Monday, October 28, 2024
Tools (Continued)
Thursday, August 8, 2024
Tools … Continued.
Wednesday, May 1, 2024
Tuesday, April 30, 2024
Tuesday, March 12, 2024
Thursday, February 15, 2024
Wednesday, September 1, 2021
Tuesday, November 6, 2018
Friday, May 26, 2017
Power Tools …
Tuesday, November 24, 2015
Tools
In memory of economic historian Douglass C. North,
who reportedly died Monday, Nov. 23, 2015 —
“We needed new tools, but they simply did not exist.”
Related reading and viewing —
Beattyville, Kentucky and Log24 post About the People.
Tuesday, October 21, 2014
Tools
(Night at the Museum continues.)
"Strategies for making or acquiring tools
While the creation of new tools marked the route to developing the social sciences,
the question remained: how best to acquire or produce those tools?"
— Jamie Cohen-Cole, “Instituting the Science of Mind: Intellectual Economies
and Disciplinary Exchange at Harvard’s Center for Cognitive Studies,”
British Journal for the History of Science vol. 40, no. 4 (2007): 567-597.
Obituary of a co-founder, in 1960, of the Center for Cognitive Studies at Harvard:
"Disciplinary Exchange" —
In exchange for the free Web tools of HTML and JavaScript,
some free tools for illustrating elementary Galois geometry —
The Kaleidoscope Puzzle, The Diamond 16 Puzzle,
The 2x2x2 Cube, and The 4x4x4 Cube
"Intellectual Economies" —
In exchange for a $10 per month subscription, an excellent
"Quilt Design Tool" —
This illustrates not geometry, but rather creative capitalism.
Related material from the date of the above Harvard death: Art Wars.
Wednesday, March 30, 2011
Friday, June 14, 2024
Summer of ’42: Python’s Monty
From April 14, 2024, some culture notes that I prefer —
An example of pi.ai's clear and pleasant conversational style
(output format simplified for presentation here) —
Can you help with computer coding problems? Absolutely, Steven! 💻 While I can't guarantee I'll have all the answers, I'll certainly do my best to help you debug and find solutions to your coding conundrums. Which coding language are you working with, and what's giving you trouble? I want to learn how Python can permute sections of a square array. There are several ways to permute sections of a square array in Python, depending on your specific needs. Here are a few examples: Using NumPy's random.permutation() function: python import numpy as np arr = np.array([[1, 2], [3, 4]]) permuted_arr = np.random.permutation(arr) Using itertools.permutations(): python import itertools arr = [[1, 2], [3, 4]] permutations = list(itertools.permutations(arr)) Using custom permutation algorithms: python def custom_permutation(arr): # your custom permutation logic here arr = [[1, 2], [3, 4]] permuted_arr = custom_permutation(arr) Each method has its own strengths and weaknesses, and which one you choose will depend on the size of your array, the number of permutations you need, and your performance requirements. I would like to use python's custom permutation method to permute the four quadrants of a 4×4 array. Here's an example of how to define a custom permutation function in Python to permute the four quadrants of a 4×4 array: python def custom_permutation(arr): # Split array into 4 quadrants q1 = arr[:2, :2] q2 = arr[:2, 2:] q3 = arr[2:, :2] q4 = arr[2:, 2:] # Permute quadrants permuted_arr = np.block([ [q3, q1], [q4, q2] ]) return permuted_arr # Sample 4x4 array arr = np.array([[1, 2, 3, 4], [5, 6, 7, 8], [9, 10, 11, 12], [13, 14, 15, 16]]) permuted_arr = custom_permutation(arr) print(permuted_arr) In this example, we've defined a function custom_permutation() that takes a 4×4 NumPy array as input. The function splits the array into four quadrants (q1, q2, q3, and q4), and then uses NumPy's block() function to create a new array with the quadrants permuted. The resulting permuted_arr array has its quadrants rearranged. Of course, this is just one possible permutation of the array's quadrants. You can modify the custom_permutation() function to implement other permutations as needed. I tried the code you gave me and got the error “np name not defined.” Apologies for that! I missed an import statement in the previous example. You need to import the NumPy library at the beginning of your script to use the np alias and its functions. Here's the corrected code: python import numpy as np def custom_permutation(arr): # Split array into 4 quadrants q1 = arr[:2, :2] q2 = arr[:2, 2:] q3 = arr[2:, :2] q4 = arr[2:, 2:] # Permute quadrants permuted_arr = np.block([ [q3, q1], [q4, q2] ]) return permuted_arr # Sample 4x4 array arr = np.array([[1, 2, 3, 4], [5, 6, 7, 8], [9, 10, 11, 12], [13, 14, 15, 16]]) permuted_arr = custom_permutation(arr) print(permuted_arr) This code should work now without any issues. It did work. Thank you, Pi. You're very welcome, Steven! I'm glad the code worked for you. If you have any more questions or need help with anything else, feel free to ask.
Monday, May 13, 2024
February 20: A Space Odyssey
For the significance of the date "February 20," see . . .
Google One: Gemini Advanced AI on 13 May 2024. Prompt: How can Weyl's 1946 remarks on coordinatization in "The Classical Groups" be applied to models of finite geometries? Response (after several drafts): In "The Classical Groups," Hermann Weyl discusses the concept of coordinatization, which is the process of assigning numerical coordinates to points in a geometric space. This process is fundamental in connecting abstract geometric concepts with concrete numerical representations, allowing for algebraic manipulation and analysis. Weyl's remarks on coordinatization have significant implications for models of finite geometries. Finite geometries are geometric systems with a finite number of points and lines, and they often exhibit different properties compared to traditional Euclidean geometry. Here's how Weyl's ideas can be applied to finite geometries: 1. **Relativity of Coordinatization:** Weyl emphasizes that the choice of coordinate system is arbitrary and that different coordinate systems can be used to describe the same geometric object. This relativity of coordinatization is particularly relevant in finite geometries, where multiple coordinate systems may exist, each with its own advantages and disadvantages. 2. **Equivalent Coordinatizations:** Weyl introduces the concept of "equivalent coordinatizations," which are different coordinate systems that can be transformed into one another through a group of transformations. In finite geometries, identifying and understanding these equivalent coordinatizations can provide deeper insights into the underlying structure and symmetries of the geometry. 3. **Objective Class of Coordinatizations:** Weyl discusses the problem of fixing an "objective class" of coordinatizations that capture essential features of the geometry while being independent of arbitrary choices. In finite geometries, this could involve identifying coordinatizations that best reflect the specific properties and relationships within the geometry. 4. **Group of Transformations:** Weyl emphasizes the role of the "group of transformations" that mediates between equivalent coordinatizations. In finite geometries, understanding these transformation groups can help classify different types of finite geometries and reveal their underlying symmetries. By applying Weyl's insights, researchers can gain a deeper understanding of finite geometries, including their classification, properties, and relationships. Additionally, exploring different coordinatization schemes can lead to new algebraic and geometric tools for studying finite geometries. For further exploration, you can delve into the works of other mathematicians like Steven H. Cullinane, who has written extensively on finite geometry and its connections to relativity and other areas of mathematics. I hope this explanation is helpful! Please let me know if you have any further questions. |
Update at about 5 PM ET the same day . . .
