Log24

Friday, January 5, 2024

Starland Like Intuition  for the Twelve

Filed under: General — Tags: , — m759 @ 3:58 pm

Sunday, June 12, 2022

Piercing the Twelve*

Filed under: General — m759 @ 10:26 am

From "When Novelists Become Cubists," by Andre Furlani—

"The architectonics of a narrative," Davenport says,
"are emphasized and given a role to play in dramatic effect
when novelists become Cubists; that is, when they see
the possibilities of making a hieroglyph, a coherent symbol,
an ideogram of the total work. A symbol comes into being
when an artist sees that it is the only way to get all the meaning in." 

* See "Starlight Like Intuition" by Delmore Schwartz.
The "Twelve" of the title may be regarded as cube edges.

 

Wednesday, January 5, 2022

The Twelve Steps of Christmas

Filed under: General — Tags: — m759 @ 8:31 am

See as well "Prescott Street" in this journal.

Tuesday, November 24, 2020

Twelve Gates

Filed under: General — Tags: , — m759 @ 3:30 pm

See also The Mark of Zaentz (August 24, 2020)

Saturday, October 15, 2016

Twelve and Twelve

Filed under: General — m759 @ 1:12 pm

See All Saints 2014 in this journal and listen to 
the new Stevie Nicks reissue of Bella Donna.

Related religious imagery —

Magic cube and corresponding hexagram, or Star of David, with faces mapped to lines and edges mapped to points (The 6 cube faces are mapped to the 6 hexagram lines.)

Friday, September 13, 2024

Starbrick Art

Filed under: General — Tags: , — m759 @ 4:47 am

“Looking carefully at Golay’s code
is like staring into the sun.”

— Richard Evan Schwartz

The monolith at the beginning of '2001'

Twelve basis vectors, in lexicographic order, for the binary Golay-code space

Thursday, June 27, 2024

Die Berliner Mitschrift

Filed under: General — Tags: , — m759 @ 4:29 pm

https://page.math.tu-berlin.de/~felsner/Lehre/DSI11/Mitschrift-EH.pdf

The above S (3,4,8)  is the foundation of the "happy family" of
subgroups of the Monster Group. See Griess and  . . .

Related narrative and art —

"Battles argues that 'the experience of the physicality
of the book is strongest in large libraries,' and stand
among the glass cube at the center of the British Library,
the stacks upon stacks in Harvard’s Widener Library, or
the domed portico of the Library of Congress and tell me
any differently."

— Ed Simon, Binding the Ghost: Theology, Mystery, and
the Transcendence of Literature. 
Hardcover – April 19, 2022.

Tuesday, January 2, 2024

“…we write in light….”

Filed under: General — Tags: — m759 @ 2:49 pm

"Starland Like Intuition Pierced the Twelve."

Friday, December 8, 2023

A Cover for Eerdmans

Filed under: General — Tags: — m759 @ 11:53 pm

Cover of 'Twelve Sporadic Groups'

Sunday, February 5, 2023

Dimensions

Filed under: General — Tags: , , , — m759 @ 2:01 am

A Logo for Riri

The above Nick Romano passage is from Knock on Any Door,
a 1947 novel by Willard Motley.  Another Motley novel about
Chicago, from 1958 . . .

Let No Man Write My Epitaph

Page 41

The city was a blue-black panther that slunk along beside them. The tall, skyscraper night-grass hemmed them in. The thousand neon animal eyes watched their going.

Page 67

The blue-black panther of a city watched their going. The un- blinking neon animal eyes watched their going. Thousands of neon signs lit their way. In an alley behind West Madison Street half an

Page 68

hour before, a bum, drunk, had frozen to death lying in the back doorway of a pawnshop. The blue-black panther crouched over him.

Page 70

First the creak of ice as an automobile goes by. Then the frown into your room of the red brick building across the street, its windows frosted over like cold, unfriendly eyes. Then a bum stumbling along trying to keep warm. Now a drunk, unevenly. And the wind like the howling voice of the blue-black panther, hunting, finding. And the clanging of impersonal streetcars. And each bar of neon, cold, dead. No message. The clown takes his bow and it is Christmas Day.

Page 79

The blue-black panther followed them, sniffing at their heels.

Page 106

Above them the blue-black panther lay on the roof of a tenement house, its feline chin on the cornice, its yellow-green eyes staring down onto the black night street of Maxwell. Its tail, wagging slowly back and forth, was like a lasso, a noose, sending little shivers of pebbles rolling loosely across the roof.

Page 154

Then he went down to the Shillelagh Club. Through the pane, in the crowded, noisy place, he saw her. She was sitting at a table near the back, alone. Her cigarette had fallen from her lips and rolled away from her on the table top. It had burned itself to a long gray ash. Her head hung loosely on her neck as if she was asleep. A half-empty glass of beer was in front of her. Please, Mother, please come out, he prayed to her. And he stood next door to the tavern, waiting, his small shoulders drawn in, his head down in shame. And often he walked to the window and stood on tiptoe. She was still there. In the same position. He waited. He would be late to school tomorrow. He waited, keeping the long vigil. He waited. Twelve years old. And the thousand neon-animal eyes stared at him savagely. He waited. The blue-black panther lashed out its tail, flicking its furry tip against his ankles. He waited.

Page 250

Alongside the blue-black patrol wagon the blue-black panther walks majestically.

Page 262

Outside the door the blue-black panther rubs its back like a house cat.

Page 409

Nick held the cigarette listlessly. The smoke curled up his wrist and arm like a snake. The blue-black panther licked his hand.

Tuesday, February 1, 2022

Bit Space

Filed under: General — Tags: , — m759 @ 10:54 am

Twelve significant bit-sequences —

Twelve basis vectors, in lexicographic order, for the binary Golay-code space

http://www.log24.com/log/pix11/110412-IconicArt.jpg

Thursday, January 27, 2022

The Lexicographic Octad Generator

Filed under: General — Tags: , , , , — m759 @ 2:30 pm

A Lexicographic Basis for the Binary Golay Code:

Brouwer and Guven — "Long ago," in 
"The generating rank of the space of short vectors
in the Leech lattice mod 2," by 
Andries Brouwer & Cicek Guven,
https://www.win.tue.nl/~aeb/preprints/udim24a.pdf —

"One checks by computer" that this is a basis:

000000000000000011111111
000000000000111100001111
000000000011001100110011
000000000101010101010101
000000001001011001101001
000000110000001101010110
000001010000010101100011
000010010000011000111010
000100010001000101111000
001000010001001000011101
010000010001010001001110
100000010001011100100100

(Copied from the Brouwer-Guven paper)

_________________________________________________

Adlam at Harvard — 
"Constructing the Extended Binary Golay Code,"
by Ben Adlam, Harvard University, August 9, 2011,
https://fliphtml5.com/llqx/wppz/basic —

Adlam also asserts, citing a reference, that this same
set of twelve vectors is a basis:

000000000000000011111111
000000000000111100001111
000000000011001100110011
000000000101010101010101
000000001001011001101001
000000110000001101010110
000001010000010101100011
000010010000011000111010
000100010001000101111000
001000010001001000011101
010000010001010001001110
100000010001011100100100

(Copied from the Adlam paper)
__________________________________________________

Sources —

Background for Log24 posts on 'Embedding Change'

"One checks by computer" —

At http://magma.maths.usyd.edu.au/calc/ —

> V24 := VectorSpace(FiniteField(2), 24);
> G := sub< V24 |  
> [0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,0,1,1,1,1,1,1,1,1],
> [0,0,0,0,0,0,0,0,0,0,0,0,1,1,1,1,0,0,0,0,1,1,1,1],
> [0,0,0,0,0,0,0,0,0,0,1,1,0,0,1,1,0,0,1,1,0,0,1,1],
> [0,0,0,0,0,0,0,0,0,1,0,1,0,1,0,1,0,1,0,1,0,1,0,1],
> [0,0,0,0,0,0,0,0,1,0,0,1,0,1,1,0,0,1,1,0,1,0,0,1],
> [0,0,0,0,0,0,1,1,0,0,0,0,0,0,1,1,0,1,0,1,0,1,1,0],
> [0,0,0,0,0,1,0,1,0,0,0,0,0,1,0,1,0,1,1,0,0,0,1,1],
> [0,0,0,0,1,0,0,1,0,0,0,0,0,1,1,0,0,0,1,1,1,0,1,0],
> [0,0,0,1,0,0,0,1,0,0,0,1,0,0,0,1,0,1,1,1,1,0,0,0],
> [0,0,1,0,0,0,0,1,0,0,0,1,0,0,1,0,0,0,0,1,1,1,0,1],
> [0,1,0,0,0,0,0,1,0,0,0,1,0,1,0,0,0,1,0,0,1,1,1,0],
> [1,0,0,0,0,0,0,1,0,0,0,1,0,1,1,1,0,0,1,0,0,1,0,0]>;       
> Dimension(G);
12

Wednesday, January 26, 2022

The Embedding

Filed under: General — Tags: — m759 @ 12:05 pm

Continues.

