cultural products (stories, dramas, and so forth) within which they can recognise their own patterns of life reflected.”
The “phantasmagoria” of Didion seems related to the “phenomenology” of Hegel…
From Michael N. Forster, Hegel’s Idea of a Phenomenology of Spirit:
“This whole system is conceived, on one level at least, as a defense or rational reworking of the Christian conception of God. In particular, its three parts are an attempt to make sense of the Christian idea of a God who is three in one — the Logic depicting God as he is in himself, the Philosophy of Nature God the Son, and the Philosophy of Spirit God the Holy Spirit.”
and, indeed, to the phenomenology of narrative itself….
From Patrick Vert,
The Narrative of Acceleration:
“There are plenty of anecdotes to highlight the personal, phenomenological experience of railway passage…
… a unique study on phantasmagoria and the history of imagination. The word originates [in] light-projection, the so-called ghost-shows of the early 19th century….
… thought becomes a phantasmagorical process, a spectral, representative location for the personal imagination that had been marginalized by scientific rationalism….
Truly, ‘immediate experience is [or becomes] the phantasmagoria of the idler’ [Walter Benjamin, The Arcades Project. Cambridge: Harvard University Press, 1999. Page 801.]….
Thought as phantasm is a consequence of the Cartesian split, and… a further consequence to this is the broad take-over of perceptual faculty…. What better example than that of the American railway? As a case-study it offers explanation to the ‘phantasmagoria of the idler’….
This phantasmagoria became more mediated over time…. Perception became increasingly visually oriented…. As this occurred, a narrative formed to encapsulate the phenomenology of it all….”
For such a narrative, see
the Log24.net entries of
November 5, 2002, 2:56 AM,
November 5, 2002, 6:29 AM,
January 3, 2003, 11:59 PM,
August 17, 2004, 7:29 PM,
August 18, 2004, 2:18 AM,
August 18, 2004, 3:00 AM, and
November 24, 2004, 10:00 AM.
Friday, December 10, 2004
Friday December 10, 2004
Gray Particular
in Hartford
From Wallace Stevens,
"The Rock, Part III:
Forms of the Rock in a Night-Hymn" —
The rock is
the gray particular of man's life,
The stone from which
he rises, up–and–ho,
The step to
the bleaker depths of his descents…
From this morning's
New York Times obituaries—
leve Gray, a painter admired for his large-scale, vividly colorful and lyrically gestural abstract compositions, died on Wednesday in Hartford. He was 86.
The cause was a massive subdural hematoma suffered after he fell on ice and hit his head on Tuesday outside his home in Warren, Conn., said his wife, the writer Francine du Plessix Gray.
*******************************
Jackson Mac Low, a poet, composer and performance artist whose work reveled in what happens when the process of composition is left to carefully calibrated chance, died on Wednesday….
… in 1999 [he] received the Wallace Stevens Award, which carries a $100,000 prize, from the Academy of American Poets.
A Wallace Stevens Award,
in Seven Parts:
I. From a page linked to in
Tuesday's entry White Christmas:
"A bemused Plato reasoned that nonbeing must in some sense be, otherwise what is it that there is not? In our own day Martin Heidegger ventured that das Nichts nichtet — 'the nothing nothings' — evidently still sensing a problem."
— W. V. Quine in Quiddities
II. "As if nothingness
contained a métier…"
— Wallace Stevens, "The Rock"
III. "Massive subdural hematoma"
— Three-word poem
performed on Tuesday
in Connecticut
IV. mé·tier n.
- An occupation, a trade, or a profession.
- Work or activity for which a person is particularly suited; one's specialty.
[French, from Old French mestier, from Vulgar Latin misterium, from Latin ministerium. See ministry.]