Prompt: Correction: Cullinane has NOT written on finite geometry's "connections to relativity." He has, instead, quoted Weyl's remarks on what Weyl himself called "the relativity problem," but what was in fact his own term for problems involving coordinatization. Such problems are of interest both in physics and in finite geometry, but the latter is a field of pure mathematics, NOT of physics. Response: You are absolutely correct. I apologize for the error in my previous response. Steven H. Cullinane has indeed quoted Weyl's remarks on "the relativity problem" in the context of finite geometry. However, as you rightly pointed out, this term refers to Weyl's own terminology for problems involving coordinatization and not the theory of relativity in physics. Finite geometry is a field of pure mathematics and does not directly connect to the physical theories of relativity. While both areas involve concepts of space and transformations, they operate in fundamentally different domains. Cullinane's work focuses on applying Weyl's insights on coordinatization to the specific challenges and structures within finite geometries. This involves exploring different coordinatization schemes, understanding their equivalences, and identifying transformation groups that reveal the underlying symmetries of finite geometries. Thank you for pointing out this important distinction. It highlights the importance of precise language and accurate attribution when discussing complex mathematical concepts. |
Sunday, April 14, 2024
Benchmarking Pi
An example of pi.ai's clear and pleasant conversational style
(output format simplified for presentation here) —
Can you help with computer coding problems? Absolutely, Steven! 💻 While I can't guarantee I'll have all the answers, I'll certainly do my best to help you debug and find solutions to your coding conundrums. Which coding language are you working with, and what's giving you trouble? I want to learn how Python can permute sections of a square array. There are several ways to permute sections of a square array in Python, depending on your specific needs. Here are a few examples: Using NumPy's random.permutation() function: python import numpy as np arr = np.array([[1, 2], [3, 4]]) permuted_arr = np.random.permutation(arr) Using itertools.permutations(): python import itertools arr = [[1, 2], [3, 4]] permutations = list(itertools.permutations(arr)) Using custom permutation algorithms: python def custom_permutation(arr): # your custom permutation logic here arr = [[1, 2], [3, 4]] permuted_arr = custom_permutation(arr) Each method has its own strengths and weaknesses, and which one you choose will depend on the size of your array, the number of permutations you need, and your performance requirements. I would like to use python's custom permutation method to permute the four quadrants of a 4×4 array. Here's an example of how to define a custom permutation function in Python to permute the four quadrants of a 4×4 array: python def custom_permutation(arr): # Split array into 4 quadrants q1 = arr[:2, :2] q2 = arr[:2, 2:] q3 = arr[2:, :2] q4 = arr[2:, 2:] # Permute quadrants permuted_arr = np.block([ [q3, q1], [q4, q2] ]) return permuted_arr # Sample 4x4 array arr = np.array([[1, 2, 3, 4], [5, 6, 7, 8], [9, 10, 11, 12], [13, 14, 15, 16]]) permuted_arr = custom_permutation(arr) print(permuted_arr) In this example, we've defined a function custom_permutation() that takes a 4×4 NumPy array as input. The function splits the array into four quadrants (q1, q2, q3, and q4), and then uses NumPy's block() function to create a new array with the quadrants permuted. The resulting permuted_arr array has its quadrants rearranged. Of course, this is just one possible permutation of the array's quadrants. You can modify the custom_permutation() function to implement other permutations as needed. I tried the code you gave me and got the error “np name not defined.” Apologies for that! I missed an import statement in the previous example. You need to import the NumPy library at the beginning of your script to use the np alias and its functions. Here's the corrected code: python import numpy as np def custom_permutation(arr): # Split array into 4 quadrants q1 = arr[:2, :2] q2 = arr[:2, 2:] q3 = arr[2:, :2] q4 = arr[2:, 2:] # Permute quadrants permuted_arr = np.block([ [q3, q1], [q4, q2] ]) return permuted_arr # Sample 4x4 array arr = np.array([[1, 2, 3, 4], [5, 6, 7, 8], [9, 10, 11, 12], [13, 14, 15, 16]]) permuted_arr = custom_permutation(arr) print(permuted_arr) This code should work now without any issues. It did work. Thank you, Pi. You're very welcome, Steven! I'm glad the code worked for you. If you have any more questions or need help with anything else, feel free to ask.
Thursday, February 15, 2024
Gemini Poem
Or using his research and their tools.
Compare and contrast —
Before thir eyes in sudden view appear The secrets of the hoarie deep, a dark Illimitable Ocean without bound, Without dimension, where length, breadth, and highth, And time and place are lost; where eldest Night And Chaos, Ancestors of Nature, hold Eternal Anarchie, amidst the noise Of endless warrs and by confusion stand. For hot, cold, moist, and dry, four Champions fierce Strive here for Maistrie, and to Battel bring amidst the noise Thir embryon Atoms.... ... Into this wilde Abyss, The Womb of nature and perhaps her Grave, Of neither Sea, nor Shore, nor Air, nor Fire, But all these in thir pregnant causes mixt Confus'dly, and which thus must ever fight, Unless th' Almighty Maker them ordain His dark materials to create more Worlds, Into this wilde Abyss the warie fiend Stood on the brink of Hell and look'd a while, Pondering his Voyage.... -- John Milton, Paradise Lost , Book II
Friday, July 28, 2023
To Phrase a Coin
Tuesday, November 12, 2019
Saturday, August 17, 2019
Art by Google
Wednesday, May 15, 2019
Hunger Games
Two items from November 24, 2015 —
Tuesday, November 24, 2015 Filed under: General — m759 @ 11:11 PM
In memory of economic historian Douglass C. North, “We needed new tools, but they simply did not exist.” Related reading and viewing — Beattyville, Kentucky and Log24 post About the People. |
Related material —
David Bowie and Catherine Deneuve star in "The Hunger" (1983).
Vampira and Loki at Cannes
Sunday, January 21, 2018
At Which Point
"In 'Sophistry,' a new play by Jonathan Marc Sherman
at the Playwrights Horizons Studio, a popular tenured
professor stands accused of sexual harassment
by a male student."
— Frank Rich in The New York Times , theater review
on October 12, 1993
"At which point another play, inchoate but arresting,
edges into view." — Rich, ibid.
"Johansson began acting during childhood,
after her mother started taking her to auditions.
She made her professional acting debut
at the age of eight in the off-Broadway production
of 'Sophistry' with Ethan Hawke, at New York's
Playwrights Horizons."
— IMDb Mini Biography by: Pedro Borges
" 'Suddenly, I was 19 again and I started to remember
all the men I'd known who had taken advantage of
the fact that I was a young woman who didn't yet have
the tools to say no, or to understand the value of
my own self-worth,' the Avengers star described.
'I had many relationships both personal and professional
where the power dynamic was so off that I had to create
a narrative in which I was the cool girl who could hang in
and hang out, and that sometimes meant compromising
what felt right for me . . . . ' "
— Scarlett Johansson yesterday at the 2018 Women's March
in Los Angeles, as reported in E! News .
Image in a Log24 post
of March 12, 2009.
Tuesday, September 5, 2017
Annals of Critical Epistemology
"But unlike many who left the Communist Party, I turned left
rather than right, and returned—or rather turned for the first time—
to a critical examination of Marx's work. I found—and still find—
that his analysis of capitalism, which for me is the heart of his work,
provides the best starting point, the best critical tools, with which—
suitably developed—to understand contemporary capitalism.
I remind you that this year is also the sesquicentennial of the
Communist Manifesto , a document that still haunts the capitalist world."
— From "Autobiographical Reflections," a talk given on June 5, 1998, by
John Stachel at the Max Planck Institute for the History of Science in Berlin
on the occasion of a workshop honoring his 70th birthday,
"Space-Time, Quantum Entanglement and Critical Epistemology."