Twelve basis vectors, in lexicographic order, for the binary Golay-code space

For further details,
click on the monolith.

Tuesday, August 31, 2021

Summer Knowledge

Filed under: General — Tags: , , — m759 @ 11:00 pm

The title is that of a book of poems by Delmore Schwartz.

From "Searching for God in the Next Apartment,"
by Stanley Moss, New York Times Book Review ,
Sunday, October 19, 1986 —

Throughout Schwartz's poetry a question of belief is central. He thought we could not live without an interpretation of the whole of life, and that modern social orders were inevitably deficient in satisfying this need. He wrote studies and poetry explicitly concerned with the decline of Christian belief and the impossibility of any belief whatsoever. He read Rimbaud's ''Season in Hell,'' Valery's ''Cimetiere Marin,'' Arnold's ''Dover Beach,'' Hardy's ''Oxen,'' Stevens' ''Sunday Morning'' as poems forged in just such a dilemma. His own preferred poem, ''Starlight Like Intuition Pierced the Twelve,'' continued this argument.

See also Log24 posts tagged Central Myth, and the following image:

Sunday, May 9, 2021

“Watch the Trailer”

Filed under: General — Tags: — m759 @ 1:00 pm

The title flashes back to  Eliza Doolittle Day 2012.

“Young girls are coming to the canyon . . .” — Song lyric

“The song is featured in Drew Goddard‘s 2018 film
Bad Times at the El Royale.
The song is also featured during a pivotal scene
in Quentin Tarantino‘s 2019 film
Once Upon a Time… in Hollywood.” — Wikipedia

Friday, February 26, 2021

“Only Connect”

Filed under: General — Tags: — m759 @ 11:33 pm

Twelves   (in memory of Robert de Marrais)

Receipt date for the above article —

Synchronicity check —

Related reading —

http://www.universityreaders.com/pdf/
Incarnations-of-the-Blaring-Bluesblinger_sneak_preview.pdf

Saturday, January 16, 2021

Nashville Death

Filed under: General — Tags: — m759 @ 11:40 pm

” ‘Across the street was the New York Doll Hospital,
a toy repair shop,’ he told Lenny Kaye in an interview
for the Bob Gruen photo book New York Dolls  (2008).”

See as well other  posts now tagged Smiley’s Neighborhood
in honor of the novelist known as John le Carré.

The novelist’s nom de plume  suggests another tourist’s tale —

“Before 1788, the French Quarter encompassed the entirety
of New Orleans. Today the ‘old square’  (Vieux Carré ), a
six by twelve block parcel of land set on the inside of a bend
in the Mississippi River, remains New Orleans’ most definitive
area.” — https://www.frenchquarter.com/sightseeing-in-the-old-square/

Monday, August 24, 2020

The Mark of Zaentz

Filed under: General — Tags: , — m759 @ 12:50 am

Jung's phrase "'four-square' Heavenly City" in the previous post
suggests a geometric object… the 4×4 square —

The "twelve gates" at the sides of the above figure suggest a song —

The Baez date above suggests in turn a review of
the Jan. 4, 2014, post "Heaven's Gate,"
on the death of film producer Saul Zaentz.

   Related material —

The "Heavenly City" is perhaps not Cambridge, Massachusetts.

Recall as well Jean Simmons preaching the Foursquare Gospel
in the 1960 film classic "Elmer Gantry" —

Monday, July 13, 2020

The Lexicographic Octad Generator (LOG)*

The lexicographic Golay code
contains, embedded within it,
the Miracle Octad Generator.

By Steven H. Cullinane, July 13, 2020

Background —


The Miracle Octad Generator (MOG)
of R. T. Curtis (Conway-Sloane version) —

Embedding Change, Illustrated

A basis for the Golay code, excerpted from a version of
the code generated in lexicographic order, in

"Constructing the Extended Binary Golay Code"
Ben Adlam
Harvard University
August 9, 2011:

000000000000000011111111
000000000000111100001111
000000000011001100110011
000000000101010101010101
000000001001011001101001
000000110000001101010110
000001010000010101100011
000010010000011000111010
000100010001000101111000
001000010001001000011101
010000010001010001001110
100000010001011100100100

Below, each vector above has been reordered within
a 4×6 array, by Steven H. Cullinane, to form twelve
independent Miracle Octad Generator  vectors
(as in the Conway-Sloane SPLAG version above, in
which Curtis's earlier heavy bricks are reflected in
their vertical axes) —

01 02 03 04 05 . . . 20 21 22 23 24 -->

01 05 09 13 17 21
02 06 10 14 18 22
03 07 11 15 19 23
04 08 12 16 20 24

0000 0000 0000 0000 1111 1111 -->

0000 11
0000 11
0000 11
0000 11 as in the MOG.

0000 0000 0000 1111 0000 1111 -->

0001 01
0001 01
0001 01
0001 01 as in the MOG.

0000 0000 0011 0011 0011 0011 -->

0000 00
0000 00
0011 11
0011 11 as in the MOG.

0000 0000 0101 0101 0101 0101 -->

0000 00
0011 11
0000 00
0011 11 as in the MOG.

0000 0000 1001 0110 0110 1001 -->

0010 01
0001 10
0001 10
0010 01 as in the MOG.

0000 0011 0000 0011 0101 0110 -->

0000 00
0000 11
0101 01
0101 10 as in the MOG.

0000 0101 0000 0101 0110 0011 -->

0000 00
0101 10
0000 11
0101 01 as in the MOG.

0000 1001 0000 0110 0011 1010 -->

0100 01
0001 00
0001 11
0100 10 as in the MOG.

0001 0001 0001 0001 0111 1000 -->

0000 01
0000 10
0000 10
1111 10 as in the MOG.

0010 0001 0001 0010 0001 1101 -->

0000 01
0000 01
1001 00
0110 11 as in the MOG.

0100 0001 0001 0100 0100 1110 -->

0000 01
1001 11
0000 01
0110 00 as in the MOG.

1000 0001 0001 0111 0010 0100 -->

10 00 00
00 01 01
00 01 10
01 11 00 as in the MOG (heavy brick at center).

Update at 7:41 PM ET the same day —
A check of SPLAG shows that the above result is not new:
MOG in LOG embedding

And at 7:59 PM ET the same day —
Conway seems to be saying that at some unspecified point in the past,
M.J.T. Guy, examining the lexicographic Golay code,  found (as I just did)
that weight-8 lexicographic Golay codewords, when arranged naturally
in 4×6 arrays, yield certain intriguing visual patterns. If the MOG existed
at the time of his discovery, he would have identified these patterns as
those of the MOG.  (Lexicographic codes have apparently been
known since 1960, the MOG since the early 1970s.)

* Addendum at 4 AM ET  the next day —
See also Logline  (Walpurgisnacht 2013).

Saturday, June 6, 2020

Night at the Museum of Unnatural History

Filed under: General — m759 @ 12:00 am

“When men and women pour so much alcohol into themselves
that they destroy their lives, they commit a most unnatural act.”

Twelve Steps and Twelve Traditions , Step Six

Thursday, May 7, 2020

Kant as Diamond Cutter

Filed under: General — Tags: , , , — m759 @ 4:26 am

"He wished Kant were alive. Kant would have appreciated it.
That master diamond cutter."

— Robert M. Pirsig, Zen and the Art of Motorcycle Maintenance , Part III.

Kant's  "category theory" —

"In the Transcendental Analytic, Kant deduces the table of twelve categories, or pure concepts of the understanding….

The categories must be 'schematized' because their non-empirical origin in pure understanding prevents their having the sort of sensible content that would connect them immediately to the objects of experience; transcendental schemata are mediating representations that are meant to establish the connection between pure concepts and appearances in a rule-governed way. Mathematical concepts are discussed in this context since they are unique in being pure but also sensible concepts: they are pure because they are strictly a priori  in origin, and yet they are sensible since they are constructed in concreto . "

— Shabel, Lisa, "Kant's Philosophy of Mathematics", The Stanford Encyclopedia of Philosophy  (Spring 2016 Edition), Edward N. Zalta (ed.), URL = <https://plato.stanford.edu/archives/spr2016/entries/kant-mathematics/>.

See also The Diamond Theorem and Octad.us.

Friday, September 29, 2017

Principles Before Personalities*

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

(Some Remarks for Science Addicts)

Principles —

IMAGE- The large Desargues configuration in light of Galois geometry

Personalities —

* See "Tradition Twelve."

Tuesday, August 29, 2017

The Finkelstein Talisman

Filed under: General — m759 @ 8:38 pm

An image in memory of a publisher* who reportedly died
on Saturday, August 26, 2017.  

He and his wife wrote a novel, The Twelve , that has been compared to
the classic film "Village of the Damned." (See a sequel in this journal.)

Magic cube and corresponding hexagram, or Star of David, with faces mapped to lines and edges mapped to points

For more on the image, see posts now tagged The Finkelstein Talisman.

