In memory of an art dealer who
reportedly died on Sunday, May 7—
Decorations for a Cartoon Graveyard
Wednesday, May 10, 2017
In the Park with Yin and Yang
Comments Off on In the Park with Yin and Yang
Monday, August 16, 2021
In a Nutshell: The Core of Everything
“The great Confucius guided China spiritually for over 2,000 years.
The main doctrine is ' 仁 ' pronounced 'ren', meaning two people,
i.e., human relationship. Modern science has been highly competitive.
I think an injection of the human element will make our subject more
healthy and enjoyable."
— Geometer Shiing-Shen Chern in a Wikipedia article
See the "ren" character in Wiktionary. See as well . . .
"The development of ren ( 仁 ) in early Chinese philosophy,"
By Robin Elliott Curtis, U. of B.C. Master's thesis, 2016 —
Thus, we can conclude that several different forms of
the character ren , were in existence during the
Warring States period. This shows that etymological analyses
focusing exclusively on the combination of 人 and 二 are inadequate.
It should also serve as a warning against “character fetishization,”
or giving “exaggerated status to Chinese characters in the interpretation
of Chinese language, thought, and culture.” 46
46 Edward McDonald 2009, p. 1194.
McDonald, Edward. 2009. “Getting over the Walls of
Discourse: 'Character Fetishization' in Chinese Studies.”
The Journal of Asian Studies 68 (4): 1189 – 1213.
Wikipedia article on Ren in Confucianism:
|
人 + 二 = 仁 (Rén) man on left two on right, the relationship between two human beings, means co-humanity. Originally the character was just written as丨二 [citation needed] representing yin yang, the vertical line is yang (bright, traditionally masculine, heaven, odd numbers), the two horizontal lines are yin (dark, traditionally feminine, earth, even numbers), 仁 is the core of everything. |
"The core of everything" . . . Citation needed ?
Comments Off on In a Nutshell: The Core of Everything
Monday, April 10, 2017
Bullshit Studies Continued*
Comments Off on Bullshit Studies Continued*
Friday, October 20, 2023
Scattering Ashes, Gathering Dust
Related art —
|
From Savage Logic— Sunday, March 15, 2009 5:24 PM The Origin of Change
A note on the figure
"Two things of opposite natures seem to depend
— Wallace Stevens, |
Comments Off on Scattering Ashes, Gathering Dust
Saturday, October 7, 2023
Labyrinth Clue
The cocktail remarks in yesterday's New York Times
suggest a song lyric . . .
"There's plenty of dives to be something you're not . . . ."
— Roseanne Cash, Seven-Year Ache.
From this date, October 7th, seven years ago —
|
The Paz quote below is from the last chapter
Update of Saturday, October 8, seven years ago: I do not recommend taking very seriously the work of Latin American leftists (or American academics) who like to use the word "dialectic." A related phrase does, however, have a certain mystic or poetic charm, as pointed out by Wikipedia —
"Unity of opposites is the central category of dialectics, |
A graphic companion to the "unity of opposites" notion —
|
From Savage Logic— Sunday, March 15, 2009 5:24 PM The Origin of Change
A note on the figure
"Two things of opposite natures seem to depend
— Wallace Stevens, |
Comments Off on Labyrinth Clue
Thursday, June 22, 2023
Square Inch Lore
See a search in this journal
for the following image —
.
Comments Off on Square Inch Lore
Tuesday, March 7, 2023
Tuesday, September 6, 2022
Digits of August
See as well Kipnis on the separatrix, and a notation
that represents a date in September, not August:
9/6.
Comments Off on Digits of August
Friday, May 6, 2022
Interality and the Bead Game
WIkipedia on the URL suffix ".io" —
"In computer science, "IO" or "I/O" is commonly used
as an abbreviation for input/output, which makes the
.io domain desirable for services that want to be
associated with technology. .io domains are often used
for open source projects, application programming
interfaces ("APIs"), startup companies, browser games,
and other online services."