From a passage by Stachel quoted in the previous post —
From the source for Stachel's remarks on Weyl and coordinatization —
Note that Stachel distorted Weyl's text by replacing Weyl's word
"symbols" with the word "quantities." —
This replacement makes no sense if the coordinates in question
are drawn from a Galois field — a field not of quantities , but rather
of algebraic symbols .
"You've got to pick up every stitch… Must be the season of the witch."
— Donovan song at the end of Nicole Kidman's "To Die For"
Thursday, March 16, 2017
Iacta Est
"Though realism is excellent rhetoric, maybe the best,
in a purely technical or instrumental sense,
that cannot be an adequate reason to accept it
as a serious intellectual position. In its tropes of
Death and Furniture we see a rhetoric that refuses
to acknowledge its own existence; a politics that
can claim a critical-radical credibility only by
the selective use of its opponents' analytic tools;
and a theology which is deeply conservative and
seeks nothing less than the death of disruptive,
disturbing inquiry. While tedium, good taste, political
and moral sensibility will properly determine what
sorts of given realities are thought worthy of inquiry,
those considerations are no grounds for promoting
a realist ontology for social science, nor any other
science, nor for rejecting relativism. On the contrary,
relativism is social science par excellence . . . ."
Loughborough University
— Edwards, D., Ashmore, M., and Potter, J. (1995),
"Death and furniture: The rhetoric, politics and theology
of bottom line arguments against relativism,"
History of the Human Sciences , 8, 25-49.
Related material:
Platonic realism in this journal, yesterday's post Ripples, and …
Gravity's Shadow , 2004 —
Gravity's Ghost , 2010 —
See also an "Inception"-related object —
Tuesday, March 14, 2017
Backstories
"Backstories do more than amuse guests.
They anchor the hosts.
It's their cornerstone.
The rest of their identity is built around it, layer by layer."
— Elsie Hughes in "Westworld," Season 1, Episode 3,
"The Stray," at 30:09
See also cornerstone in the Bible.
Dr. Robert Ford (Anthony Hopkins) earlier in that same episode —
Wednesday, January 28, 2015
Chapter and Verse
Lest the links in the previous post be thought merely
"absurd, imbecilic or sarcastic" —
John 1:5 .
Tuesday, October 21, 2014
Art as a Tool
Two news items on art as a tool:
Two Log24 posts related to the 3×3 grid, the underlying structure for China’s
ancient Lo Shu “magic” square:
Finally, leftist art theorist Rosalind Krauss in this journal
on AntiChristmas, 2010:
Which is the tool here, the grid or Krauss?
Saturday, July 26, 2014
OOPs
Or: Two Rivets Short of a Paradigm
Detail from an author photo:
From rivet-rivet.net:
The philosopher Graham Harman is invested in re-thinking the autonomy of objects and is part of a movement called Object-Oriented-Philosophy (OOP). Harman wants to question the authority of the human being at the center of philosophy to allow the insertion of the inanimate into the equation. With the aim of proposing a philosophy of objects themselves, Harman puts the philosophies of Bruno Latour and Martin Heidegger in dialogue. Along these lines, Harman proposes an unconventional reading of the tool-being analysis made by Heidegger. For Harman, the term tool does not refer only to human-invented tools such as hammers or screwdrivers, but to any kind of being or thing such as a stone, dog or even a human. Further, he uses the terms objects, beings, tools and things, interchangeably, placing all on the same ontological footing. In short, there is no “outside world.” Harman distinguishes two characteristics of the tool-being: invisibility and totality. Invisibility means that an object is not simply used but is: “[an object] form(s) a cosmic infrastructure of artificial and natural and perhaps supernatural forces, power by which our last action is besieged.” For instance, nails, wooden boards and plumbing tubes do their work to keep a house “running” silently (invisibly) without being viewed or noticed. Totality means that objects do not operate alone but always in relation to other objects–the smallest nail can, for example, not be disconnected from wooden boards, the plumbing tubes or from the cement. Depending on the point of view of each entity (nail, tube, etc.) a different reality will emerge within the house. For Harman, “to refer to an object as a tool-being is not to say that it is brutally exploited as a means to an end, but only that it is torn apart by the universal duel between the silent execution of an object’s reality and the glistening aura of its tangible surface.” — From "The Action of Things," an M.A. thesis at the Center for Curatorial Studies, Bard College, by Manuela Moscoso, May 2011, edited by Sarah Demeuse |
From Wikipedia, a programming paradigm:
See also posts tagged Turing's Cathedral, and Alley Oop (Feb. 11, 2003).
Tuesday, July 8, 2014
Toward Freedom
A search for "Dark Fields of the Republic,"
an F. Scott Fitzgerald phrase mentioned in
the previous post, yields a book by that title.
"When does a life bend toward freedom?
grasp its direction?"
— Adrienne Rich on page 275 of
Later Poems Selected and New: 1971-2012
The book's author, Adrienne Rich, died at 82 on
March 27, 2012. See that date in this journal.
See also the following:
The Diamond Cutters by Adrienne Rich (1955)
However legendary,
Now, you intelligence
Be serious, because
Be hard of heart, because
Be proud, when you have set |
Thursday, March 27, 2014
Symbol Game
The following is from a web page by
Andreas Schöter, developer of The Symbol Game.
Building the Narrative
The game can simply be played as a competitive board game,
simply trying to accumulate the most points. However,
to play this way is to miss the main purpose of the Symbol Game.
The author’s page on the game itself —
(This post was suggested by this afternoon’s post Diamond Space.)
Monday, October 14, 2013
Up and Down
Heraclitus, Fragment 60 (Diels number):
The way up and the way down is one and the same. ὁδὸς ἄνω κάτω μία καὶ ὡυτή hodòs áno káto mía kaì houté |
See also Blade and Chalice and, for a less Faustian
approach, Universe of Discourse.
Further context: Not Theology.
Tuesday, February 5, 2013
Arsenal
The previous post discussed some fundamentals of logic.
The name “Boole” in that post naturally suggests the
concept of Boolean algebra . This is not the algebra
needed for Galois geometry . See below.
Some, like Dan Brown, prefer to interpret symbols using
religion, not logic. They may consult Diamond Mandorla,
as well as Blade and Chalice, in this journal.
See also yesterday’s Universe of Discourse.
Friday, April 27, 2012
Paradigms Lost continues…
This post was suggested by Paradigms Lost
(a post cited here a year ago today),
by David Weinberger's recent essay "Shift Happens,"
and by today's opening of "The Raven."
David Weinberger in The Chronicle of Higher Education , April 22—
"… Kuhn was trying to understand how Aristotle could be such a brilliant natural scientist except when it came to understanding motion. Aristotle's idea that stones fall and fire rises because they're trying to get to their natural places seems like a simpleton's animism.
Then it became clear to Kuhn all at once. Ever since Newton, we in the West have thought movement changes an object's position in neutral space but does not change the object itself. For Aristotle, a change in position was a change in a quality of the object, and qualitative change tended toward an asymmetric actualization of potential: an acorn becomes an oak, but an oak never becomes an acorn. Motion likewise expressed a tendency for things to actualize their essence by moving to their proper place. With that, 'another initially strange part of Aristotelian doctrine begins to fall into place,' Kuhn wrote in The Road Since Structure ."
Dr. John Raven (of Raven's Progressive Matrices)—
"… these tools cannot be immediately applied within our current workplaces, educational systems, and public management systems because the operation of these systems is determined, not by personal developmental or societal needs, but by a range of latent, rarely discussed, and hard to influence sociological forces.