*
 

Saturday, August 6, 2016

Mystic Correspondence:

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

The Cube and the Hexagram

The above illustration, by the late Harvey D. Heinz,
shows a magic cube* and a corresponding magic 
hexagram, or Star of David, with the six cube faces 
mapped to the six hexagram lines and the twelve  
cube edges mapped to the twelve hexagram points.
The eight cube vertices correspond to eight triangles
in the hexagram (six small and two large). 

Exercise:  Is this noteworthy mapping** of faces to lines, 
edges to points, and vertices to triangles an isolated 
phenomenon, or can it be viewed in a larger context?

* See the discussion at magic-squares.net of
   "perimeter-magic cubes"

** Apparently derived from the Cube + Hexagon figure
    discussed here in various earlier posts. See also
    "Diamonds and Whirls," a note from 1984.

Tuesday, August 2, 2016

Notes towards a Dark Tower*

Filed under: General — m759 @ 1:00 pm

Or:  Shema, SXSW

The doors open slowly. I step into a hangar. From the rafters high above, lights blaze down, illuminating a twelve-foot cube the color of gunmetal. My pulse rate kicks up. I can’t believe what I’m looking at. Leighton must sense my awe, because he says, “Beautiful, isn’t it?” It is exquisitely beautiful. At first, I think the hum inside the hangar is coming from the lights, but it can’t be. It’s so deep I can feel it at the base of my spine, like the ultralow-frequency vibration of a massive engine. I drift toward the box, mesmerized.

 

— Crouch, Blake. Dark Matter: A Novel
(Kindle Locations 2004-2010).
Crown/Archetype. Kindle Edition.

Related reading —

"Do you know there is a deliberate sinister conspiracy at work?"

"No, but hum a few bars and I'll fake it."

A few bars —

* Not the Dark Tower of Stephen King, but that of the
University of Texas at Austin, back in time 50 years and a day.

Monday, August 1, 2016

Cube

Filed under: General,Geometry — m759 @ 10:28 pm

From this journal —

See (for instance) Sacred Order, July 18, 2006 —

The finite Galois affine space with 64 points

From a novel published July 26, 2016, and reviewed
in yesterday's (print) New York Times Book Review —

The doors open slowly. I step into a hangar. From the rafters high above, lights blaze down, illuminating a twelve-foot cube the color of gunmetal. My pulse rate kicks up. I can’t believe what I’m looking at. Leighton must sense my awe, because he says, “Beautiful, isn’t it?” It is exquisitely beautiful. At first, I think the hum inside the hangar is coming from the lights, but it can’t be. It’s so deep I can feel it at the base of my spine, like the ultralow-frequency vibration of a massive engine. I drift toward the box, mesmerized.

— Crouch, Blake. Dark Matter: A Novel
(Kindle Locations 2004-2010).
Crown/Archetype. Kindle Edition. 

See also Log24 on the publication date of Dark Matter .

Monday, May 30, 2016

Perfect Number

Filed under: General,Geometry — Tags: — m759 @ 10:00 am

"Ageometretos me eisito."—
"Let no one ignorant of geometry enter."—
Said to be a saying of Plato, part of the
seal of the American Mathematical Society—

For the birthday of Marissa Mayer, who turns 41 today —

VOGUE Magazine,
AUGUST 16, 2013 12:01 AM
by JACOB WEISBERG —

"As she works to reverse the fortunes of a failing Silicon Valley
giant, Yahoo’s Marissa Mayer has fueled a national debate
about the office life, motherhood, and what it takes to be the
CEO of the moment.

'I really like even numbers, and
I like heavily divisible numbers.
Twelve is my lucky number—
I just love how divisible it is.
I don’t like odd numbers, and
I really don’t like primes.
When I turned 37,
I put on a strong face, but
I was not looking forward to 37.
But 37 turned out to be a pretty amazing year.
Especially considering that
36 is divisible by twelve!'

A few things may strike you while listening to Marissa Mayer
deliver this riff . . . . "

Yes, they may.

A smaller number for Marissa's meditations:

Six has been known since antiquity as the first "perfect" number.
Why it was so called is of little interest to anyone but historians
of number theory  (a discipline that is not, as Wikipedia notes, 
to be confused with numerology .)

What part geometry , on the other hand, played in Marissa's education,
I do not know.

Here, for what it's worth, is a figure from a review of posts in this journal
on the key role played by the number six in geometry —

Saturday, January 2, 2016

The Beethoven Midrash

Filed under: General — m759 @ 3:33 am

From Commentary  magazine on Dec. 14, 2015

"Three significant American magazines started life in the 1920s.
The American Mercury , founded in 1924, met with the greatest
initial success, in large part because of the formidable reputations
of its editors, H.L. Mencken and George Jean Nathan, and it soon
became the country’s leading journal of opinion."

— Terry Teachout, article on the history of The New Yorker  

A search for "American Mercury" in this  journal yields a reference from 2003
to a book containing the following passage —

As Webern stated in "The Path to Twelve-Note Composition":

"An example: Beethoven's 'Six easy variations on a Swiss song.'
Theme: C-F-G-A-F-C-G-F, then backwards! You won't notice this
when the piece is played, and perhaps it isn't at all important,
but it is unity ." 

— Larry J. Solomon, Symmetry as a Compositional Determinant ,
     Chapter 8, "Quadrate Transformations"

This is the Beethoven piece uploaded to YouTube by "Music and such…"
on Dec. 12, 2009. See as well this journal on that same date.

Sunday, August 30, 2015

Lines

Filed under: General,Geometry — Tags: , , , — m759 @ 11:01 am

"We tell ourselves stories in order to live." — Joan Didion

A post from St. Augustine's day, 2015, may serve to
illustrate this.

The post started with a look at a painting by Swiss artist
Wolf Barth, "Spielfeld." The painting portrays two
rectangular arrays, of four and of twelve subsquares,
that sit atop a square array of sixteen subsquares.

To one familiar with Euclid's "bride's chair" proof of the
Pythagorean theorem, "Spielfeld" suggests a right triangle
with squares on its sides of areas 4, 12, and 16.

That image in turn suggests a diagram illustrating the fact
that a triangle suitably inscribed in a half-circle is a right
triangle… in this case, a right triangle with angles of 30, 60,
and 90 degrees… Thus —

In memory of screenwriter John Gregory Dunne (husband
of Joan Didion and author of, among other things, The Studio )
here is a cinematric approach to the above figure.

The half-circle at top suggests the dome of an observatory.
This in turn suggests a scene from the 2014 film "Magic in
the Moonlight."

As she gazes at the silent universe above
through an opening in the dome, the silent
Emma Stone is perhaps thinking,
prompted by her work with Spider-Man

"Drop me a line."

As he  gazes at the crack in the dome,
Stone's costar Colin Firth contrasts the vastness
of the Universe with the smallness of Man, citing 

"the tiny field F2 with two elements."

In conclusion, recall the words of author Norman Mailer
that summarized his Harvard education —

"At times, bullshit can only be countered
with superior bullshit."

Tuesday, April 14, 2015

Sacramental Geometry:

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

The Dreaming Jewels  continued

" the icosahedron and dodecahedron have the same properties
of symmetry. For the centres of the twenty faces of an icosahedron
may be joined to form a regular dodecahedron, and conversely, the
twelve vertices of an icosahedron can be placed at the centres
of the faces of a suitable dodecahedron. Thus the icosahedral and
dodecahedral groups are identical
 , and either solid may be used to
examine the nature of the group elements."

— Walter Ledermann, Introduction to the Theory
of Finite Groups
  (Oliver and Boyd, 1949, p. 93)

Salvador Dali, The Sacrament of the Last Supper

Omar Sharif and Gregory Peck in Behold a Pale Horse

Above: soccer-ball geometry.
              See also

             See as well
"In Sunlight and in Shadow."

Monday, March 16, 2015

Dude!

Filed under: General — Tags: , — m759 @ 1:26 pm

Twelve years ago on this date —

Wednesday, October 31, 2012

The Malfunctioning TARDIS

Filed under: General,Geometry — m759 @ 11:01 am

(Continued from previous TARDIS posts)

Summary: A review of some  posts from last August is suggested by the death,
reportedly during the dark hours early on October 30, of artist Lebbeus Woods.

An (initially unauthorized) appearance of his work in the 1995 film
Twelve Monkeys 

 … suggests a review of three posts from last August.

Wednesday, August 1, 2012

Defining Form

Filed under: Uncategorized — m759 @ 11:01 AM 

Continued from July 29 in memory of filmmaker Chris Marker,
who reportedly* died on that date at 91 at his home in Paris.

See Slides and Chantingand Where Madness Lies.

See also Sherrill Grace on Malcolm Lowry.

Washington PostOther sources say Marker died on July 30.

 These notably occur in Marker's masterpiece
     La Jetée  (review with spoilers).