Source: The American Heritage® Dictionary of the English Language, Fourth Edition
V. "ho"
— Wallace Stevens, "The Rock"
VI. Francine du Plessix Gray…
From the
Archives of the
New York Review of Books:
July 16, 1992: Splendor and Miseries, review of
Women for Hire: Prostitution and Sexuality in France after 1850 by Alain Corbin, translated by Alan Sheridan
La Vie quotidienne dans les maisons closes, 1830–1930 by Laure Adler
Figures of Ill Repute: Representing Prostitution in Nineteenth-Century France by Charles Bernheimer
Painted Love: Prostitution in French Art of the Impressionist Era by Hollis Clayson
VII. From an entry of April 29, 2004:
"… a 'dead shepherd who brought
tremendous chords from hell
And bade the sheep carouse' "
— Wallace Stevens
as quoted by Michael Bryson
as quoted by Michael Bryson
(p. 227, The Palm
at the End of the Mind:
Selected Poems and a Play.
Ed. Holly Stevens.
New York: Vintage Books, 1990)
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Tuesday, April 6, 2004
Tuesday April 6, 2004
Ideas and Art, Part III
The first idea was not our own. Adam
In Eden was the father of Descartes…
— Wallace Stevens, from
Notes Toward a Supreme Fiction
“Quaedam ex his tanquam rerum imagines sunt, quibus solis proprie convenit ideae nomen: ut cùm hominem, vel Chimaeram, vel Coelum, vel Angelum, vel Deum cogito.”
— Descartes, Meditationes III, 5
“Of my thoughts some are, as it were, images of things, and to these alone properly belongs the name idea; as when I think [represent to my mind] a man, a chimera, the sky, an angel or God.”
— Descartes, Meditations III, 5
Begin, ephebe, by perceiving the idea
Of this invention, this invented world,
The inconceivable idea of the sun.
You must become an ignorant man again
And see the sun again with an ignorant eye
And see it clearly in the idea of it.
— Wallace Stevens, from
Notes Toward a Supreme Fiction
“… Quinimo in multis saepe magnum discrimen videor deprehendisse: ut, exempli causâ, duas diversas solis ideas apud me invenio, unam tanquam a sensibus haustam, & quae maxime inter illas quas adventitias existimo est recensenda, per quam mihi valde parvus apparet, aliam verò ex rationibus Astronomiae desumptam, hoc est ex notionibus quibusdam mihi innatis elicitam, vel quocumque alio modo a me factam, per quam aliquoties major quàm terra exhibetur; utraque profecto similis eidem soli extra me existenti esse non potest, & ratio persuadet illam ei maxime esse dissimilem, quae quàm proxime ab ipso videtur emanasse.”
— Descartes, Meditationes III, 11
“… I have observed, in a number of instances, that there was a great difference between the object and its idea. Thus, for example, I find in my mind two wholly diverse ideas of the sun; the one, by which it appears to me extremely small draws its origin from the senses, and should be placed in the class of adventitious ideas; the other, by which it seems to be many times larger than the whole earth, is taken up on astronomical grounds, that is, elicited from certain notions born with me, or is framed by myself in some other manner. These two ideas cannot certainly both resemble the same sun; and reason teaches me that the one which seems to have immediately emanated from it is the most unlike.”
— Descartes, Meditations III, 11
“Et quamvis forte una idea ex aliâ nasci possit, non tamen hîc datur progressus in infinitum, sed tandem ad aliquam primam debet deveniri, cujus causa sit in star archetypi, in quo omnis realitas formaliter contineatur, quae est in ideâ tantùm objective.”
— Descartes, Meditationes III, 15
“And although an idea may give rise to another idea, this regress cannot, nevertheless, be infinite; we must in the end reach a first idea, the cause of which is, as it were, the archetype in which all the reality [or perfection] that is found objectively [or by representation] in these ideas is contained formally [and in act].”
— Descartes, Meditations III, 15
Michael Bryson in an essay on Stevens’s “Notes Toward a Supreme Fiction,”
The Quest for the Fiction of the Absolute:
“Canto nine considers the movement of the poem between the particular and the general, the immanent and the transcendent: “The poem goes from the poet’s gibberish to / The gibberish of the vulgate and back again. / Does it move to and fro or is it of both / At once?” The poet, the creator-figure, the shadowy god-figure, is elided, evading us, “as in a senseless element.” The poet seeks to find the transcendent in the immanent, the general in the particular, trying “by a peculiar speech to speak / The peculiar potency of the general.” In playing on the senses of “peculiar” as particular and strange or uncanny, these lines play on the mystical relation of one and many, of concrete and abstract.”
