"… I miss the black-and-whiteness of the 20th century."
Vanity Fair editor Graydon Carter in The New York Times today
A note for Carter —
"… I miss the black-and-whiteness of the 20th century."
Vanity Fair editor Graydon Carter in The New York Times today
A note for Carter —
An obituary today recounts the life of a German theologian
from Hamburg who reportedly died on Monday, June 3 —
From this journal on that date . . . Related graphic art —
This is from a Log24 search, "Windmill + Diamond."
For related remarks from the university where the theologian taught
in later life, see Deutsche Ordnung (Log 24, July 1, 2018).
Excerpt from a Log24 post of May 2, 2003 Though truth may be very hard to find in the pages of most books, the page numbers are generally reliable. This leads to the following Zen meditations. From a review of the film “The Terminator”:
From a journal note on religion, science, and the meaning of life written in 1998 on the day after Sinatra died and the Pennsylvania lottery number came up “256”:
From Michael Crichton’s Rising Sun John Connor (aka J. C.) offers the following metaphysical comment on the page number that appears above his words (256):
Connor is correct. The number 256 does indeed seem to be, and indeed it seemed to be again only yesterday evening, when the Pennsylvania lottery again made a metaphysical statement. Our Zen meditation on the trustworthiness of page numbers concludes with another passage from Rising Sun, this time on page 373:
Here J. C. offers another trenchant comment on his current page number. The metaphysical significance of 373, “the eternal in the temporal,” is also discussed in the Buddhist classic A Flag for Sunrise, by Robert Stone (Knopf hardcover, 1981) … on, of course, page 373. |
Related graphic art —
This is from a Log24 search, "Windmill + Diamond."
Some related mathematical windmills —
For the eight-limbed star at the top of the quaternion array She drew from her handbag a pale grey gleaming implement that looked by quick turns to me like a knife, a gun, a slim sceptre, and a delicate branding iron—especially when its tip sprouted an eight-limbed star of silver wire. “The test?” I faltered, staring at the thing. “Yes, to determine whether you can live in the fourth dimension or only die in it.” — Fritz Leiber, short story, 1959 |
See as well . . .
Bergman reportedly died today at 93.
who reportedly died early today in Paris, a tribute from
those who wrote the English lyrics for "Windmills of Your Mind" —
The above title should be sung to the following tune —
"Right through hell
there is a path…."
— Malcolm Lowry,
Under the Volcano
"Like the circles that you find
in the windmills of your mind"
See also, in this journal, "An Awfully Big Adventure."
Ben Brantley in tonight's online review of a show that
reportedly opened off-Broadway on Dec. 10, 2015 —
" 'Mattress' has its charms, but they do wear thin. "
See also The New York Times on Martin Gardner Nov. 30:
A companion image from this journal
on the "Mattress" opening date —
Midrash:
Vonnegut Asterisk
Peter Schjeldahl in the current (Dec. 14) New Yorker :
The phrase “outsider art” was coined in 1972 by a
British art historian, Roger Cardinal, to translate
the sense of “art brut ,” which Dubuffet had
considered rendering as art “raw,” “uncouth,” “crude,”
or “in the rough.” But the term misses the full thrust
of Dubuffet’s elevation of “people uncontaminated
by artistic culture,” as he called them. He aspired not
to make outsiders respectable but to destroy the
complacency of insiders. He disqualified even tribal
and folk artists, and spirited amateurs like Henri
Rousseau, for being captive to one tradition or another.
Art brut must be sui generis, from the hands and minds
of “unique, hypersensitive men, maniacs, visionaries,
builders of strange myths.”
The literary art of Fritz Leiber and Stephen King seems to
fit this definition.
Somewhat less brut — the literary art of Plato.
A non-literary illustration:
Time as "a moving
image of eternity.”
— Plato
The two symbols on the monolith
may, if one likes, be interpreted
as standing for Damnation Morning
and for the Windmill of Time.
* "Award-winning fashion icon."