But this is not a cry of despair: It points to another topic which has been widely neglected by psychologists: It tells us that human behaviour is not mainly determined by internal properties— such as talents, attitudes, and values— but by external social forces. Such a transformation in psychological thinking and theorising is as great as the transformation Newton introduced into physics by noting that the movement of inanimate objects is not determined by internal, 'animistic,' properties of the objects but by invisible external forces which act upon them— invisible forces that can nevertheless be mapped, measured, and harnessed to do useful work for humankind.
So this brings us to our fourth conceptualisation and measurement topic: How are these social forces to be conceptualised, mapped, measured, and harnessed in a manner analogous to the way in which Newton made it possible to harness the destructive forces of the wind and the waves to enable sailing boats to get to their destinations?"
Before Newton, boats never arrived?
Saturday, February 25, 2012
Cuber (continued)
Click images for further details.
See also Crimson Tide, Rubik, and Cuber.
For another monochromatic enigma without
guaranteed equality of results, see
Finite Geometry of the Square and Cube.
Sunday, July 31, 2011
Validation
From a writer's requiem—
"Algis points out that at the end of each story, there should be a moment of validation, a place where a person in authority makes some sort of statement that lets the reader know that the story has reached its conclusion." —David Farland, June 9, 2008
Paraphrase of a version by an anonymous reader at Amazon.com (see previous post)—
"… someone who has no other vested interest in the story… steps forward and says 'He's dead, Jim' or 'Who was that masked man?'"
Moments of validation from today's midday NY Lottery— 4639 and 575.
For "He's dead, Jim," see April 6, 1939* (4/6/39) at St. Joseph's Church in Springfield, Mass.
For "Who was that masked man?," see the Mark of Zorro in Post 575.
* This was a Maundy Thursday, not the Good Friday indicated in the linked narrative.
Friday, March 11, 2011
Citizen Julie
yesterday on Julie Taymor and "Spider-Man"—
"This isn't a time for schadenfreude. Jobs are on the line, careers hang in the balance and the Fed isn't going to ride to the rescue of megamusicals as it did for Wall Street banks. But you'll forgive me for being a pessimist about the chances of an 11th hour redemption. The only way I can see this train wreck turning into an artistic success is if the investors were somehow able to resurrect Orson Welles to adapt the whole unfortunate episode into a 'Citizen Kane' sequel, the tale of an avant-garde idealist who loses her way after being enabled by heedless businessmen determined to duplicate the multibillion-dollar bonanza of 'The Lion King.'"
See also this morning's post and…
— Errol Morris in The New York Times , March 9th
Sunday, August 15, 2010
The Game
“We shall now give a brief summary of the beginnings of the Glass Bead Game. It appears to have arisen simultaneously in Germany and in England. In both countries, moreover, it was originally a kind of exercise employed by those small groups of musicologists and musicians who worked and studied in the new seminaries of musical theory. If we compare the original state of the Game with its subsequent developments and its present form, it is much like comparing a musical score of the period before 1500, with its primitive notes and absence of bar lines, with an eighteenth-century score, let alone with one from the nineteenth with its confusing excess of symbols for dynamics, tempi, phrasing, and so on, which often made the printing of such scores a complex technical problem.
The Game was at first nothing more than a witty method for developing memory and ingenuity among students and musicians. And as we have said, it was played both in England and Germany before it was ‘invented’ here in the Musical Academy of Cologne, and was given the name it bears to this day, after so many generations, although it has long ceased to have anything to do with glass beads.
The inventor, Bastian Perrot of Calw, a rather eccentric but clever, sociable, and humane musicologist, used glass beads instead of letters, numerals, notes, or other graphic symbols. Perrot, who incidentally has also bequeathed to us a treatise on the Apogee and Decline of Counterpoint, found that the pupils at the Cologne Seminary had a rather elaborate game they used to play. One would call out, in the standardized abbreviations of their science, motifs or initial bars of classical compositions, whereupon the other had to respond with the continuation of the piece, or better still with a higher or lower voice, a contrasting theme, and so forth. It was an exercise in memory and improvisation quite similar to the sort of thing probably in vogue among ardent pupils of counterpoint in the days of Schütz, Pachelbel, and Bach — although it would then not have been done in theoretical formulas, but in practice on the cembalo, lute, or flute, or with the voice.
Bastian Perrot in all probability was a member of the Journeyers to the East. He was partial to handicrafts and had himself built several pianos and clavichords in the ancient style. Legend has it that he was adept at playing the violin in the old way, forgotten since 1800, with a high-arched bow and hand-regulated tension of the bow hairs. Given these interests, it was perhaps only natural that he should have constructed a frame, modeled on a child’s abacus, a frame with several dozen wires on which could be strung glass beads of various sizes, shapes, and colors. The wires corresponded to the lines of the musical staff, the beads to the time-values of the notes, and so on. In this way he could represent with beads musical quotations or invented themes, could alter, transpose, and develop them, change them and set them in counterpoint to one another. In technical terms this was a mere plaything, but the pupils liked it; it was imitated and became fashionable in England too. For a time the game of musical exercises was played in this charmingly primitive manner. And as is so often the case, an enduring and significant institution received its name from a passing and incidental circumstance. For what later evolved out of that students’ sport and Perrot’s bead-strung wires bears to this day the name by which it became popularly known, the Glass Bead Game.“
“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.”
— “Albertus Secundus,” epigraph to The Glass Bead Game
From DownloadThat.com—
Monday, August 2, 2010
Specific and Robust
The New York Times version of the philosophers' stone:
In the Times 's latest sermon from THE STONE, Gary Gutting, a professor of philosophy at Notre Dame, discusses
"…the specific and robust claims of Judaism, Christianity and Islam about how God is concretely and continually involved in our existence."
A search shows that Gutting's phrase "specific and robust" has many echoes in biotechnology, and a few in software development. The latter is of more interest to me than the former. (The poetically inclined might say that Professor Gutting's line of work is a sort of software development.)
"As a developer, you need a specific and robust set of development tools in the smallest and simplest package possible."
— EasyEclipse web page
Here are two notes on related material:
Specific— The Pit:
See a search for "harrowing of Hell" in this journal.
("…right through hell there is a path…." –Malcolm Lowry)
Robust— The Pendulum:
See a search for "Foucault's Pendulum" in this journal.
(“Others say it is a stone that posseses mysterious powers…. often depicted as a dazzling light. It’s a symbol representing power, a source of immense energy. It nourishes, heals, wounds, blinds, strikes down…. Some have thought of it as the philosopher’s stone of the alchemists….”
Those puzzled by why the NY Times would seek the opinions of a professor at a Catholic university may consult Gutting's home page.
He is an expert on the gay Communist Michel Foucault, a student of Althusser.
Thursday, May 6, 2010
Metamorphosis
From Google yesterday —
A spring metamorphosis — Google’s new look 5/05/2010 09:00:00 AM Using Google today, you may have noticed that something feels slightly different — the look and feel of our search results have changed! Today’s metamorphosis responds to the increasing richness of the web and the increasing power of search — revealing search tools on the left and updating the visual look and feel throughout. |
For example…
A metaphor for "More" —
Monday, April 26, 2010
Types of Ambiguity
From Ursula K. Le Guin’s novel
The Dispossessed: An Ambiguous Utopia (1974)—
Chapter One
“There was a wall. It did not look important. It was built of uncut rocks roughly mortared. An adult could look right over it, and even a child could climb it. Where it crossed the roadway, instead of having a gate it degenerated into mere geometry, a line, an idea of boundary. But the idea was real. It was important. For seven generations there had been nothing in the world more important than that wall.