Brian Cronin in Foundations of Philosophy:
“The insight is constituted precisely by ‘seeing’ the idea in the image, the intelligible in the sensible, the universal in the particular, the abstract in the concrete. We pivot back and forth between images and ideas as we search for the correct insight.”
— From Ch. 2, Identifying Direct Insights
Michael Bryson in an essay on Stevens’s “Notes Toward a Supreme Fiction“:
“The fourth canto returns to the theme of opposites. ‘Two things of opposite natures seem to depend / On one another . . . . / This is the origin of change.’ Change resulting from a meeting of opposities is at the root of Taoism: ‘Tao produced the One. / The One produced the two. / The two produced the three. / And the three produced the ten thousand things’ (Tao Te Ching 42) ….”
| From an entry of March 7, 2004:
From the web page Introduction to the I Ching– “He who has perceived the meaning of change fixes his attention no longer on transitory individual things but on the immutable, eternal law at work in all change. This law is the tao of Lao-tse, the course of things, the principle of the one in the many. That it may become manifest, a decision, a postulate, is necessary. This fundamental postulate is the ‘great primal beginning’ of all that exists, t’ai chi — in its original meaning, the ‘ridgepole.’ Later Chinese philosophers devoted much thought to this idea of a primal beginning. A still earlier beginning, wu chi, was represented by the symbol of a circle. Under this conception, t’ai chi was represented by the circle divided into the light and the dark, yang and yin,
This symbol has also played a significant part in India and Europe. However, speculations of a gnostic-dualistic character are foreign to the original thought of the I Ching; what it posits is simply the ridgepole, the line. With this line, which in itself represents oneness, duality comes into the world, for the line at the same time posits an above and a below, a right and left, front and back-in a word, the world of the opposites.” The t’ai chi symbol is also illustrated on the web page Cognitive Iconology, which says that “W.J.T. Mitchell calls ‘iconology’ A variation on the t’ai chi symbol appears in a log24.net entry for March 5:
The Line, See too my web page Logos and Logic, which has the following:
Logos Alogos, In the conclusion of Section 3, Canto X, of “Notes,” Stevens says
This is the logoi alogoi of Simone Weil. |
.
In “Notes toward a Supreme Fiction,”
Wallace Stevens lists three criteria
for a work of the imagination:
It Must Be Abstract
The Line,
by S.H. Cullinane
It Must Change
It Must Give Pleasure
Related material:
Comments Off on Tuesday April 6, 2004
Monday, March 24, 2003
Monday March 24, 2003
Orwell’s question, according to
an admirer of leftist Noam Chomsky:
“When so much of the BS is right out in the open,
why is it that we know so little about it?
Why don’t we see what’s right in front of our eyes?”
 Oscar |
Lying, Truth-Telling, and the Social Order |
 Michael Moore |
“First of all, I’d like to thank the Academy….”
— Quotation attributed to Plato
The New Yorker of March 31, 2003, discusses leftist academic Noam Chomsky. The online edition provides a web page listing pro-Chomsky links.
Chomsky’s influence is based in part on the popularity of his half-baked theories on linguistics, starting in the 1950’s with “deep structure” and “transformational,” or “generative,” grammar.
Chomsky has abandoned many of his previous ideas and currently touts what he calls The Minimalist Program.
For some background on Chomsky’s recent linguistic notions, see the expository essay “Syntactic Theory,” by Elly van Gelderen of the Arizona State University English Department. Van Gelderen lists her leftist political agenda on her “Other Interests” page. Her department may serve as an example of how leftists have converted many English departments in American universities to propaganda factories.