An association with the Bead Game from a post of April 7, 2018 —
|
Glasperlenspiel passage quoted here in Summa Mythologica —
“"I suddenly realized that in the language, or at any rate A less poetic meditation on the above 4x4x4 design cube —
"I saw that in the alternation between front and back, See also a related remark by Lévi-Strauss in 1955:
"…three different readings become possible: |
The recent use by a startup company of the URL "interality.io" suggests
a fourth reading for the 1955 list of Lévi-Strauss — in and out —
i.e., inner and outer group automorphisms — from a 2011 post
on the birthday of T. S. Eliot :
A transformation:
Click on the picture for details.
Comments Off on Interality and the Bead Game
Sunday, April 24, 2022
Structuralism: Three Betweens
|
Tuesday, November 3, 2009 Filed under: General,Geometry — Tags: Glasperlenspiel, Solomon Marcus — m759 @ 10:10 PM Book review by Jadran Mimica in Oceania, Vol. 74, 2003: "In his classic essay of 1955 'The Structural Study of Myth' Levi-Strauss came up with a universal formula of mythopoeic dynamics [fx(a) : fy(b) :: fx(b) : fa-1(y)] that he called canonical 'for it can represent any mythic transformation'. This formulation received its consummation in the four massive Mythologiques volumes, the last of which crystallises the fundamental dialectics of mythopoeic thought: that there is 'one myth only' and the primal ground of this 'one' is 'nothing'. The elucidation of the generative matrix of the myth-work is thus completed as is the self-totalisation of both the thinker and his object." So there. At least one mathematician has claimed that the Levi-Strauss formula makes sense. (Jack Morava, arXiv pdf, 2003.) I prefer the earlier (1943) remarks of Hermann Hesse on transformations of myth: "…in the spirit of the Glass Bead Game, everything actually was all-meaningful, that every symbol and combination of symbols led not hither and yon, not to single examples, experiments, and proofs, but into the center, the mystery and innermost heart of the world, into primal knowledge. Every transition from major to minor in a sonata, every transformation of a myth or a religious cult, every classical or artistic formulation was, I realized in that flashing moment, if seen with a truly meditative mind, nothing but a direct route into the interior of the cosmic mystery, where in the alternation between inhaling and exhaling, between heaven and earth, between Yin and Yang, holiness is forever being created." |
Comments Off on Structuralism: Three Betweens
Wednesday, March 13, 2019
The Origin of Change . . .
According to Wallace Stevens:
|
From Savage Logic— Sunday, March 15, 2009 5:24 PM The Origin of Change
A note on the figure
"Two things of opposite natures seem to depend
— Wallace Stevens, |
This post was suggested by the following passage —
" … the Fano plane ,
a set of seven points
grouped into seven lines
that has been called
'the combinatorialist’s coat of arms.' "
— Blake Stacey in a post with tomorrow's date:
… and by Stacey at another weblog, in a post dated Jan. 29, 2019, …
"(Yes, Bohr was the kind of guy who would choose
the yin-yang symbol as his coat of arms.)"
Yes, Stacey is the kind of guy who would casually dismiss
Bohr's coat of arms.
(See also Faust in Copenhagen in this journal)—
» more
Comments Off on The Origin of Change . . .
Friday, April 20, 2018
Saturday, April 7, 2018
Sides
The FBI holding cube in "The Blacklist" —
" 'The Front' is not the whole story . . . ."
— Vincent Canby, New York Times film review, 1976,
as quoted in Wikipedia.
See also Solomon's Cube in this journal.
Some may view the above web page as illustrating the
Glasperlenspiel passage quoted here in Summa Mythologica —
“"I suddenly realized that in the language, or at any rate
in the spirit of the Glass Bead Game, everything actually
was all-meaningful, that every symbol and combination of
symbols led not hither and yon, not to single examples,
experiments, and proofs, but into the center, the mystery
and innermost heart of the world, into primal knowledge.
Every transition from major to minor in a sonata, every
transformation of a myth or a religious cult, every classical
or artistic formulation was, I realized in that flashing moment,
if seen with a truly meditative mind, nothing but a direct route
into the interior of the cosmic mystery, where in the alternation
between inhaling and exhaling, between heaven and earth,
between Yin and Yang, holiness is forever being created.”
A less poetic meditation on the above 4x4x4 design cube —
"I saw that in the alternation between front and back,
between top and bottom, between left and right,
symmetry is forever being created."
See also a related remark by Lévi-Strauss in 1955:
"…three different readings become possible:
left to right, top to bottom, front to back."