Like all walls it was ambiguous, two-faced. What was inside it and what was outside it depended upon which side of it you were on.”
Note—
“We note that the phrase ‘instead of having a gate it degenerated into mere geometry’ is mere fatuousness. If there is an idea here, degenerate, mere, and geometry in concert do not fix it. They bat at it like a kitten at a piece of loose thread.”
— Samuel R. Delany, The Jewel-Hinged Jaw: Notes on the Language of Science Fiction (Dragon Press, 1977), page 110 of revised edition, Wesleyan University Press, 2009
(For the phrase mere geometry elsewhere, see a note of April 22. The apparently flat figures in that note’s illustration “Galois Affine Geometry” may be regarded as degenerate views of cubes.)
Later in the Le Guin novel—
“… The Terrans had been intellectual imperialists, jealous wall builders. Even Ainsetain, the originator of the theory, had felt compelled to give warning that his physics embraced no mode but the physical and should not be taken as implying the metaphysical, the philosophical, or the ethical. Which, of course, was superficially true; and yet he had used number, the bridge between the rational and the perceived, between psyche and matter, ‘Number the Indisputable,’ as the ancient founders of the Noble Science had called it. To employ mathematics in this sense was to employ the mode that preceded and led to all other modes. Ainsetain had known that; with endearing caution he had admitted that he believed his physics did, indeed, describe reality.
Strangeness and familiarity: in every movement of the Terran’s thought Shevek caught this combination, was constantly intrigued. And sympathetic: for Ainsetain, too, had been after a unifying field theory. Having explained the force of gravity as a function of the geometry of spacetime, he had sought to extend the synthesis to include electromagnetic forces. He had not succeeded. Even during his lifetime, and for many decades after his death, the physicists of his own world had turned away from his effort and its failure, pursuing the magnificent incoherences of quantum theory with its high technological yields, at last concentrating on the technological mode so exclusively as to arrive at a dead end, a catastrophic failure of imagination. Yet their original intuition had been sound: at the point where they had been, progress had lain in the indeterminacy which old Ainsetain had refused to accept. And his refusal had been equally correct– in the long run. Only he had lacked the tools to prove it– the Saeba variables and the theories of infinite velocity and complex cause. His unified field existed, in Cetian physics, but it existed on terms which he might not have been willing to accept; for the velocity of light as a limiting factor had been essential to his great theories. Both his Theories of Relativity were as beautiful, as valid, and as useful as ever after these centuries, and yet both depended upon a hypothesis that could not be proved true and that could be and had been proved, in certain circumstances, false.
But was not a theory of which all the elements were provably true a simple tautology? In the region of the unprovable, or even the disprovable, lay the only chance for breaking out of the circle and going ahead.
In which case, did the unprovability of the hypothesis of real coexistence– the problem which Shevek had been pounding his head against desperately for these last three days. and indeed these last ten years– really matter?
He had been groping and grabbing after certainty, as if it were something he could possess. He had been demanding a security, a guarantee, which is not granted, and which, if granted, would become a prison. By simply assuming the validity of real coexistence he was left free to use the lovely geometries of relativity; and then it would be possible to go ahead. The next step was perfectly clear. The coexistence of succession could be handled by a Saeban transformation series; thus approached, successivity and presence offered no antithesis at all. The fundamental unity of the Sequency and Simultaneity points of view became plain; the concept of interval served to connect the static and the dynamic aspect of the universe. How could he have stared at reality for ten years and not seen it? There would be no trouble at all in going on. Indeed he had already gone on. He was there. He saw all that was to come in this first, seemingly casual glimpse of the method, given him by his understanding of a failure in the distant past. The wall was down. The vision was both clear and whole. What he saw was simple, simpler than anything else. It was simplicity: and contained in it all complexity, all promise. It was revelation. It was the way clear, the way home, the light.”
Related material—
Time Fold, Halloween 2005, and May and Zan.
See also The Devil and Wallace Stevens—
“In a letter to Harriet Monroe, written December 23, 1926, Stevens refers to the Sapphic fragment that invokes the genius of evening: ‘Evening star that bringest back all that lightsome Dawn hath scattered afar, thou bringest the sheep, thou bringest the goat, thou bringest the child home to the mother.’ Christmas, writes Stevens, ‘is like Sappho’s evening: it brings us all home to the fold’ (Letters of Wallace Stevens, 248).”
— “The Archangel of Evening,” Chapter 5 of Wallace Stevens: The Intensest Rendezvous, by Barbara M. Fisher, The University Press of Virginia, 1990
Saturday, February 2, 2008
Saturday February 2, 2008
Incident at Twenty-Mile:
Matthew had a couple of hours on his hands before dinner with the Kanes, so he drifted up to the only grassy spot in Twenty-Mile, the triangular, up-tilted little meadow crossed by a rivulet running off from the cold spring that provided the town's water. This meadow belonged to the livery stable, and half a dozen of its donkeys lazily nosed in the grass while, at the far end, a scrawny cow stood in the shade of the only tree in Twenty-Mile, a stunted skeleton whose leafless, wind-raked branches stretched imploringly to leeward, like bony fingers clawing the clouds. The meadow couldn't be seen from any part of the town except the Livery, so Matthew felt comfortably secluded as he sauntered along, intending to investigate the burial ground that abutted the donkey meadow, but B. J. Stone called to him from the Livery, so he turned back and began the chore they had found for him to do: oiling tools.
LATER….
After they did the dishes, Matthew and Ruth Lillian walked down the Sunday-silent street, then turned up into the donkey meadow. He was careful to guide her away from the soggy patch beneath the tree, where the Bjorkvists had slaughtered that week's beef. Lost in their own thoughts, they strolled across the meadow, the uneven ground causing their shoulders to brush occasionally, until they reached the fenced-in burying ground.
STILL LATER….
"Matthew?" she asked in an offhand tone.
"Hm-m-m?"
"What's 'the Other Place'?"
He turned and stared at her. "How do you know about that?"
"You told me."
"I never!"
"Yes, you did. You were telling about your fight with the Benson boys, and you said you couldn't feel their punches because you were in this 'Other Place.' I didn't ask you about it then, 'cause you were all worked up. But I've been curious about it ever since."
"Oh, it's just…" In a gesture that had something of embarrassment in it and something of imitation, he threw his stick as hard as he could, and it whop-whop-whop'd through the air, landing against the sagging fence that separated the burying ground from the donkey meadow.
"If you don't want to tell me, forget it. I just thought… Never mind." She walked on.
"It's not that I don't want to tell you. But it's… it's hard to explain."
She stopped and waited patiently.
"It's just… well, when I was a little kid and I was scared– scared because Pa was shouting at Ma, or because I was going to have to fight some kid during recess– I'd fix my eyes on a crack in the floor or a ripple in a pane of glass– on anything, it didn't matter what– and pretty soon I'd slip into this– this Other Place where everything was kind of hazy and echoey, and I was far away and safe. At first, I had to concentrate real hard to get to this safe place. But then, this one day a kid was picking on me, and just like that– without even trying– I was suddenly there, and I felt just as calm as calm, and not afraid of anything. I knew they were punching me, and I could hear the kids yelling names, but it didn't hurt and I didn't care, 'cause I was off in the Other Place. And after that, any time I was scared, or if I was facing something that was just too bad, I'd suddenly find myself there. Safe and peaceful." He searched here eyes. "Does that make any sense to you, Ruth Lillian?"
"Hm-m… sort of. It sounds kind of eerie." And she added quickly, "But really interesting!"