 

Wednesday, August 1, 2012

Triple Feature

Filed under: Uncategorized — m759 @ 11:11 PM

IMAGE- Triple Feature: 'Twelve Monkeys,' Reagan National Airport on July 31, 2012, and 'Die Hard 2'

For related material, see this morning's post Defining Form.

 

Sunday, August 12, 2012

Doctor Who

Filed under: Uncategorized — m759 @ 2:00 PM

On Robert A. Heinlein's novel Glory Road

"Glory Road  (1963) included the foldbox , a hyperdimensional packing case that was bigger inside than outside. It is unclear if Glory Road  was influenced by the debut of the science fiction television series Doctor Who  on the BBC that same year. In Doctor Who , the main character pilots a time machine called a TARDIS, which is built with technology which makes it 'dimensionally transcendental,' that is, bigger inside than out."

— Todd, Tesseract article at exampleproblems.com

From the same exampleproblems.com article—

"The connection pattern of the tesseract's vertices is the same as that of a 4×4 square array drawn on a torus; each cell (representing a vertex of the tesseract) is adjacent to exactly four other cells. See geometry of the 4×4 square."

For further details, see today's new page on vertex adjacency at finitegeometry.org.

 

"It was a dark and stormy night."— A Wrinkle in Time

Tuesday, October 23, 2012

Ambiguation

Filed under: General — m759 @ 6:30 am

(Continued)

A new Wikipedia page was created on Oct. 9—

"This page was last modified on 9 October 2012 at 19:54."

This, and a long-running musical, suggest…

"Try to remember the kind of September…"

LIFE Magazine for September 6, 1954, provides
one view of the kind of September when I was
twelve years old. (Also that September, Mitt Romney
was seven. President Obama was born later.)

Top of Life Magazine cover, September 6, 1954

This suggests James Joyce's nightmare view of history.

For some other views of 1954, see selected posts in this  journal
 that mention that year.

See also IMDb on Grace Kelly that year, and a related theological
reflection from Holy Cross Day, 2002.

Friday, August 17, 2012

Hidden

Filed under: General,Geometry — Tags: , — m759 @ 12:25 pm

Detail from last night's 1.3 MB image
"Search for the Lost Tesseract"—

The lost tesseract appears here on the cover of Wittgenstein's
Zettel  and, hidden in the form of a 4×4 array, as a subarray 
of the Miracle Octad Generator on the cover of Griess's
Twelve Sporadic Groups  and in a figure illustrating
the geometry of logic.

Another figure—

IMAGE- Serbian chess innovator Svetozar Gligoric dies at 89

Gligoric died in Belgrade, Serbia, on Tuesday, August 14.

From this journal on that date

"Visual forms, he thought, were solutions to 
specific problems that come from specific needs."

— Michael Kimmelman in The New York Times
    obituary of E. H. Gombrich (November 7th, 2001)

Wednesday, August 1, 2012

Triple Feature

Filed under: General — m759 @ 11:11 pm

IMAGE- Triple Feature: 'Twelve Monkeys,' Reagan National Airport on July 31, 2012, and 'Die Hard 2'

For related material, see this morning's post Defining Form.

Saturday, August 6, 2011

Correspondences

Filed under: General,Geometry — Tags: , , , , , , — m759 @ 2:00 pm

Comme de longs échos qui de loin se confondent
Dans une ténébreuse et profonde unité….

— Baudelaire, “Correspondances

From “A Four-Color Theorem”

http://www.log24.com/log/pix11B/110806-Four_Color_Correspondence.gif

Figure 1

Note that this illustrates a natural correspondence
between

(A) the seven highly symmetrical four-colorings
of the 4×2 array at the left of Fig. 1, and

(B) the seven points of the smallest
projective plane at the right of Fig. 1.

To see the correspondence, add, in binary
fashion, the pairs of projective points from the
“points” section that correspond to like-colored
squares in a four-coloring from the left of Fig. 1.
(The correspondence can, of course, be described
in terms of cosets rather than of colorings.)

A different correspondence between these 7 four-coloring
structures and these 7 projective-line structures appears in
a structural analysis of the Miracle Octad Generator
(MOG) of R.T. Curtis—

http://www.log24.com/log/pix11B/110806-Analysis_of_Structure.gif

Figure 2

Here the correspondence between the 7 four-coloring structures (left section) and the 7 projective-line structures (center section) is less obvious, but more fruitful.  It yields, as shown, all of the 35 partitions of an 8-element set  (an 8-set ) into two 4-sets. The 7 four-colorings in Fig. 2 also appear in the 35 4×4 parts of the MOG that correspond, in a way indicated by Fig. 2, to the 35 8-set paritions. This larger correspondence— of 35 4×2 arrays with 35 4×4 arrays— is  the MOG, at least as it was originally defined. See The MOG, Generating the Octad Generator, and Eightfold Geometry

For some applications of the Curtis MOG, see
(for instance) Griess’s Twelve Sporadic Groups .

Tuesday, May 24, 2011

Noncontinuous (or Non-Continuous) Groups

Filed under: General,Geometry — Tags: , , — m759 @ 2:56 pm

The web page has been updated.

An example, the action of the Mathieu group M24
on the Miracle Octad Generator of R.T. Curtis,
was added, with an illustration from a book cover—

http://www.log24.com/log/pix11A/110524-TwelveSG.jpg

Monday, February 21, 2011

Another Manic Monday

Filed under: General — m759 @ 10:48 am

"The curriculum begins with a game called Winding Around Positions.
There are twelve stations that could represent hours on a clock
or the Chinese years zodiac."

— The current (March 2011) Notices of the American Mathematical Society

Background — "Winding Games" (pdf, 1.43 MB)—

http://www.log24.com/log/pix11/110221-ChineseZodiac.jpg

For the not-too-tightly wound —

“Always with a little humor.” – Dr. Yen Lo  (See The China Candidate and Humorism)

We are now at the Year of the Rabbit

(Click images for sources.)

http://www.log24.com/log/pix11/110221-DarkoRabbitSm.jpg IMAGE- Scene from a film based on the old SF story 'Mimsy Were the Borogoves'

Wednesday, February 16, 2011

Stations of the Clock

Filed under: General — m759 @ 11:07 am

Notices of the American Mathematical Society , March 2011

An Example

As a final example, here is a brief outline of curriculum
material based on certain games for the topic
of modular arithmetic….

The curriculum begins with a game called Winding
Around Positions. There are twelve stations
that could represent hours on a clock or the Chinese
years zodiac. A reference station is selected
(in general, selections are made by the class with
some input from the teacher), and one student
sits at that station throughout the game.

Related material—

http://www.log24.com/log/pix11/110216-Exagmination.jpg

See also Crucified on the Wheel of Time.

Sunday, May 3, 2009

Sunday May 3, 2009

Filed under: General,Geometry — m759 @ 7:59 am
Annals of
Sacred Geometry

(The phrase “sacred geometry”
is of course anathema to most
mathematicians, to whom
nothing is sacred.)

From “The Geometric
Art of John Michell
“:
John Michell rendition of  'Remember now thy Creator...'
From this morning’s
 New York Times:

John Michell, Counterculture Author Who Cherished Idiosyncrasy, Dies at 76

By DOUGLAS MARTIN 

Mr. Michell, a self-styled Merlin of the 1960s English counterculture, inspired disciples like the Rolling Stones with a deluge of writings….

Michell, who wrote on Glastonbury
(a site associated with King Arthur)
and on sacred geometry, seems to
have had a better education than
most sacred-geometry enthusiasts.
He is said to have studied at
Eton and at Trinity College,
Cambridge.

He is not to be
confused with an earlier
Trinity figure, mathematician
John Henry Michell,
who died at 76 on the third
day of February in 1940
.

Related material:

See the Log24 entry
from the date of death
 of the later Michell —

  April 24

and, in light of the later
Michell’s interest in
geometry and King Arthur,
 the Log24 remarks for
Easter Sunday this year
(April 12).

These remarks include the
following figure by
Sebastian Egner related,
if only through myth,
to Arthur’s round table —

Conway's mystic circle of 13

— and the classic Delmore Schwartz
poem “Starlight Like Intuition
Pierced the Twelve
.”

Which of the two John Michells
(each a Merlin figure of sorts)
would be more welcome in
Camelot is open to debate.

Sunday, April 12, 2009

Sunday April 12, 2009

Filed under: General — Tags: — m759 @ 3:09 am
Where Entertainment
Is God
, continued

Dialogue from the classic film Forbidden Planet

"… Which makes it a gilt-edged priority that one of us gets into that Krell lab and takes that brain boost."

— Taken from a video (5:18-5:24 of 6:09) at David Lavery's weblog in the entry of Tuesday, April 7.

(Cf. this journal on that date.)

Thanks to Professor Lavery for his detailed notes on his viewing experiences.

My own viewing recently included, on the night of Good Friday, April 10, the spiritually significant film Indiana Jones and the Kingdom of the Crystal Skull.