Comments Off on Sides
Tuesday, March 6, 2018
Fields Medal
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Thursday, July 27, 2017
Hedwig and the Square Inch
From "In the Park with Yin and Yang" (May 10, 2017) —
Decorations for a Cartoon Graveyard
In Memoriam —
Comments Off on Hedwig and the Square Inch
Saturday, October 1, 2016
Rippling Rhythms
The previous post presented Plato's Meno diagram as
an illustration of (superimposed) yin and yang.
For those who prefer a more fluid approach to yin and yang —
From a June 15, 2016, Caltech news release on gravitational waves —
|
Audio The "chirp" tones of the two LIGO detections are available for download. Formats are suitable as ringtones for either iPhone or Android devices. (Instructions for installing custom ringtones) September 2015 Detection December 2015 Detection |
Related commentary from July 2015 and earlier —
See posts tagged Haiku.
A different perspective —
Comments Off on Rippling Rhythms
“A Matrix of Four”
The title is from a book quoted in the previous post.
A related illustration from 7:31 AM Tuesday, September 27 —
"The matrix at left below represents the feminine yin principle
and the diamond at right represents the masculine yang ."
Comments Off on “A Matrix of Four”
Tuesday, September 27, 2016
Chomsky and Lévi-Strauss in China
Or: Philosophy for Jews
From a New Yorker weblog post dated Dec. 6, 2012 —
"Happy Birthday, Noam Chomsky" by Gary Marcus—
"… two titans facing off, with Chomsky, as ever,
defining the contest"
"Chomsky sees himself, correctly, as continuing
a conversation that goes back to Plato, especially
the Meno dialogue, in which a slave boy is
revealed by Socrates to know truths about
geometry that he hadn’t realized he knew."
Socrates and the slave boy discussed a rather elementary "truth
about geometry" — A diamond inscribed in a square has area 2
(and side the square root of 2) if the square itself has area 4
(and side 2).
Consider that not-particularly-deep structure from the Meno dialogue
in the light of the following…
The following analysis of the Meno diagram from yesterday's
post "The Embedding" contradicts the Lévi-Strauss dictum on
the impossibility of going beyond a simple binary opposition.
(The Chinese word taiji denotes the fundamental concept in
Chinese philosophy that such a going-beyond is both useful
and possible.)
The matrix at left below represents the feminine yin principle
and the diamond at right represents the masculine yang .
From a post of Sept. 22,
"Binary Opposition Illustrated" —
A symbol of the unity of yin and yang —
Related material:
A much more sophisticated approach to the "deep structure" of the
Meno diagram —
Comments Off on Chomsky and Lévi-Strauss in China
Monday, September 26, 2016
The Embedding
From this morning's 3:33 AM ET post —
Adapted from a post of Dec. 8, 2012, "Defining the Contest" —
From a post of Sept. 22,
"Binary Opposition Illustrated" —
From Sunday's news —
Comments Off on The Embedding
Tuesday, September 20, 2016
The Diamond Theorem …
As the Key to All Mythologies
For the theorem of the title, see "Diamond Theorem" in this journal.
"These were heavy impressions to struggle against,
and brought that melancholy embitterment which
is the consequence of all excessive claim: even his
religious faith wavered with his wavering trust in his
own authorship, and the consolations of the Christian
hope in immortality seemed to lean on the immortality
of the still unwritten Key to all Mythologies."
— Middlemarch , by George Eliot, Ch. XXIX
Related material from Sunday's print New York Times —
Sunday's Log24 sermon —
See also the Lévi-Strauss "Key to all Mythologies" in this journal,
as well as the previous post.
Comments Off on The Diamond Theorem …
Sunday, September 18, 2016
Sunday, May 8, 2016
Gesamtkunstwerke
„Ich begriff plötzlich, daß in der Sprache oder doch
mindestens im Geist des Glasperlenspiels tatsächlich
alles allbedeutend sei, daß jedes Symbol und jede
Kombination von Symbolen nicht hierhin oder dorthin,
nicht zu einzelnen Beispielen, Experimenten und
Beweisen führe, sondern ins Zentrum, ins Geheimnis
und Innerste der Welt, in das Urwissen. Jeder Übergang
von Dur zu Moll in einer Sonate, jede Wandlung eines
Mythos oder eines Kultes, jede klassische, künstlerische
Formulierung sei, so erkannte ich im Blitz jenes
Augenblicks, bei echter meditativer Betrachtung,
nichts andres als ein unmittelbarer Weg ins Innere
des Weltgeheimnisses, wo im Hin und Wider zwischen
Ein- und Ausatmen, zwischen Himmel und Erde,
zwischen Yin und Yang sich ewig das Heilige vollzieht.“
— Hermann Hesse, Das Glasperlenspiel .