"I've never told anybody about it. Not even my ma. I was afraid to because… This'll sound funny, but I was afraid that if other people knew about the Other Place, it might heal up and go away, and I wouldn't be able to get there when I really needed to. Crazy, huh?"
Friday, June 15, 2007
Friday June 15, 2007
Art Education
Rudolf Arnheim, a student of Gestalt psychology (which, an obituary notes, emphasizes "the perception of forms as organized wholes") was the first Professor of the Psychology of Art at Harvard. He died at 102 on Saturday, June 9, 2007.
The conclusion of yesterday's New York Times obituary of Arnheim:
"… in The New York Times Book Review in 1986, Celia McGee called Professor Arnheim 'the best kind of romantic,' adding, 'His wisdom, his patient explanations and lyrical enthusiasm are those of a teacher.'"
A related quotation:
"And you are teaching them a thing or two about yourself. They are learning that you are the living embodiment of two timeless characterizations of a teacher: 'I say what I mean, and I mean what I say' and 'We are going to keep doing this until we get it right.'"
Here, yet again, is an illustration that has often appeared in Log24– notably, on the date of Arnheim's death:
Related quotations:
"We have had a gutful of fast art and fast food. What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and whose skill and doggedness make you think and feel; art that isn't merely sensational, that doesn't get its message across in 10 seconds, that isn't falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media. For no spiritually authentic art can beat mass media at their own game."
— Robert Hughes, speech of June 2, 2004
"Whether the 3×3 square grid is fast art or slow art, truly or falsely iconic, perhaps depends upon the eye of the beholder."
If the beholder is Rudolf Arnheim, whom we may now suppose to be viewing the above figure in the afterlife, the 3×3 square is apparently slow art. Consider the following review of his 1982 book The Power of the Center:
"Arnheim deals with the significance of two kinds of visual organization, the concentric arrangement (as exemplified in a bull's-eye target) and the grid (as exemplified in a Cartesian coordinate system)….
It is proposed that the two structures of grid and target are the symbolic vehicles par excellence for two metaphysical/psychological stances. The concentric configuration is the visual/structural equivalent of an egocentric view of the world. The self is the center, and all distances exist in relation to the focal spectator. The concentric arrangement is a hermetic, impregnable pattern suited to conveying the idea of unity and other-worldly completeness. By contrast, the grid structure has no clear center, and suggests an infinite, featureless extension…. Taking these two ideal types of structural scaffold and their symbolic potential (cosmic, egocentric vs. terrestrial, uncentered) as given, Arnheim reveals how their underlying presence organizes works of art."
— Review of Rudolf Arnheim's The Power of the Center: A Study of Composition in the Visual Arts (Univ. of Calif. Press, 1982). Review by David A. Pariser, Studies in Art Education, Vol. 24, No. 3 (1983), pp. 210-213
Arnheim himself says in this book (pp. viii-ix) that "With all its virtues, the framework of verticals and horizontals has one grave defect. It has no center, and therefore it has no way of defining any particular location. Taken by itself, it is an endless expanse in which no one place can be distinguished from the next. This renders it incomplete for any mathematical, scientific, and artistic purpose. For his geometrical analysis, Descartes had to impose a center, the point where a pair of coordinates [sic] crossed. In doing so he borrowed from the other spatial system, the centric and cosmic one."
Students of art theory should, having read the above passages, discuss in what way the 3×3 square embodies both "ideal types of structural scaffold and their symbolic potential."
We may imagine such a discussion in an afterlife art class– in, perhaps, Purgatory rather than Heaven– that now includes Arnheim as well as Ernst Gombrich and Kirk Varnedoe.
Such a class would be one prerequisite for a more advanced course– Finite geometry of the square and cube.
Friday, January 19, 2007
Friday January 19, 2007
Twisted Honeycomb
From a review in today’s New York Times by Janet Maslin of Norman Mailer’s new novel, The Castle in the Forest:
“The wise beekeeper does not wear dark clothing, lest it pick up light-colored pollen. Italian bees are gentler and more chic than the Austrian variety. The mating box, capping fork and spur-wheel embedder are essential tools for apiculture. And all power in the beehive rests with a treacherous but fragrant bitch.
All this bee talk crops up in ‘The Castle in the Forest,’ Norman Mailer’s zzzzz-filled new novel about Adolf Hitler’s tender, metaphor-fraught and (in this book’s view) literally bedeviled boyhood. So it is not a stretch for the book’s jacket copy to insist that ‘now, on the eve of his 84th birthday, Norman Mailer may well be saying more than he ever has before.’ More about beekeeping– absolutely.”
Sunday, December 31, 2006
Sunday December 31, 2006
St. Thomas Becket’s day–
Friday, December 29, 2006
Friday December 29, 2006
of Christ Church
"For every kind of vampire,
there is a kind of cross."
— Thomas Pynchon
Click on picture for details.
Today is the feast
of St. Thomas Becket.
In his honor, a meditation
on tools and causation:
— Review by H. Allen Orr in
The New York Review of Books,
Vol. 54, No. 1, January 11, 2007
"An odd extension"–
Wolpert's title is, of course,
from Lewis Carroll.
Related material:
"It's a poor sort of memory
that only works backwards."
— Through the Looking-Glass
An event at the Kennedy Center
broadcast on
December 26, 2006
(St. Steven's Day):
from the conclusion to
(Log24, Aug. 22, 2005):
"At times, bullshit can
only be countered
with superior bullshit."
— Norman Mailer
"The concept of possible worlds dates back to at least Leibniz who in his Théodicée tries to justify the apparent imperfections of the world by claiming that it is optimal among all possible worlds. Voltaire satirized this view in his picaresque novel Candide….
Borges' seminal short story El jardín de senderos que se bifurcan ("The Garden of Forking Paths") is an early example of many worlds in fiction."
"Il faut cultiver notre jardin."
— Voltaire
"We symbolize
logical necessity
with the box
and logical possibility
with the diamond
"The possibilia that exist,
and out of which
the Universe arose,
are located in
a necessary being…."
— Michael Sudduth,
Notes on
God, Chance, and Necessity
by Keith Ward,
Regius Professor of Divinity,
Christ Church College, Oxford
(the home of Lewis Carroll)
For further details,
click on the
Christ Church diamond.
Monday, April 26, 2004
Monday April 26, 2004
Directions Out
Part I: Indirections
“By indirections, find directions out.”
— Polonius in Hamlet: II, i
“Foremost among the structural similarities between Kierkegaard and Wittgenstein… is the use of indirect communication: as paradoxical as it may sound, both authors deliberately obfuscate their philosophy for the purposes of clarifying it…. let us examine more closely particular instances of indirect communication from both of the philosophers with the intention of finding similarity. ‘By indirections, find directions out.’ – Polonius in Hamlet: II, i“
On religious numerology (indirections)…
For the page number “373” as indicating “eternity,” see
Zen and Language Games (5/2/03), which features Wittgenstein,
Language Game (1/14/04), also featuring Wittgenstein, and
Note 31, page 373, in Kierkegaard’s Works of Love (1964 Harper Torchbook paperback, tr. by Howard and Edna Hong),
which says “Compare I John 4:17.”
Okay….
4:17 Herein is our love made perfect, that we may have boldness in the day of judgment: because as he is, so are we in this world.
The reference to Judgment Day leads us back to Linda Hamilton, who appears (some say, as noted in Zen and Language Games, as the Mother of God) in Terminator 2: Judgment Day, and to Part II of our meditation….
Part II: Directions Out
“This Way to the Egress”
— Sign supposedly written by P. T. Barnum
A Google search on this phrase leads to the excellent website
Related thoughts….