— Harvard Graduate School of Design
From The Snow Queen , by Hans Christian Andersen —
SEVENTH STORY. What Took Place in the Palace of the Snow Queen, and What Happened Afterward The walls of the palace were of driving snow, and the windows and doors of cutting winds. There were more than a hundred halls there, according as the snow was driven by the winds. The largest was many miles in extent; all were lighted up by the powerful Aurora Borealis, and all were so large, so empty, so icy cold, and so resplendent! Mirth never reigned there; there was never even a little bear-ball, with the storm for music, while the polar bears went on their hindlegs and showed off their steps. Never a little tea-party of white young lady foxes; vast, cold, and empty were the halls of the Snow Queen. The northern-lights shone with such precision that one could tell exactly when they were at their highest or lowest degree of brightness. In the middle of the empty, endless hall of snow, was a frozen lake; it was cracked in a thousand pieces, but each piece was so like the other, that it seemed the work of a cunning artificer. In the middle of this lake sat the Snow Queen when she was at home; and then she said she was sitting in the Mirror of Understanding, and that this was the only one and the best thing in the world. Little Kay was quite blue, yes nearly black with cold; but he did not observe it, for she had kissed away all feeling of cold from his body, and his heart was a lump of ice. He was dragging along some pointed flat pieces of ice, which he laid together in all possible ways, for he wanted to make something with them; just as we have little flat pieces of wood to make geometrical figures with, called the Chinese Puzzle. Kay made all sorts of figures, the most complicated, for it was an ice-puzzle for the understanding. In his eyes the figures were extraordinarily beautiful, and of the utmost importance; for the bit of glass which was in his eye caused this. He found whole figures which represented a written word; but he never could manage to represent just the word he wanted–that word was "eternity"; and the Snow Queen had said, "If you can discover that figure, you shall be your own master, and I will make you a present of the whole world and a pair of new skates." But he could not find it out. "I am going now to warm lands," said the Snow Queen. "I must have a look down into the black caldrons." It was the volcanoes Vesuvius and Etna that she meant. "I will just give them a coating of white, for that is as it ought to be; besides, it is good for the oranges and the grapes." And then away she flew, and Kay sat quite alone in the empty halls of ice that were miles long, and looked at the blocks of ice, and thought and thought till his skull was almost cracked. There he sat quite benumbed and motionless; one would have imagined he was frozen to death. …. |
Related material:
This journal on March 25, 2013:
Chess
by Jorge Luis Borges, translated by I In their serious corner…. II Weak king, biased bishop ….
… they do not know Ajedrez I
En su grave rincón, los jugadores
Adentro irradian mágicos rigores
Cuando los jugadores se hayan ido,
En el Oriente se encendió esta guerra II
Tenue rey, sesgo alfil, encarnizada
No saben que la mano señalada
También el jugador es prisionero
Dios mueve al jugador, y éste, la pieza. |
As for "adamantine rigor," see the final link,
to "Windmill and Diamond," in the post on
the day of Bobby Fischer's death.
“When life itself seems lunatic,
who knows where madness lies?”
— Man of La Mancha
Perhaps the late Sidney Lumet?
The setting for the Sidney Lumet film "Deathtrap" (1982)
For Josefine Lyche, by fellow artist Nuno Borges:
Related material:
Recent remarks by Lyche and
a recurring image from this journal.
Last midnight's post quoted poet John Hollander
on Cervantes—
"… the Don’s view of the world is correct at midnight,
and Sancho’s at noon."
The post concluded with a figure that might, if
rotated slightly, be regarded as a sort of Star of
David or Solomon's Seal. The figure's six vertices
may be viewed as an illustration of Pascal's
"mystic hexagram."
Pacal's hexagram is usually described
as a hexagon inscribed in a conic
(such as a circle). Clearly the hexagon
above may be so inscribed.
The figure suggests that last midnight's Don be
played by the nineteenth-century mathematician
James Joseph Sylvester. His 1854 remarks on
the nature of geometry describe a different approach
to the Pascal hexagram—
"… the celebrated theorem of Pascal known under the name of the Mystic Hexagram, which is, that if you take two straight lines in a plane, and draw at random other straight lines traversing in a zigzag fashion between them, from A in the first to B in the second, from B in the second to C in the first, from C in the first to D in the second, from D in the second to E in the first, from E in the first to F in the second and finally from F in the second back again to A the starting point in the first, so as to obtain ABCDEF a twisted hexagon, or sort of cat's-cradle figure and if you arrange the six lines so drawn symmetrically in three couples: viz. the 1st and 4th in one couple, the 2nd and 5th in a second couple, the 3rd and 6th in a third couple; then (no matter how the points ACE have been selected upon one of the given lines, and BDF upon the other) the three points through which these three couples of lines respectively pass, or to which they converge (as the case may be) will lie all in one and the same straight line." |
For a Sancho view of Sylvester's "cat's cradle," see some twentieth-century
remarks on "the most important configuration of all geometry"—
"Now look, your grace," said Sancho,
"what you see over there aren't giants,
but windmills, and what seems to be arms
are just their sails, that go around in the wind
and turn the millstone."