Berlin: Suhrkamp Taschenbuch Verlag, 2012, p. 172,
as quoted in a weblog.
"Only connect." — Howards End
Comments Off on Gesamtkunstwerke
Tuesday, May 3, 2016
Symmetry
A note related to the diamond theorem and to the site
Finite Geometry of the Square and Cube —
The last link in the previous post leads to a post of last October whose
final link leads, in turn, to a 2009 post titled Summa Mythologica .
Some may view the above web page as illustrating the
Glasperlenspiel passage quoted here in Summa Mythologica —
“"I suddenly realized that in the language, or at any rate
in the spirit of the Glass Bead Game, everything actually
was all-meaningful, that every symbol and combination of
symbols led not hither and yon, not to single examples,
experiments, and proofs, but into the center, the mystery
and innermost heart of the world, into primal knowledge.
Every transition from major to minor in a sonata, every
transformation of a myth or a religious cult, every classical
or artistic formulation was, I realized in that flashing moment,
if seen with a truly meditative mind, nothing but a direct route
into the interior of the cosmic mystery, where in the alternation
between inhaling and exhaling, between heaven and earth,
between Yin and Yang, holiness is forever being created.”
A less poetic meditation on the above web page* —
"I saw that in the alternation between front and back,
between top and bottom, between left and right,
symmetry is forever being created."
Update of Sept. 5, 2016 — See also a related remark
by Lévi-Strauss in 1955: "…three different readings
become possible: left to right, top to bottom, front
to back."
* For the underlying mathematics, see a June 21, 1983, research note.
Comments Off on Symmetry
Friday, December 25, 2015
At Play in the Fields
See Fields of Force and recent posts.
From PR Newswire in July 2011 —
Campus Crusade for Christ Adopts New Name: Cru
60-year-old Int’l Ministry Aims to Increase
Relevance and Global Effectiveness
Related material:
Comments Off on At Play in the Fields
Tuesday, December 8, 2015
Conceptual Art
A December 7th New York Times column:
A current exhibition by Joseph Kosuth in Oslo:
From the two texts by Mondrian at the right hand of Kosuth —
"The positive and negative states of being bring about action."
"Through its pure relationships, purely abstract art
can approach the expression of the universal …."
These texts may be viewed as glosses on the following image —
Click image for related posts.
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Friday, November 27, 2015
Once Upon a Matrix
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Wednesday, November 25, 2015
Once Upon a Time
This post's title was suggested by the previous post
and by today's news of a notable sale of a one-copy
record album, "Once Upon a Time in Shaolin."
See as well posts from Tuesday, March 11, 2014,
the day Emma Watson unveiled a new trailer —
Comments Off on Once Upon a Time
Thursday, October 29, 2015
Monday, October 19, 2015
Zen and the Art
According to René Guitart in May 2008 —
"In fact, in concrete terms, the Mathematical Pulsation is
nothing else but the thing that everyone does when doing
mathematics, even the most elementary ones. It is a very
special gesture in understanding ('geste de pensée'), well
known by each mathematician. The mind have to go to
and fro between to antinomical postures: to have the
situation under control, to leave the door open. To master
and to fix (a clear unique meaning) or to neglect and to
change (toward other possible meanings). Because of the
similarity of the pulsation of inspiration and expiration in
breath with the pulsation of closing and opening phases
in mathematical thinking, at the end of [Guitart (2003/a)]
I suggested to consider the famous book 'Zen in the Art
of Archery' [Herrigel (1997)] as a true treatise in didactic
of mathematics: just you have to replace everywhere the
words 'archery' by 'mathematical proof'."
Related material: Heisenberg on Beauty and the previous post.