The mystic circle of 13 aliens at the end of that film, together with Leslie Nielsen's Forbidden Planet remark quoted above, suggests the following:

"The aim of Conway’s game M13 is to get the hole at the top point and all counters in order 1,2,…,12 when moving clockwise along the circle." —Lieven Le Bruyn

 

http://www.log24.com/log/pix09/090411-M13.gif

The illustration is from the weblog entry by Lieven Le Bruyn quoted below. The colored circles represent 12 of the 13 projective points described below, the 13 radial strokes represent the 13 projective lines, and the straight lines in the picture, including those that form the circle, describe which projective points are incident with which projective lines. The dot at top represents the "hole."

From "The Mathieu Group M12 and Conway’s M13-Game" (pdf), senior honors thesis in mathematics by Jeremy L. Martin under the supervision of Professor Noam D. Elkies, Harvard University, April 1, 1996–

"Let P3 denote the projective plane of order 3. The standard construction of P3 is to remove the zero point from a three-dimensional vector space over the field F3 and then identify each point x with -x, obtaining a space with (33 – 1)/2 = 13 points. However, we will be concerned only with the geometric properties of the projective plane. The 13 points of P3 are organized into 13 lines, each line containing four points. Every point lies on four lines, any two points lie together on a unique line, and any two lines intersect at a unique point….

Conway [3] proposed the following game…. Place twelve numbered counters on the points… of P3 and leave the thirteenth point… blank. (The empty point will be referred to throughout as the "hole.") Let the location of the hole be p; then a primitive move of the game consists of selecting one of the lines containing the hole, say {p, q, r, s}. Move the counter on q to p (thus moving the hole to q), then interchange the counters on r and s….

There is an obvious characterization of a move as a permutation in S13, operating on the points of P3. By limiting our consideration to only those moves which return the hole to its starting point…. we obtain the Conway game group. This group, which we shall denote by GC, is a subgroup of the symmetric group S12 of permutations of the twelve points…, and the group operation of GC is concatenation of paths. Conway [3] stated, but did not prove explicitly, that GC is isomorphic to the Mathieu group M12. We shall subsequently verify this isomorphism.

The set of all moves (including those not fixing the hole) is given the name M13 by Conway. It is important that M13 is not a group…."

[3] John H. Conway, "Graphs and Groups and M13," Notes from New York Graph Theory Day XIV (1987), pp. 18–29.


Another exposition (adapted to Martin's notation) by Lieven le Bruyn (see illustration above):

 

"Conway’s puzzle M13 involves the 13 points and 13 lines of P3. On all but one point numbered counters are placed holding the numbers 1,…,12 and a move involves interchanging one counter and the 'hole' (the unique point having no counter) and interchanging the counters on the two other points of the line determined by the first two points. In the picture [above] the lines are represented by dashes around the circle in between two counters and the points lying on this line are those that connect to the dash either via a direct line or directly via the circle. In the first part we saw that the group of all reachable positions in Conway's M13 puzzle having the hole at the top position contains the sporadic simple Mathieu group M12 as a subgroup."

For the religious significance of the circle of 13 (and the "hole"), consider Arthur and the 12 knights of the round table, et cetera.

But seriously…
 
Delmore Schwartz, 'Starlight Like Intuition Pierced the Twelve'

Sunday, December 14, 2008

Sunday December 14, 2008

Filed under: General — m759 @ 11:00 am
Ideas and Steps

“Somehow it seems to
fill my head with ideas
 only I don’t exactly know
what they are!…. Let’s have
 a look at the garden first!”

— A passage from
Through the Looking-Glass

“… it’s going to be
 accomplished in steps,
this establishment of
the Talented
 in the scheme of things.”

Anne McCaffrey

On the seven steps of Charles Williams:

“If we assume Williams was responding to a psychological need to express himself, then we may also assume that Williams wrote these seven steps in compliance with Jung’s theory that an author, who believes strongly enough in some set of ideas, has to write about them.”

— Dennis L. Weeks (a former student of Walter J. Ong, S. J.) in Steps Toward Salvation: An Examination of Coinherence and Substitution in the Seven Novels of Charles Williams (New York, Peter Lang Publishing, 1991), page 9

On the twelve steps of Christmas:

So set ’em up, Joe…

Thursday, July 31, 2008

Thursday July 31, 2008

Filed under: General,Geometry — Tags: , , — m759 @ 12:00 pm
Symmetry in Review

“Put bluntly, who is kidding whom?”

Anthony Judge, draft of
“Potential Psychosocial Significance
of Monstrous Moonshine:
An Exceptional Form of Symmetry
as a Rosetta Stone for
Cognitive Frameworks,”
dated September 6, 2007.

Good question.

Also from
September 6, 2007 —
the date of
Madeleine L’Engle‘s death —

 
Pavarotti takes a bow
Related material:

1. The performance of a work by
Richard Strauss,
Death and Transfiguration,”
(Tod und Verklärung, Opus 24)
by the Chautauqua Symphony
at Chautauqua Institution on
July 24, 2008

2. Headline of a music review
in today’s New York Times:

Welcoming a Fresh Season of
Transformation and Death

3. The picture of the R. T. Curtis
Miracle Octad Generator
on the cover of the book
Twelve Sporadic Groups:

Cover of 'Twelve Sporadic Groups'

4. Freeman Dyson’s hope, quoted by
Gorenstein in 1986, Ronan in 2006,
and Judge in 2007, that the Monster
group is “built in some way into
the structure of the universe.”

5. Symmetry from Plato to
the Four-Color Conjecture

6. Geometry of the 4×4 Square

7. Yesterday’s entry,
Theories of Everything

Coda:

There is such a thing

Tesseract
     as a tesseract.

— Madeleine L’Engle

Cover of The New Yorker, April 12, 2004-- Roz Chast, Easter Eggs

For a profile of
L’Engle, click on
the Easter eggs.

Sunday, May 25, 2008

Sunday May 25, 2008

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

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

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

Part II:
A Bulky Memorandum

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

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

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

— End of page 168 —

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

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

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

 

From 2002:

 

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

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

ZZ
WW

Figures from the
Kaleidoscope Puzzle
of Steven H. Cullinane:


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

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

 Numbers and Names,
Wording and Words

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

English translation
by Catherine Schelbert

A related poem:

Alphabets
by Hermann Hesse

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

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

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

Saturday, January 26, 2008

Saturday January 26, 2008

Filed under: General — Tags: — m759 @ 2:22 am
Working Backward

Those who have followed the links here recently may appreciate a short story told by yesterday’s lottery numbers in Pennsylvania: mid-day 096, evening 513.

The “96” may be regarded as a reference to the age at death of geometer H.S.M. Coxeter (see yesterday morning’s links). The “513” may be regarded as a reference to the time of yesterday afternoon’s entry, 5:01, plus the twelve minutes discussed in that entry by presidential aide Richard Darman, who died yesterday.

These references may seem less fanciful in the light of other recent Log24 material: a verse quoted here on Jan. 18

… Todo lo sé por el lucero puro
que brilla en la diadema de la Muerte.


Rubén Darío,
born January 18, 1867

— and a link on Jan. 19 to the following:

The Lion, the Witch
and the Wardrobe:

 

“But what does it all mean?” asked Susan when they were somewhat calmer.

“It means,” said Aslan, “that though the Witch knew the Deep Magic, there is a magic deeper still which she did not know. Her knowledge goes back only to the dawn of Time. But if she could have looked a little further back, into the stillness and the darkness before Time dawned, she would have read there a different incantation. She would have known that when a willing victim who had committed no treachery was killed in a traitor’s stead, the Table would crack and Death itself would start working backward.”

Friday, January 25, 2008

Friday January 25, 2008

Filed under: General — Tags: — m759 @ 5:01 pm

Time and the River

Harvard Class of 1964
Twenty-fifth Anniversary Report:

"At this writing (November, '88), President-elect Bush has just announced his intention to name me to his Cabinet and to nominate me as Director of the Office of Management and Budget. Given the state of play in Washington, I suppose I may find myself in premature retirement by the time this report is published.

That is not an entirely unattractive prospect. Kath (Kathleen Emmet, '64) and I live in an idyllic setting, overlooking the Little Falls of the Potomac, just twelve minutes upstream from the Capitol. She writes– she's now completing a book on American writers in Paris after World War II. Our children (Willy and Jonathan) do what healthy growing twelve- and seven-year-olds do. The river works its way peacefully over the falls and riffles around a woodsy island through the Chain Bridge narrows, and then on into the familar wide mud-basin of Washington– a wholly different world.

When I was an undergraduate, I asked all the adolescent questions. I still do: Why does the river flow the way it does? Why does one move downstream and back? The allure of such simple questions is as great for me today as when we talked of them so seriously and so long at the University Restaurant or the Casablanca, or on the steps of Widener. The only difference seems to be that I'm now a bit more willing to settle for answers that seem simpler, less profound, sometimes even trite. But only a bit."