"Obviously," replied Don Quijote,
"you don't know much about adventures.”
— Blake
“… the moment is not
properly an atom of time
but an atom of eternity.
It is the first reflection
of eternity in time, its first
attempt, as it were, at
stopping time….”
— Kierkegaard
Symmetry Axes
of the Square:
From the cover of the |
A Monolith
for Kierkegaard: |
Todo lo sé por el lucero puro
que brilla en la diadema de la Muerte.
— Rubén Darío
Related material:
The deaths of
Ernest Hemingway
on the morning of
Sunday, July 2, 1961,
and of Alexis Arguello
on the morning of
Wednesday, July 1, 2009.
See also philosophy professor
Clancy Martin in the
London Review of Books
(issue dated July 9, 2009)
on AA members as losers—
“the ‘last men,’ the nihilists,
the hopeless ones.”
At right below, an image from 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.”
For the mathematical properties of the red windmill (moulin rouge) figure at left, see Diamond Theory. |
First you will need to
prepare your sacred space….
Calling the Corners (or Quarters)
is something you will always do.”
“Time: the moving
image of eternity.”
— Plato
Happy birthday,
Reba McEntire
— Today’s New York Times
review of the Very Rev.
Francis Bowes Sayre Jr.
Related material:
Log24 entries from
the anniversary this
year of Sayre’s birth
and from the date
of his death:
A link from the former
suggests the following
graphic meditation–
(Click on figure for details.)
A link from the latter
suggests another
graphic meditation–
(Click on figure for details.)
Although less specifically
American than the late
Reverend, who was
born in the White House,
hence perhaps irrelevant
to his political views,
these figures are not
without relevance to
his religion, which is
more about metanoia
than about paranoia.
Note the number, 701,
on the colonel’s collar.
Adapted from Log24,
February 19-22, 2008:
See 2/22/08,
4/19/08,
and 5/22/08.
Die Liebe nahm kein Ende mehr.
Undertakings bring misfortune.
Nothing that would further.
“Brian O’Doherty, an Irish-born artist,
before the [Tuesday, May 20] wake
of his alter ego* ‘Patrick Ireland’
on the grounds of the
Irish Museum of Modern Art.”
— New York Times, May 22, 2008
THE IMAGE
Thus the superior man
understands the transitory
in the light of
the eternity of the end.
Another version of
the image:
See 2/22/08
and 4/19/08.
Michael Kimmelman in today’s New York Times—
“An essay from the ’70s by Mr. O’Doherty, ‘Inside the White Cube,’ became famous in art circles for describing how modern art interacted with the gallery spaces in which it was shown.”
Brian O’Doherty, “Inside the White Cube,” 1976 Artforum essays on the gallery space and 20th-century art:
“The history of modernism is intimately framed by that space. Or rather the history of modern art can be correlated with changes in that space and in the way we see it. We have now reached a point where we see not the art but the space first…. An image comes to mind of a white, ideal space that, more than any single picture, may be the archetypal image of 20th-century art.”
“Nothing that would further.”
— Hexagram 54
…. Now thou art an 0 |
“…. in the last mystery of all the single figure of what is called the World goes joyously dancing in a state beyond moon and sun, and the number of the Trumps is done. Save only for that which has no number and is called the Fool, because mankind finds it folly till it is known. It is sovereign or it is nothing, and if it is nothing then man was born dead.”
— The Greater Trumps,
by Charles Williams, Ch. 14
From
“On the Holy Trinity,”
the entry in the 3:20 PM
French footprint:
“…while the scientist sees
everything that happens
in one point of space,
the poet feels
everything that happens
in one point of time…
all forming an
instantaneous and transparent
organism of events….”
From
“Angel in the Details,”
the entry in the 3:59 PM
French footprint:
“I dwell in Possibility –
A fairer House than Prose”
These, along with this afternoon’s
earlier entry, suggest a review
of a third Log24 item, Windmills,
with an actress from France as…
Changing Woman: “Kaleidoscope turning…
Shifting pattern |
“When life itself seems lunatic,
who knows where madness lies?”
— For the source, see
Joyce’s Nightmare Continues.