Update of 6:20 AM Oct. 19, 2015 —
„Ich begriff plötzlich, daß in der Sprache oder doch
mindestens im Geist des Glasperlenspiels tatsächlich
alles allbedeutend sei, daß jedes Symbol und jede
Kombination von Symbolen nicht hierhin oder dorthin,
nicht zu einzelnen Beispielen, Experimenten und
Beweisen führe, sondern ins Zentrum, ins Geheimnis
und Innerste der Welt, in das Urwissen. Jeder Übergang
von Dur zu Moll in einer Sonate, jede Wandlung eines
Mythos oder eines Kultes, jede klassische, künstlerische
Formulierung sei, so erkannte ich im Blitz jenes
Augenblicks, bei echter meditativer Betrachtung,
nichts andres als ein unmittelbarer Weg ins Innere
des Weltgeheimnisses, wo im Hin und Wider zwischen
Ein- und Ausatmen, zwischen Himmel und Erde,
zwischen Yin und Yang sich ewig das Heilige vollzieht.“
— Hermann Hesse, Das Glasperlenspiel.
Berlin: Suhrkamp Taschenbuch Verlag, 2012. p. 172,
as quoted in a weblog.
For a version in English, see Summa Mythologica (Nov. 3, 2009).
Comments Off on Zen and the Art
Sunday, July 26, 2015
Sunday Sermon
"Little emblems of eternity"
— Phrase by Oliver Sacks in today's
New York Times Sunday Review
Some other emblems —
Note the color-interchange
symmetry of each emblem
under 180-degree rotation.
Click an emblem for
some background.
Comments Off on Sunday Sermon
Thursday, July 2, 2015
Deepening the Spielraum
(A sequel to Expanding the Spielraum (Feb. 3, 2015))
"Knowledge, wisdom even, lies in depth, not extension."
— Tim Parks in The New York Review of Books ,
5 PM ET on June 26, 2015
See also Log24 posts on the following figure —
Comments Off on Deepening the Spielraum
Tuesday, October 28, 2014
Raiders of the Lost Symbol
A print copy of next Sunday’s New York Times Book Review
arrived in today’s mail. From the front-page review:
Marcel Theroux on The Book of Strange New Things ,
a novel by Michel Faber —
“… taking a standard science fiction premise and
unfolding it with the patience and focus of a
tai chi master, until it reveals unexpected
connections, ironies and emotions.”
What is a tai chi master, and what is it that he unfolds?
Perhaps the taijitu symbol and related material will help.
The Origin of Change
“Two things of opposite natures seem to depend
On one another, as a man depends
On a woman, day on night, the imagined
On the real. This is the origin of change.
Winter and spring, cold copulars, embrace
And forth the particulars of rapture come.”
— Wallace Stevens,
“Notes Toward a Supreme Fiction,”
Canto IV of “It Must Change”
Comments Off on Raiders of the Lost Symbol
Friday, March 28, 2014
Chinese Rune
"The Geometry of the I Ching introduces something called the Cullinane sequence
for the hexagrams, and uses a notation based on the four sides and two diagonals
in a square to indicate the yin and yang lines. The resulting rune-like symbols
are intriguing…."
— Andreas Schöter's I Ching home page
Actually, the geometry is a bit deeper than the rune-like symbols.
" 'Harriet Burden has been really great to me,'
Rune says in an interview, 'not only as a collector
of my work but as a true supporter. And I think of her
as a muse for the project … ' "
— In The Blazing World , the artist known as Rune
Comments Off on Chinese Rune
Tuesday, March 11, 2014
Depth
"… this notion of ‘depth’ is an elusive one
even for a mathematician who can recognize it…."
— G. H. Hardy, A Mathematician's Apology
Part I: An Inch Deep
Part II: An Inch Wide
See a search for "square inch space" in this journal.
See also recent posts with the tag depth.
Comments Off on Depth
Sunday, November 18, 2012
Sermon
Happy birthday to…
Today's sermon, by Marie-Louise von Franz—
For more on the modern physicist analyzed by von Franz,
see The Innermost Kernel , by Suzanne Gieser.