A link from Part I of a log24 entry for Thursday, April 22:
ART WARS:
Judgment Day
(2003, 10/07)
to the following —
Frame not included in
Terminator 2: Judgment Day
Dr. Silberman: You broke my arm!
Sarah Connor: There are
two-hundred-fifteen bones
in the human body,
[expletive deleted].
That’s one.
This suggests, in light of the above-mentioned religious interpretation of Terminator 2, in light of the 2003 10/07 entry, and in light of the April 22 10:07 PM log24 invocation, the following words from the day after the death of Sgt. Pat Tillman:
Doonesbury April 23, 2004
A more traditional farewell, written by a soldier, for a soldier, may be found at The Summoning of Everyman site mentioned above:
Friday, January 16, 2004
Friday January 16, 2004
Forum
The annual World Social Forum started Jan. 16 in Bombay (“Mumbai”), India.
Background Essays:
From the right,
From the left,
Related Material:
From the right,
Marxist, Socialist, & Communist
Hate of America.
From the left,
Thursday, September 11, 2003
Thursday September 11, 2003
Particularity
Upon learning of the recent death of Walter J. Ong, S. J., philosopher of language, I ordered a copy of his book
Hopkins, the Self, and God
University of Toronto Press, 1986.
As the reader of my previous entry will discover, I have a very low opinion of the literary skills of the first Christians. This sect’s writing has, however, improved in the past two millennia.
Despite my low opinion of the early Christians, I am still not convinced their religion is totally unfounded. Hence my ordering of the Ong book. Since then, I have also ordered two other books, reflecting my interests in philosophical fiction (see previous entry) and in philosophy itself:
Philosophical fiction —
The Hex Witch of Seldom,
by Nancy Springer,
Penguin Putnam Inc., 2002
(See 1 Corinthians 1:26-29)
Philosophy —
Definition,
by Richard Robinson,
Fellow of Oriel College, Oxford,
Oxford U. Press, 1954, reprinted 1962.
Following the scientific advice of Niels Bohr and Freeman Dyson, I articulated on April 25, 2003, a mad theory of the mystical significance of the number 162.
Here is that theory applied to the three works named above, all three of which I received, synchronistically, today.
Page 162 of Hopkins, the Self, and God is part of the long list of references at the back of the book. Undiscouraged by the seeming insignificance (vide my note Dogma) of this page, I looked more closely. Behold, there was Christ… Carol T. Christ, that is, author of The Finer Optic: The Aesthetic of Particularity in Victorian Poetry, Yale University Press, 1975. “Particularity” seemed an apt description of my “162” approach to literature, so I consulted Christ’s remarks as described in the main body of Ong’s book.
Particularity according to Christ —
“Victorian particularist aesthetics has prospered to the present time, and not only in novels. The isolated, particularized, unique ‘good moment’ [Christ, 105], the flash of awareness at one particular instant in just the right setting, which Hopkins celebrates….”
— Ong, Hopkins, the Self, and God, p. 14
I highly recommend the rest of Ong’s remarks on particularity.
Turning to the other two of the literary trinity of books I received today….
Page 162 of The Hex Witch of Seldom has the following:
“There was a loaf of Stroehmann’s Sunbeam Bread in the grocery sack also; she and Witchie each had several slices. Bobbi folded and compressed hers into little squares and popped each slice into her mouth all at once.”
The religious significance of this passage seems, in Ong’s Jesuit context, quite clear.
Page 162 of Definition has the following:
“Real Definition as the Search for a Key. Mr. Santayana, in his book on The Sense of Beauty, made the following extremely large demands on real definition:
‘A definition <of beauty> that should really define must be nothing less than the exposition of the origin, place, and elements of beauty as an object of human experience. We must learn from it, as far as possible, why, when, and how beauty appears, what conditions an object must fulfil to be beautiful, what elements of our nature make us sensible of beauty, and what the relation is between the constitution of the object and the excitement of our sensibility. Nothing less will really define beauty or make us understand what aesthetic appreciation is. The definition of beauty in this sense will be the task of this whole book, a task that can be only very imperfectly accomplished within its limits.’ ”
Here is a rhetorical exercise for Jesuits that James Joyce might appreciate:
Discuss Bobbi’s “little squares” of bread as the Body of Christ. Formulate, using Santayana’s criteria, a definition of beauty that includes this sacrament.
Refer, if necessary, to
the log24.net entries
Mr. Holland’s Week and Elegance.
Refrain from using the phrase
“scandal of particularity”
unless you can use it as well as
Annie Dillard.
Monday, August 18, 2003
Monday August 18, 2003
Entries since Xanga’s
August 10 Failure:
Sunday, August 17, 2003 2:00 PM
A Thorny Crown of…
From the first episode of
the television series
“The West Wing“:
Original airdate: Sept. 22, 1999 MARY MARSH CALDWELL MARY MARSH JOSH TOBY [A stunned silence. Everyone stares at Toby.] TOBY (CONT.) JOSH |
Going There, Part I
Crown of Ideas Kirk Varnedoe, 57, art historian and former curator of the Museum of Modern Art, died Thursday, August 14, 2003. From his New York Times obituary: ” ‘He loved life in its most tangible forms, and so for him art was as physical and pleasurable as being knocked down by a wave,’ said Adam Gopnik, the writer and a former student of his who collaborated on Mr. Varnedoe’s first big show at the Modern, ‘High & Low.’ ‘Art was always material first — it was never, ever bound by a thorny crown of ideas.’ ” For a mini-exhibit of ideas in honor of Varnedoe, see Verlyn Klinkenborg on Varnedoe: “I was always struck by the tangibility of the words he used…. It was as if he were laying words down on the table one by one as he used them, like brushes in an artist’s studio. That was why students crowded into his classes and why the National Gallery of Art had overflow audiences for his Mellon Lectures earlier this year. Something synaptic happened when you listened to Kirk Varnedoe, and, remarkably, something synaptic happened when he listened to you. You never knew what you might discover together.” Perhaps even a “thorny crown of ideas“? “Crown of Thorns” Varnedoe’s death coincided with “To what extent does this idea of a civic life produced by sense of adversity correspond to actual life in Brasília? I wonder if it is something which the city actually cultivates. Consider, for example the cathedral, on the monumental axis, a circular, concrete framed building whose sixteen ribs are both structural and symbolic, making a structure that reads unambiguously as a crown of thorns; other symbolic elements include the subterranean entrance, the visitor passing through a subterranean passage before emerging in the light of the body of the cathedral. And it is light, shockingly so….” — Modernist Civic Space: The Case of Brasilia, by Richard J. Williams, Department of History of Art, University of Edinburgh, Scotland |
Going There, Part II
Simple, Bold, Clear Art historian Kirk Varnedoe was, of course, not the only one to die on the day of the Great Blackout. Claude Martel, 34, a senior art director of The New York Times Magazine, also died on Thursday, August 14, 2003. Janet Froelich, the magazine’s art director, describes below a sample of work that she and Martel did together: “A new world of ideas” Froelich notes that “the elements are simple, bold, and clear.” For another example of elements with these qualities, see my journal entry The flag design in that entry
Note that the elements of the flag design have the qualities described so aptly by Froelich– simplicity, boldness, clarity: They share these qualities with the Elements of Euclid, a treatise on geometrical ideas. For the manner in which such concepts might serve as, in Gopnik’s memorable phrase, a “thorny crown of ideas,” see “Geometry for Jews” in ART WARS: Geometry as Conceptual Art. See also the discussion of ideas in my journal entry on theology and art titled Understanding: On Death and Truth and the discussion of the word “idea” (as well as the word, and the concept, “Aryan”) in the following classic (introduced by poet W. H. Auden):
|
Saturday, August 16, 2003 6:00 AM
Varnedoe’s Crown
Kirk Varnedoe, 57, art historian and former curator of the Museum of Modern Art, died Thursday, August 14, 2003.