April 19, 2008–
“On this date….
Ten years ago….
Mexican poet-philosopher
Octavio Paz died at age 84.”
“Mexico is a solar country–
but it is also a black country,
a dark country. This duality
of Mexico has preoccupied
me since I was a child.”
— Octavio Paz, as quoted
by Homero Aridjis
Cardenal Ernesto Corripio Ahumada, falleció esta mañana a las 05:30 a.m., en su domicilio….
.- El Arzobispo Emérito de México,— Bernard Holland in
The New York Times
Monday, May 20, 1996
In 1564,
artist Michelangelo
died in Rome.
… Todo lo sé por el lucero puro
que brilla en la diadema de la Muerte
— Rubén Darío
Related material:
Yesterday’s entry
and Anthony Lane
in this week’s
New Yorker:
"Mazur introduced the topic of prime numbers with a story from Don Quixote in which Quixote asked a poet to write a poem with 17 lines. Because 17 is prime, the poet couldn't find a length for the poem's stanzas and was thus stymied."
— Undated American Mathematical Society news item about a Nov. 1, 2007, event
Desconvencida,
Jueves, Enero 17, 2008
Horses of a Dream
(Log24, Sept. 12, 2003)
Knight Moves
(Log24 yesterday–
anniversary of the
Jan. 16 publication
of Don Quixote)
Windmill and Diamond
(St. Cecilia's Day 2006)
The next novel starring
Robert Langdon, Harvard author
of "the renowned collegiate
texbook Religious Iconology"
is said to be titled
The Solomon Key.
Related material–
The Harvard Crimson online:
Fishburne To Receive Honors at Cultural Rhythms Acclaimed actor and humanitarian chosen as the Harvard Foundation's Artist of the Year By DORIS A. HERNANDEZ Friday, February 16, 2007 9:37 PM Tony and Emmy Award-winning actor Laurence Fishburne will take the stage later this month as the 2007 Artist of the Year during the 22nd annual Cultural Rhythms festival, the Harvard Foundation for Intercultural and Race Relations announced Friday afternoon. |
Fishburne
as Morpheus
"Metaphor for Morphean morphosis,
Dreams that wake, transform, and die,
Calm and lucid this psychosis,
Joyce's nightmare in Escher's eye….
Dabo claves regni caelorum. By silent shore
Ripples spread from castle rock. The metaphor
For metamorphosis no keys unlock."
— Steven H. Cullinane,
November 7, 1986,
"Endgame"
More on metamorphosis–
Cat's Yarn
(Log24, June 20, 2006):
"The end is where
we start from."
plus.maths.org
and
Garfield 2003-06-24
See also:
Zen Koan
and
Blue Dream.
Update of 5:24 PM
Feb. 18, 2007:
A Xanga footprint from France
this afternoon (3:47 PM EST)
indicates that someone there
may be interested in the above
poem's "claves regni caelorum."
The visitor from France viewed
"Windmills" (Nov. 15, 2005).
Material related to that entry
may be found in various places
at Log24.com. See particularly
"Shine On, Hermann Weyl," and
entries for Women's History
Month last year that include
"Christ at the Lapin Agile."
Windmill and Diamond
From “Today in History,”
by The Associated Press:
On this date:
In 1965, the musical
“Man of La Mancha”
opened in New York.In 1975, Juan Carlos
was proclaimed
King of Spain.Today’s birthdays:
… Movie director
Arthur Hiller is 83….
Hiller directed the 1972 film
of “Man of La Mancha.”
A quotation from that film:
“When life itself seems lunatic,
who knows where madness lies?”
One can approach these symbols in either a mathematical or a literary fashion. For a mathematical discussion of the symbols’ structure, see Theme and Variations. Those who prefer literary discussions may make up their own stories.
"The best of the books are the ones… where the allegory is at a minimum and the images just flow."
"'Everything began with images,' Lewis wrote…."
"We go to the writing of the marvellous, and to children’s books, for stories, certainly, and for the epic possibilities of good and evil in confrontation, not yet so mixed as they are in life. But we go, above all, for imagery: it is the force of imagery that carries us forward. We have a longing for inexplicable sublime imagery…."