Some attacks on Chomsky’s scholarship:
Forty-four Reasons Why the Chomskians Are Mistaken
Chomsky’s (Mis)Understanding of Human Thinking
Anatomy of a Revolution… Chomsky in 1962
…Linguistic Theory: The Rationality of Noam Chomsky
Some attacks on Chomsky’s propaganda:
Destructive Generation excerpt
Partners in Hate: Noam Chomsky and the Holocaust Deniers
Chomsky and Plato’s Diamond
Like another purveyor of leftist nonsense, Jacques Derrida, Chomsky is fond of citing Plato as a precedent. In particular, what Chomsky calls “Plato’s problem” is discussed in Plato’s Meno. For a look at the diamond figure that plays a central role in that dialogue, see Diamond Theory. For an excellent overview of related material in Plato, see Theory of Forms.
Sunday, September 22, 2002
Sunday September 22, 2002
Force Field of Dreams
Metaphysics and chess in today’s New York Times Magazine:
- From “Must-See Metaphysics,” by Emily Nussbaum:
Joss Whedon, creator of a new TV series —
“I’m a very hard-line, angry atheist” and
“I want to invade people’s dreams.” - From “Check This,” by Wm. Ferguson:
Garry Kasparov on chess —
“When the computer sees forced lines,
it plays like God.”
Putting these quotations together, one is tempted to imagine God having a little game of chess with Whedon, along the lines suggested by C. S. Lewis:
As Lewis tells it the time had come for his “Adversary [as he was wont to speak of the God he had so earnestly sought to avoid] to make His final moves.” (C. S. Lewis, Surprised by Joy, Harcourt, Brace, and World, Inc., 1955, p. 216) Lewis called them “moves” because his life seemed like a chess match in which his pieces were spread all over the board in the most disadvantageous positions. The board was set for a checkmate….
For those who would like to imagine such a game (God vs. Whedon), the following may be helpful.
George Steiner has observed that
The common bond between chess, music, and mathematics may, finally, be the absence of language.
This quotation is apparently from
Fields of Force:
Fischer and Spassky at Reykjavik. by George Steiner, Viking hardcover, June 1974.
George Steiner as quoted in a review of his book Grammars of Creation:
“I put forward the intuition, provisional and qualified, that the ‘language-animal’ we have been since ancient Greece so designated us, is undergoing mutation.”
The phrase “language-animal” is telling. A Google search reveals that it is by no means a common phrase, and that Steiner may have taken it from Heidegger. From another review, by Roger Kimball:
In ”Grammars of Creation,” for example, he tells us that ”the classical and Judaic ideal of man as ‘language animal,’ as uniquely defined by the dignity of speech . . . came to an end in the antilanguage of the death camps.”
This use of the Holocaust not only gives the appearance of establishing one’s credentials as a person of great moral gravity; it also stymies criticism. Who wants to risk the charge of insensitivity by objecting that the Holocaust had nothing to do with the ”ideal of man as ‘language animal’ ”?
Steiner has about as clear an idea of the difference between “classical” and “Judaic” ideals of man as did Michael Dukakis. (See my notes of September 9, 2002.)
Clearly what music, mathematics, and chess have in common is that they are activities based on pure form, not on language. Steiner is correct to that extent. The Greeks had, of course, an extremely strong sense of form, and, indeed, the foremost philosopher of the West, Plato, based his teachings on the notion of Forms. Jews, on the other hand, have based their culture mainly on stories… that is, on language rather than on form. The phrase “language-animal” sounds much more Jewish than Greek. Steiner is himself rather adept at the manipulation of language (and of people by means of language), but, while admiring form-based disciplines, is not particularly adept at them.
I would argue that developing a strong sense of form — of the sort required to, as Lewis would have it, play chess with God — does not require any “mutation,” but merely learning two very powerful non-Jewish approaches to thought and life: the Forms of Plato and the “archetypes” of Jung as exemplified by the 64 hexagrams of the 3,000-year-old Chinese classic, the I Ching.
For a picture of how these 64 Forms, or Hexagrams, might function as a chessboard,
Other relevant links:
“As you read, watch for patterns. Pay special attention to imagery that is geometric…”
and
Comments Off on Sunday September 22, 2002