— Richard Darman, who died today at 64

Wednesday, October 24, 2007

Wednesday October 24, 2007

Filed under: General,Geometry — Tags: , , , — m759 @ 11:11 pm
Descartes’s Twelfth Step

An earlier entry today (“Hollywood Midrash continued“) on a father and son suggests we might look for an appropriate holy ghost. In that context…

Descartes

A search for further background on Emmanuel Levinas, a favorite philosopher of the late R. B. Kitaj (previous two entries), led (somewhat indirectly) to the following figures of Descartes:

The color-analogy figures of Descartes
This trinity of figures is taken from Descartes’ Rule Twelve in Rules for the Direction of the Mind. It seems to be meant to suggest an analogy between superposition of colors and superposition of shapes.Note that the first figure is made up of vertical lines, the second of vertical and horizontal lines, and the third of vertical, horizontal, and diagonal lines. Leon R. Kass recently suggested that the Descartes figures might be replaced by a more modern concept– colors as wavelengths. (Commentary, April 2007). This in turn suggests an analogy to Fourier series decomposition of a waveform in harmonic analysis. See the Kass essay for a discussion of the Descartes figures in the context of (pdf) Science, Religion, and the Human Future (not to be confused with Life, the Universe, and Everything).

Compare and contrast:

The harmonic-analysis analogy suggests a review of an earlier entry’s
link today to 4/30–  Structure and Logic— as well as
re-examination of Symmetry and a Trinity


(Dec. 4, 2002).

See also —

A Four-Color Theorem,
The Diamond Theorem, and
The Most Violent Poem,

Emma Thompson in 'Wit'

from Mike Nichols’s birthday, 2003.

Friday, February 16, 2007

Friday February 16, 2007

Filed under: General — Tags: — m759 @ 6:16 am

The Judas Seat

Janet Maslin in today’s New York Times:

“The much-borrowed Brown formula involves some very specific things. The name of a great artist, artifact or historical figure must be in the book’s story, not to mention on its cover. The narrative must start in the present day with a bizarre killing, then use that killing as a reason to investigate the past. And the past must yield a secret so big, so stunning, so saber-rattling that all of civilization may be changed by it. Probably not for the better.

This formula is neatly summarized….”

Cover illustration
for
The Judas Seat:
The Narrative:

The Secret:

Part I

“Little ‘Jack’ Horner was actually Thomas Horner, steward to the Abbot of Glastonbury during the reign of King Henry VIII…. Always keen to raise fresh funds, Henry had shown a interest in Glastonbury (and other abbeys). Hoping to appease the royal appetite, the nervous Abbot, Richard Whiting, allegedly sent Thomas Horner to the King with a special gift. This was a pie containing the title deeds to twelve manor houses in the hope that these would deflect the King from acquiring Glastonbury Abbey. On his way to London, the not so loyal courier Horner apparently stuck his thumb into the pie and extracted the deeds for Mells Manor, a plum piece of real estate. The attempted bribe failed and the dissolution of the monasteries (including Glastonbury) went ahead from 1536 to 1540. Richard Whiting was subsequently executed, but the Horner family kept the house, so the moral of this one is: treachery and greed pay off, but bribery is a bad idea.” –Chris Roberts, Heavy Words Lightly Thrown: The Reason Behind the Rhyme

Part II

“The Grail Table has thirteen seats, one of which is kept vacant in memory of Judas Iscariot who betrayed Christ.” —Symbolism of King Arthur’s Round Table

“In medieval romance, the grail was said to have been brought to Glastonbury in Britain by Joseph of Arimathea and his followers. In the time of Arthur, the quest for the Grail was the highest spiritual pursuit.” —The Camelot Project

Part III

The Log24 entry
for the date–
February 13, 2007–
of the above Bible scholar’s death,

and the three entries preceding it:

“And what the dead had no speech for, when living,
they can tell you, being dead:
the communication of the dead is tongued with fire
beyond the language of the living.”

— T. S. Eliot, Four Quartets

Saturday, July 29, 2006

Saturday July 29, 2006

Filed under: General,Geometry — Tags: , , , , — m759 @ 2:02 pm

Big Rock

Thanks to Ars Mathematicaa link to everything2.com:

“In mathematics, a big rock is a result which is vastly more powerful than is needed to solve the problem being considered. Often it has a difficult, technical proof whose methods are not related to those of the field in which it is applied. You say ‘I’m going to hit this problem with a big rock.’ Sard’s theorem is a good example of a big rock.”

Another example:

Properties of the Monster Group of R. L. Griess, Jr., may be investigated with the aid of the Miracle Octad Generator, or MOG, of R. T. Curtis.  See the MOG on the cover of a book by Griess about some of the 20 sporadic groups involved in the Monster:

The image “http://www.log24.com/theory/images/TwelveSG.jpg” cannot be displayed, because it contains errors.

The MOG, in turn, illustrates (via Abstract 79T-A37, Notices of the American Mathematical Society, February 1979) the fact that the group of automorphisms of the affine space of four dimensions over the two-element field is also the natural group of automorphisms of an arbitrary 4×4 array.

This affine group, of order 322,560, is also the natural group of automorphisms of a family of graphic designs similar to those on traditional American quilts.  (See the diamond theorem.)

This top-down approach to the diamond theorem may serve as an illustration of the “big rock” in mathematics.

For a somewhat simpler, bottom-up, approach to the theorem, see Theme and Variations.

For related literary material, see Mathematics and Narrative and The Diamond as Big as the Monster.

“The rock cannot be broken.
It is the truth.”

Wallace Stevens,
“Credences of Summer”

 

Monday, July 3, 2006

Monday July 3, 2006

Filed under: General — m759 @ 7:35 pm
Dance of the Numbers
continued

For Tom Stoppard on his birthday:

“For I remember when I began to read, and to take some pleasure in it, there was wont to lie in my mother’s parlour (I know not by what accident, for she herself never in her life read any book but of devotion), but there was wont to lie Spenser’s works; this I happened to fall upon, and was infinitely delighted with the stories of the knights, and giants, and monsters, and brave houses, which I found everywhere there (though my understanding had little to do with all this); and by degrees with the tinkling of the rhyme and dance of the numbers, so that I think I had read him all over before I was twelve years old, and was thus made a poet.”

Abraham Cowley, Essays, 1668

Friday, February 24, 2006

Friday February 24, 2006

Filed under: General — Tags: , — m759 @ 10:31 pm

Final Club

For the feast of St. Matthias
(traditional calendar)–
from Amazon.com, a quoted Library Journal review of Geoffrey Wolff‘s novel The Final Club:

“‘What other colleges call fraternities, Princeton calls Eating Clubs. The Final Club is a group of 12 Princeton seniors in 1958 who make their own, distinctive club….
Young adults may find this interesting, but older readers need not join The Final Club.’
— Previewed in Prepub Alert, Library Journal 5/1/90.  Paul E. Hutchison, Fisherman’s Paradise, Bellefonte, Pa. Copyright 1990 Reed Business Information, Inc.”

From The Archivist, by Martha Cooley:

“Although I’ve always been called Matt, my first name isn’t Matthew but Matthias: after the disciple who replaced Judas Iscariot.  By the time I was four, I knew a great deal about my namesake.  More than once my mother read to me, from the New Testament, the story of how Matthias had been chosen by lot to take the place of dreadful Judas.  Listening, I felt a large and frightened sympathy for my predecessor.  No doubt a dark aura hung over Judas’s chair– something like the pervasive, bitter odor of Pall Malls in my father’s corner of the sofa.
As far as my mother was concerned, the lot of Matthias was the unquestionable outcome of an activity that seemed capricious to me: a stone-toss by the disciples.  I tried with difficulty to picture a dozen men dressed in dust-colored robes and sandals, playing a child’s game.  One of the Twelve had to carry on, my mother explained, after Judas had perpetrated his evil.  The seat couldn’t be left empty.  Hence Matthias: the Lord’s servants had pitched their stones, and his had traveled the farthest.”

Friday, November 25, 2005

Friday November 25, 2005

Filed under: General,Geometry — m759 @ 9:00 pm

Holy Geometry

What was “the holy geometry book” (“das heilige Geometrie-Büchlein,” p. 10 in the Schilpp book below) that so impressed the young Albert Einstein?

“At the age of 12 I experienced a second wonder of a totally different nature: in a little book dealing with Euclidian plane geometry, which came into my hands at the beginning of a schoolyear.  Here were assertions, as for example the intersection of the three altitudes of a triangle in one point, which– though by no means evident– could nevertheless be proved with such certainty that any doubt appeared to be out of the question.  This lucidity and certainty made an indescribable impression upon me.”

(“Im Alter von 12 Jahren erlebte ich ein zweites Wunder ganz verschiedener Art: An einem Büchlein über Euklidische Geometrie der Ebene, das ich am Anfang eines Schuljahres in die Hand bekam.  Da waren Aussagen wie z.B. das Sich-Schneiden der drei Höhen eines Dreieckes in einem Punkt, die– obwohl an sich keineswegs evident– doch mit solcher Sicherheit bewiesen werden konnten, dass ein Zweifel ausgeschlossen zu sein schien.  Diese Klarheit und Sicherheit machte einen unbeschreiblichen Eindruck auf mich.”)