"The religious believer finds consolation, and relief, too, in the world of magic exactly because it is at odds with the necessarily straitened and punitive morality of organized worship, even if the believer is, like Lewis, reluctant to admit it. The irrational images– the street lamp in the snow and the silver chair and the speaking horse– are as much an escape for the Christian imagination as for the rationalist, and we sense a deeper joy in Lewis’s prose as it escapes from the demands of Christian belief into the darker realm of magic. As for faith, well, a handful of images is as good as an armful of arguments, as the old apostles always knew."
Click on pictures for details.
See also Windmills and
Verbum sat sapienti?
as well as
at Calvin College
on Simone Weil,
Charles Williams,
Dante, and
"the way of images."
Upper part of above picture–
From today’s New York Times,
Seeing Mountains in
Starry Clouds of Creation.
Lower part of above picture–
Pilgrimage to Spider Rock:
Vine Deloria Jr.,
Evolution, Creationism,
and Other Modern Myths:
“The continuing struggle between evolutionists and creationists, a hot political topic for the past four decades, took a new turn in the summer of 1999 when the Kansas Board of Education voted to omit the mention of evolution in its newly approved curriculum, setting off outraged cries of foul by the scientific establishment. Don Quixotes on both sides mounted their chargers and went searching for windmills.”
A figure from
last night’s entry,
Spider Woman:
From Sunday, the day
of Vine Deloria’s death,
a picture that might be
called Changing Woman:
Kaleidoscope turning…
Shifting pattern
within unalterable structure…
— Roger Zelazny, Eye of Cat
in Time and Eternity
(Log 24, Feb. 1, 2003)
and
a review
of Fritz Leiber’s
The Big Time,
Moulins Rouges
Today is the birthday of composer Michel Legrand (“The Windmills of Your Mind”) and of philologist Wilhelm Grimm (Grimms’ Fairy Tales).
|
|
|
See the following past entries:
October 6, 2002: “Twenty-first Century Fox”
November 7, 2002: “Endgame”
November 8, 2002: “Religious Symbolism at Princeton”
January 5, 2003: “Whirligig”
January 5, 2003: “Culinary Theology”
January 6, 2003: “Dead Poet in the City of Angels”
January 31, 2003: “Irish Fourplay”
February 1, 2003; “Time and Eternity”
February 5, 2003: “Release Date”
Time and Eternity
Kali figure
|
|
Windmill
|
Yesterday's meditation on St. Bridget suggests the above graphic summary of two rather important philosophical concepts. Representing Kali, or Time, is Judy Davis in "The New Age." Representing Shiva, or Eternity, is sword-saint Michioka Yoshinori-sensei. The relationship between these two concepts is summarized very neatly by Heinrich Zimmer in his section on the Kalika Purana in The King and the Corpse.
The relationship is also represented graphically by the "whirl" of Time and the "diamond" of Eternity.
On this day in 1944, Mondrian died. Echoes of the graphic whirl and diamond may be found (as shown above) in his "Red Mill" and "Victory Boogie-Woogie."
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 |
Yankee Puzzle, or |
Religious Symbolism
at Princeton
In memory of Steve McQueen (“The Great Escape” and “The Thomas Crown Affair”… see preceding entry) and of Rudolf Augstein (publisher of Der Spiegel), both of whom died on November 7 (in 1980 and 2002, respectively), in memory of the following residents of
The Princeton Cemetery
of the Nassau Presbyterian Church
Established 1757
SYLVIA BEACH (1887-1962), whose father was pastor of the First Presbyterian Church, founded Shakespeare & Company, a Paris bookshop which became a focus for struggling expatriate writers. In 1922 she published James Joyce’s Ulysses when others considered it obscene, and she defiantly closed her shop in 1941 in protest against the Nazi occupation. KURT GÖDEL (1906-1978), a world-class mathematician famous for a vast array of major contributions to logic, was a longtime professor at the Institute for Advanced Study, founded in 1930. He was a corecipient of the Einstein Award in 1951. JOHN (HENRY) O’HARA (1905-1970) was a voluminous and much-honored writer. His novels, Appointment in Samarra (1934) and Ten North Frederick (1955), and his collection of short stories, Pal Joey (1940), are among his best-known works. |
and of the long and powerful association of Princeton University with the Presbyterian Church, as well as the theological perspective of Carl Jung in Man and His Symbols, I offer the following “windmill,” taken from the Presbyterian Creedal Standards website, as a memorial:
The background music Les Moulins de Mon Coeur, selected yesterday morning in memory of Steve McQueen, continues to be appropriate.
“A is for Anna.”
— James Joyce
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.
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