From his New York Times obituary:
” ‘He loved life in its most tangible forms, and so for him art was as physical and pleasurable as being knocked down by a wave,’ said Adam Gopnik, the writer and a former student of his who collaborated on Mr. Varnedoe’s first big show at the Modern, ‘High & Low.’ ‘Art was always material first — it was never, ever bound by a thorny crown of ideas.’ “
For a mini-exhibit of ideas in honor of Varnedoe, see
Verlyn Klinkenborg on Varnedoe:
“I was always struck by the tangibility of the words he used…. It was as if he were laying words down on the table one by one as he used them, like brushes in an artist’s studio. That was why students crowded into his classes and why the National Gallery of Art had overflow audiences for his Mellon Lectures earlier this year. Something synaptic happened when you listened to Kirk Varnedoe, and, remarkably, something synaptic happened when he listened to you. You never knew what you might discover together.”
Perhaps even a “thorny crown of ideas”?
“Crown of Thorns”
Cathedral, Brasilia
Varnedoe’s death coincided with
the Great Blackout of 2003.
“To what extent does this idea of a civic life produced by sense of adversity correspond to actual life in Brasília? I wonder if it is something which the city actually cultivates. Consider, for example the cathedral, on the monumental axis, a circular, concrete framed building whose sixteen ribs are both structural and symbolic, making a structure that reads unambiguously as a crown of thorns; other symbolic elements include the subterranean entrance, the visitor passing through a subterranean passage before emerging in the light of the body of the cathedral. And it is light, shockingly so….”
— Modernist Civic Space: The Case of Brasilia, by Richard J. Williams, Department of History of Art, University of Edinburgh, Scotland
Friday, August 15, 2003 3:30 PM
ART WARS:
The Boys from Brazil
It turns out that the elementary half-square designs used in Diamond Theory
also appear in the work of artist Nicole Sigaud.
Sigaud’s website The ANACOM Project has a page that leads to the artist Athos Bulcão, famous for his work in Brasilia.
From the document
Conceptual Art in an
Authoritarian Political Context:
Brasilia, Brazil,
by Angélica Madeira:
“Athos created unique visual plans, tiles of high poetic significance, icons inseparable from the city.”
As Sigaud notes, two-color diagonally-divided squares play a large part in the art of Bulcão.
The title of Madeira’s article, and the remarks of Anna Chave on the relationship of conceptual/minimalist art to fascist rhetoric (see my May 9, 2003, entries), suggest possible illustrations for a more politicized version of Diamond Theory:
Fahne, |
Dr. Mengele, |
Is it safe?
These illustrations were suggested in part by the fact that today is the anniversary of the death of Macbeth, King of Scotland, and in part by the following illustrations from my journal entries of July 13, 2003 comparing a MOMA curator to Lady Macbeth:
Die Fahne Hoch, |
|
Thursday, August 14, 2003 3:45 AM
Famous Last Words
The ending of an Aug. 14 Salon.com article on Mel Gibson’s new film, “The Passion”:
” ‘The Passion’ will most likely offer up the familiar puerile, stereotypical view of the evil Jew calling for Jesus’ blood and the clueless Pilate begging him to reconsider. It is a view guaranteed to stir anew the passions of the rabid Christian, and one that will send the Jews scurrying back to the dark corners of history.”
— Christopher Orlet
“Scurrying”?! The ghost of Joseph Goebbels, who famously portrayed Jews as sewer rats doing just that, must be laughing — perhaps along with the ghost of Lady Diana Mosley (née Mitford), who died Monday.
This goes well with a story that Orlet tells at his website:
“… to me, the most genuine last words are those that arise naturally from the moment, such as
Joseph Goebbels |
Voltaire’s response to a request that he foreswear Satan: ‘This is no time to make new enemies.’ ”
For a view of Satan as an old, familiar, acquaintance, see the link to Prince Ombra in my entry last October 29 for Goebbels’s birthday.
Wednesday, August 13, 2003 3:00 PM
Best Picture
For some reflections inspired in part by
- Today’s anniversary of a
1727 Moravian Pentecost, - An April 7, 2003,
lecture at Moravian College, and - St. Bonaventure’s 1259
remarks on the Trinity,
Tuesday, August 12, 2003 4:44 PM
Atonement:
A sequel to my entry “Catholic Tastes” of July 27, 2003.
Some remarks of Wallace Stevens that seem appropriate on this date:
“It may be that one life is a punishment
For another, as the son’s life for the father’s.”
— Esthétique du Mal, Wallace Stevens
“Unless we believe in the hero, what is there
To believe? ….
Devise, devise, and make him of winter’s
Iciest core, a north star, central
In our oblivion, of summer’s
Imagination, the golden rescue:
The bread and wine of the mind….”
— Examination of the Hero in a Time of War, Wallace Stevens
Etymology of “Atonement”:
“Middle English atonen, to be reconciled, from at one, in agreement“
At One
“… We found,
If we found the central evil, the central good….
… we and the diamond globe at last were one.”
— Asides on the Oboe, Wallace Stevens
Tuesday, August 12, 2003 1:52 PM
Franken & ‘Stein,
Attorneys at Law
“Tue August 12, 2003 04:10 AM ET
NEW YORK (Reuters) – Fox News Network is suing humor writer Al Franken for trademark infringement over the phrase ‘fair and balanced’ on the cover of his upcoming book, saying it has been ‘a signature slogan’ of the network since 1996.”
Franken: |
‘Stein: |
For answers, click on the pictures
of Franken and ‘Stein.
Friday, July 25, 2003
Friday July 25, 2003
Realism in Literature:
Under the Volcano
Mexican Volcano Blast
|
Here are 3 webcam views of the volcano. Nothing to see at the moment.
Literary background:
Malcolm Lowry’s Under the Volcano,
Plato, Pegasus, and the Evening Star,
and, as background for today’s earlier entry on Platonism and Derrida,
For more on Plato and Christian theology, consult the highly emotional site Further Into the Depths of Satan: “…in The Last Battle on page 170 [C. S.] Lewis has Digory saying, ‘It’s all in Plato, all in Plato.’ Now, Lewis calls Plato ‘an overwhelming theological genius’ (Reflections on the Psalms, p. 80)….” The title “Further Into the Depths of Satan,” along with the volcano readings above, suggests a reading from a related site: Gollum and the Mystery of Evil: “Gollum here clearly represents Frodo’s hidden self. It is ‘as if we are witnessing the darkest night of the soul and one side attempting to master the other’ (Jane Chance 102). Then Frodo, whose finger has been bitten off, cries out, and Gollum holds the Ring aloft, shrieking: ‘Precious, precious, precious! My Precious! O my Precious!’ (RK, VI, 249). At this point, stepping too near the edge, he falls into the volcano, taking the Ring with him. With this, the mountain |
In the above two-step vignette, the part of Gollum is played by the author of “Further Into the Depths of Satan,” who called C. S. Lewis a fool† “that was and is extremely useful to his father the devil.”
† See Matthew 5:22: “…whosoever shall say, Thou fool, shall be in danger of hell fire.”
Saturday, July 20, 2002
Saturday July 20, 2002
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