— Albert Einstein, Autobiographical Notes, pages 8 and 9 in Albert Einstein: Philosopher-Scientist, ed. by Paul A. Schilpp

From a website by Hans-Josef Küpper:

“Today it cannot be said with certainty which book is Einstein’s ‘holy geometry book.’  There are three different titles that come into question:

Theodor Spieker, 1890
Lehrbuch der ebenen Geometrie. Mit Übungsaufgaben für höhere Lehranstalten.

Heinrich Borchert Lübsen, 1870
Ausführliches Lehrbuch der ebenen und sphärischen Trigonometrie. Zum Selbstunterricht. Mit Rücksicht auf die Zwecke des praktischen Lebens.

Adolf Sickenberger, 1888
Leitfaden der elementaren Mathematik.

Young Albert Einstein owned all of these three books. The book by T. Spieker was given to him by Max Talmud (later: Talmey), a Jewish medic. The book by H. B. Lübsen was from the library of his uncle Jakob Einstein and the one of A. Sickenberger was from his parents.”

Küpper does not state clearly his source for the geometry-book information.

According to Banesh Hoffman and Helen Dukas in Albert Einstein, Creator and Rebel, the holy geometry book was Lehrbuch der Geometrie zum Gebrauch an höheren Lehranstalten, by Eduard Heis (Catholic astronomer and textbook writer) and Thomas Joseph Eschweiler.

An argument for Sickenberger from The Young Einstein: The Advent of Relativity (pdf), by Lewis Pyenson, published by Adam Hilger Ltd., 1985:

   Throughout Einstein’s five and a half years at the Luitpold Gymnasium, he was taught mathematics from one or another edition of the separately published parts of Sickenberger’s Textbook of Elementary Mathematics.  When it first appeared in 1888 the book constituted a major contribution to reform pedagogy.  Sickenberger based his book on twenty years of experience that in his view necessarily took precedence over ‘theoretical doubts and systematic scruples.’  At the same time Sickenberger made much use of the recent pedagogical literature, especially that published in the pages of Immanuel Carl Volkmar Hoffmann’s Zeitschrift für mathematischen und naturwissenschaftlichen Unterricht, the leading pedagogical mathematics journal of the day.  Following in the tradition of the reform movement, he sought to present everything in the simplest, most intuitive way possible.  He opposed introducing scientific rigour and higher approaches in an elementary text.  He emphasised that he would follow neither the synthesis of Euclidean geometry nor the so-called analytical-genetic approach.  He opted for a great deal of freedom in the form of presentation because he believed that a textbook was no more than a crutch for oral instruction.  The spoken word, in Sickenberger’s view, could infuse life into the dead forms of the printed text.  Too often, he insisted in the preface to his text, mathematics was seen and valued ‘as the pure science of reason.’  In reality, he continued, mathematics was also ‘an essential tool for daily work.’  In view of the practical dimension of mathematics Sickenberger sought most of all to present basic propositions clearly rather than to arrive at formal conciseness.   Numerous examples took the place of long, complicated, and boring generalities.  In addition to the usual rules of arithmetic Sickenberger introduced diophantine equations.  To solve three linear, homogeneous, first-order equations with three unknowns he specified determinants and determinant algebra.  Then he went on to quadratic equations and logarithms.  In the second part of his book, Sickenberger treated plane geometry.
     According to a biography of Einstein written by his step-son-in-law, Rudolf Kayser– one that the theoretical physicist described as ‘duly accurate’– when he was twelve years old Einstein fell into possession of the ‘small geometry book’ used in the Luitpold Gymnasium before this subject was formally presented to him.  Einstein corroborated Kayser’s passage in autobiographical notes of 1949, when he described how at the age of twelve ‘a little book dealing with Euclidean plane geometry’ came into his hands ‘at the beginning of a school year.’  The ‘lucidity and certainty’ of plane geometry according to this ‘holy geometry booklet’ made, Einstein wrote, ‘an indescribable impression on me.’  Einstein saw here what he found in other texts that he enjoyed: it was ‘not too particular’ in logical rigour but ‘made up for this by permitting the main thoughts to stand out clearly and synoptically.’  Upon working his way through this text, Einstein was then presented with one of the many editions of Theodor Spieker’s geometry by Max Talmey, a medical student at the University of Munich who dined with the Einsteins and who was young Einstein’s friend when Einstein was between the ages of ten and fifteen.  We can only infer from Einstein’s retrospective judgment that the first geometry book exerted an impact greater than that produced by Spieker’s treatment, by the popular science expositions of Aaron Bernstein and Ludwig Büchner also given to him by Talmey, or by the texts of Heinrich Borchert Lübsen from which Einstein had by the age of fourteen taught himself differential and integral calculus.
     Which text constituted the ‘holy geometry booklet’?  In his will Einstein gave ‘all his books’ to his long-time secretary Helen Dukas.  Present in this collection are three bearing the signature ‘J Einstein’: a logarithmic and trigonometric handbook, a textbook on analysis, and an introduction to infinitesimal calculus.  The signature is that of Einstein’s father’s brother Jakob, a business partner and member of Einstein’s household in Ulm and Munich.  He presented the books to his nephew Albert.  A fourth book in Miss Dukas’s collection, which does not bear Jakob Einstein’s name, is the second part of a textbook on geometry, a work of astronomer Eduard Heis’s which was rewritten after his death by the Cologne schoolteacher Thomas Joseph Eschweiler.  Without offering reasons for his choice Banesh Hoffmann has recently identified Heis and Eschweiler’s text as the geometry book that made such an impression on Einstein.  Yet, assuming that Kayser’s unambiguous reporting is correct, it is far more likely that the geometrical part of Sickenberger’s text was what Einstein referred to in his autobiographical notes.  Sickenberger’s exposition was published seven years after that of Heis and Eschweiler, and unlike the latter it appeared with a Munich press.  Because it was used in the Luitpold Gymnasium, copies would have been readily available to Uncle Jakob or to whoever first acquainted Einstein with Euclidean geometry.”

What might be the modern version of a “holy geometry book”?

I suggest the following,
first published in 1940:

The image “http://www.log24.com/log/pix05B/BasicGeometry.gif” cannot be displayed, because it contains errors.

Click on picture for details.

Thursday, June 30, 2005

Thursday June 30, 2005

Filed under: General — m759 @ 2:56 am
On This Date:

In 1936, Gone with the Wind
was published.

In 1971, Monica Potter
was born.

The image “http://www.log24.com/log/pix05A/050630-Potter2A.jpg” cannot be displayed, because it contains errors.

Sources:
Amazon.com and
Tall Tall Trees

Related material:

There is one story and one story only
That will prove worth your telling,
Whether as learned bard or gifted child;
To it all lines or lesser gauds belong
That startle with their shining
Such common stories as they stray into.

Is it of trees you tell, their months and virtues,
Or strange beasts that beset you,
Of birds that croak at you the Triple will?
Or of the Zodiac and how slow it turns
Below the Boreal Crown,
Prison to all true kings that ever reigned?

Water to water, ark again to ark,
From woman back to woman:
So each new victim treads unfalteringly
The never altered circuit of his fate,
Bringing twelve peers as witness
Both to his starry rise and starry fall.

Or is it of the Virgin’s silver beauty,
All fish below the thighs?
She in her left hand bears a leafy quince;
When, with her right hand she crooks a finger, smiling,
How may the King hold back?
Royally then he barters life for love.

Or of the undying snake from chaos hatched,
Whose coils contain the ocean,
Into whose chops with naked sword he springs,
Then in black water, tangled by the reeds,
Battles three days and nights,
To be spewed up beside her scalloped shore?

Much snow is falling, winds roar hollowly,
The owl hoots from the elder,
Fear in your heart cries to the loving-cup:
Sorrow to sorrow as the sparks fly upward.
The log groans and confesses:
There is one story and one story only.

Dwell on her graciousness,
dwell on her smiling,
Do not forget what flowers
The great boar trampled down in ivy time.
Her brow was creamy as the crested wave,
Her sea-blue eyes were wild
But nothing promised that is not performed.

— Robert Graves,
To Juan at the Winter Solstice

Saturday, March 26, 2005

Saturday March 26, 2005

Filed under: General — m759 @ 2:45 am
Harrowing

Definition 1          Definition 2

The image “http://www.log24.com/log/pix05/050326-Garden.jpg” cannot be displayed, because it contains errors.

Click on picture for details.

Added at 1:11 PM Saturday:

From a discussion of gnostic heresies in today’s Tennessean.com:

Gnostic way a backlash against
lackluster sermons, worship

”Jesus is not a teacher in the conventional sense, according to the Gospel of Thomas, because people must come to knowledge themselves,” writes Marvin Meyer in The Gnostic Gospels of Jesus, the latest book to collect these hidden gospels and secret sayings of Jesus.

”Jesus was more like a bartender, in that he serves the intoxicating drink of knowledge, but people must drink for themselves.”

 
“It’s quarter to three…”

See also
The Twelve Steps of Christmas
from Sinatra’s birthday last year.

Sunday, December 12, 2004

Sunday December 12, 2004

Filed under: General — m759 @ 2:45 am

So Set ‘Em Up, Joe

The image “http://www.log24.com/log/pix04B/041212-Joe.jpg” cannot be displayed, because it contains errors.

For Sinatra’s birthday:

One For His Baby,
One More for the Road, and
The Twelve Steps of Christmas.

Tuesday, March 30, 2004

Tuesday March 30, 2004

Filed under: General — Tags: — m759 @ 3:11 pm

The Horn at Midnight

(See the two previous entries.)

Hamlet, Act 1, Scene 4:

HORATIO

I think it lacks of twelve.

HAMLET

No, it is struck.

HORATIO

Indeed? I heard it not:
then it draws near the season
Wherein the spirit held
his wont to walk.

A flourish of trumpets,
and ordnance shot off, within

What does this mean, my lord?

……………………………………..

HORATIO

Look, my lord, it comes!

Enter Ghost

HAMLET

Angels and ministers of grace
defend us!
___________________________

In memory of
Peter Ustinov and Alistair Cooke

 

From today’s New York Times:

Mr. Cooke’s daughter contacted Mr. Cooke’s biographer to inform him of her father’s death at midnight [on the night of March 29-March 30, 2004].

ANGEL 

On Peter Ustinov, also from the New York Times:

“He received [an Emmy for his role] as Socrates in ‘Barefoot in Athens’ in 1966.”

The Times on “Barefoot in Athens”:

“Socrates falls from grace, and becomes the lone voice of democracy amongst the corruption of his fellow Athenians in this television adaptation of Maxwell Anderson’s play.”

MINISTER OF GRACE

On Alistair Cooke in today’s Times:

“At Jesus College, Cambridge, Mr. Cooke edited a literary magazine, put on plays and acted in them as a co-founder of the Cambridge Mummers, and pursued a rigorous social life….

Quiller-Couch taught him about writing.”

GRACE

For more on Jesus College, Quiller-Couch, Socrates, and grace, see

The Circle is Unbroken.

 

Monday, January 5, 2004

Monday January 5, 2004

Filed under: General — m759 @ 12:25 am

Whirligig

Thus the whirligig of time
     brings in his revenges.”
Twelfth Night. Act v. Sc. 1.

Twelfth night is the night of January 5-6.

Tonight is twelfth night in Australia;
12:25 AM Jan. 5 in New York City is
4:25 PM Jan. 5 in Melbourne.

Thursday, November 6, 2003

Thursday November 6, 2003

Filed under: General,Geometry — Tags: — m759 @ 2:00 pm

Legacy Codes:

The Most Violent Poem

Lore of the Manhattan Project:

From The Trinity Site

“I imagined Oppenheimer saying aloud,
‘Batter my heart, three person’d God,”
unexpectedly recalling John Donne’s ‘Holy Sonnet [14],’
and then he knew, ‘ “Trinity” will do.’
Memory has its reasons.

‘Batter my heart’ — I remember these words.
I first heard them on a fall day at Duke University in 1963.
Inside a classroom twelve of us were
seated around a long seminar table
listening to Reynolds Price recite this holy sonnet….

I remember Reynolds saying, slowly, carefully,
‘This is the most violent poem in the English language.’ ”

Related Entertainment

Today’s birthday:
director Mike Nichols

From a dead Righteous Brother:

“If you believe in forever
Then life is just a one-night stand.”

Bobby Hatfield, found dead
in his hotel room at
7 PM EST Wednesday, Nov. 5, 2003,
before a concert scheduled at
Western Michigan University, Kalamazoo
.

From a review of The Matrix Revolutions:

“You’d have to be totally blind at the end
to miss the Christian symbolism….
Trinity gets a glimpse of heaven…. And in the end…
God Put A Rainbow In The Clouds.”

Moral of the
Entertainment:

According to Chu Hsi [Zhu Xi],

“Li” is
“the principle or coherence
or order or pattern
underlying the cosmos.”

— Smith, Bol, Adler, and Wyatt,
Sung Dynasty Uses of the I Ching,
Princeton University Press, 1990

Related Non-Entertainment

Symmetry and a Trinity
(for the dotting-the-eye symbol above)

Introduction to Harmonic Analysis
(for musical and historical background)

Mathematical Proofs
(for the spirit of Western Michigan
University, Kalamazoo)

Moral of the
Non-Entertainment:

“Many kinds of entity
become easier to handle
by decomposing them into
components belonging to spaces
invariant under specified symmetries.”

The importance of
mathematical conceptualisation

by David Corfield,
Department of History and
Philosophy of Science,
University of Cambridge

See, too,
Symmetry of Walsh Functions and
Geometry of the I Ching.

Sunday, January 5, 2003

Sunday January 5, 2003

Filed under: General,Geometry — Tags: — m759 @ 12:12 am

Whirligig

Thus the whirligig of time brings in his revenges.
Twelfth Night. Act v. Sc. 1.

Twelfth night is the night of January 5-6.

Tonight is twelfth night in Australia; 4 AM Jan. 5
in New York City is 8 PM Jan. 5 in Sydney.


An October 6 entry:

Twenty-first Century Fox

On Sunday, October 6, 1889, the Moulin Rouge music hall opened in Paris, an event that to some extent foreshadowed the opening of Fox Studios Australia in Sydney on November 7, 1999.  The Fox ceremonies included, notably, Kylie Minogue singing "Diamonds are a Girl's Best Friend." 

 

Red Windmill

Kylie Minogue

For the mathematical properties of the red windmill (moulin rouge) figure at left, see Diamond Theory.

An October 5 entry:

The Message from Vega

"Mercilessly tasteful"
 — Andrew Mueller,
review of Suzanne Vega's
"Songs in Red and Gray"


In accordance with the twelfth-night
"whirligig of time" theme,
here are two enigmatic quilt blocks:

Devil's Claws, or
Hourglass Var. 3

Yankee Puzzle, or
Hourglass Var. 5

 
One can approach these symbols in either a literary or a mathematical fashion. For a purely mathematical discussion of the differences in the two symbols' structure, see Diamond Theory. Those who prefer literary discussions may make up their own stories.
 
"Plato is wary of all forms of rapture other than reason's. He is most deeply leery of, because himself so susceptible to, the literary imagination. He speaks of it as a kind of holy madness or intoxication and goes on to link it to Eros, another derangement that joins us, but very dangerously, with the gods."
 
Rebecca Goldstein in The New York Times,
    December 16, 2002 
 
"It's all in Plato, all in Plato; bless me,
what do they teach them at these schools?"
 
— C. S. Lewis in the Narnia Chronicles 

Sunday, December 8, 2002

Sunday December 8, 2002

Filed under: General — Tags: — m759 @ 12:48 pm

Lucero

From a Spanish-English dictionary:

lucero m. morning or evening star:
any bright star….
2. hole in a window panel for the
admission of light….

Sal a tu ventana,
que mi canto es para ti….
Lucero, lucero, lucero, lucero

— "Ya la ronda llega aquí"

Cross Window — Ex Cathedra

See In Mexico City, a Quiet Revelation,
in the New York Times of December 5.
The photo, from a different website, is
   of a room by the architect Luis Barragán.
 

From the Nobel Prize lecture of Octavio Paz
on December 8, 1990 — twelve years ago today:

"Like every child I built emotional bridges in the imagination to link me to the world and to other people. I lived in a town on the outskirts of Mexico City, in an old dilapidated house that had a jungle-like garden and a great room full of books. First games and first lessons. The garden soon became the centre of my world; the library, an enchanted cave. I used to read and play with my cousins and schoolmates. There was a fig tree, temple of vegetation, four pine trees, three ash trees, a nightshade, a pomegranate tree, wild grass and prickly plants that produced purple grazes. Adobe walls. Time was elastic; space was a spinning wheel. All time, past or future, real or imaginary, was pure presence. Space transformed itself ceaselessly. The beyond was here, all was here: a valley, a mountain, a distant country, the neighbours' patio. Books with pictures, especially history books, eagerly leafed through, supplied images of deserts and jungles, palaces and hovels, warriors and princesses, beggars and kings. We were shipwrecked with Sindbad and with Robinson, we fought with d'Artagnan, we took Valencia with the Cid. How I would have liked to stay forever on the Isle of Calypso! In summer the green branches of the fig tree would sway like the sails of a caravel or a pirate ship. High up on the mast, swept by the wind, I could make out islands and continents, lands that vanished as soon as they became tangible. The world was limitless yet it was always within reach; time was a pliable substance that weaved an unbroken present."

Today's site music is courtesy of the Sinatra MIDI Files

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