Another modern physicist, Niels Bohr, died
on this date in 1962…
|
The circle above is marked with a version For the square, see the diamond theorem. "Two things of opposite natures seem to depend — Wallace Stevens, |
Comments Off on Sermon
Saturday, May 28, 2011
Savage Detectives
|
From Savage Logic— Sunday, March 15, 2009 5:24 PM The Origin of Change A note on the figure
"Two things of opposite natures seem to depend — Wallace Stevens, |
Comments Off on Savage Detectives
Tuesday, October 19, 2010
Savage Logic…
and the New York Lottery
A search in this journal for yesterday's evening number in the New York Lottery, 359, leads to…
The Cerebral Savage:
On the Work of Claude Lévi-Strauss
by Clifford Geertz
Shown below is 359, the final page of Chapter 13 in
The Interpretation of Cultures: Selected Essays by Clifford Geertz,
New York, 1973: Basic Books, pp. 345-359 —
This page number 359 also appears in this journal in an excerpt from Dan Brown's novel Angels & Demons—
See this journal's entries for March 1-15, 2009, especially…
| Sunday, March 15, 2009 5:24 PM
Philosophy and Poetry: The Origin of Change A note on the figure
"Two things of opposite natures seem to depend On one another, as a man depends On a woman, day on night, the imagined On the real. This is the origin of change. Winter and spring, cold copulars, embrace And forth the particulars of rapture come." -- Wallace Stevens, "Notes Toward a Supreme Fiction," Canto IV of "It Must Change" Sunday, March 15, 2009 11:00 AM Ides of March Sermon: Angels, Demons,
"Symbology" "On Monday morning, 9 March, after visiting the Mayor of Rome and the Municipal Council on the Capitoline Hill, the Holy Father spoke to the Romans who gathered in the square outside the Senatorial Palace…
'… a verse by Ovid, the great Latin poet, springs to mind. In one of his elegies he encouraged the Romans of his time with these words: "Perfer et obdura: multo graviora tulisti." "Hold out and persist: (Tristia, Liber V, Elegia XI, verse 7).'" This journal
on 9 March:
Note the color-interchange Related material: |
The symmetry of the yin-yang symbol, of the diamond-theorem symbol, and of Brown's Illuminati Diamond is also apparent in yesterday's midday New York lottery number (see above).
"Savage logic works like a kaleidoscope…." — Clifford Geertz on Lévi-Strauss
Comments Off on Savage Logic…
Friday, January 22, 2010
Meta Physics
Comments Off on Meta Physics
Tuesday, January 12, 2010
That’s Showbiz
New York Times, January 12, 2010, 12:26 PM–
"Spider-Man" Musical Will Refund Tickets
"With… direction by Julie Taymor ['Frida'], 'Spider-Man' has been marred by delays….
The musical’s troubles have unfolded at the same time that the next “Spider-Man” movie has been descending into disarray…."
Related material:
"No Great Magic," by Fritz Leiber–
"The white cosmetic came away, showing sallow skin and on it a faint tattoo in the form of an 'S' styled like a yin-yang symbol left a little open.
'Snake!' he hissed. 'Destroyer! The arch-enemy, the eternal opponent!'"
“Ay que bonito es volar
A las dos de la mañana….”
— “La Bruja“
Comments Off on That’s Showbiz
Tuesday, November 3, 2009
Summa Mythologica
Book review by Jadran Mimica in Oceania, Vol. 74, 2003:
"In his classic essay of 1955 'The Structural Study of Myth' Levi-Strauss came up with a universal formula of mythopeic dynamics
[fx(a) : fy(b) :: fx(b) : fa-1(y)]
that he called canonical 'for it can represent any mythic transformation'. This formulation received its consummation in the four massive Mythologiques volumes, the last of which crystallises the fundamental dialectics of mythopoeic thought: that there is 'one myth only' and the primal ground of this 'one' is 'nothing'. The elucidation of the generative matrix of the myth-work is thus completed as is the self-totalisation of both the thinker and his object."
So there.
At least one mathematician has claimed that the Levi-Strauss formula makes sense. (Jack Morava, arXiv pdf, 2003.)
I prefer the earlier (1943) remarks of Hermann Hesse on transformations of myth:
"…in the spirit of the Glass Bead Game, everything actually was all-meaningful, that every symbol and combination of symbols led not hither and yon, not to single examples, experiments, and proofs, but into the center, the mystery and innermost heart of the world, into primal knowledge. Every transition from major to minor in a sonata, every transformation of a myth or a religious cult, every classical or artistic formulation was, I realized in that flashing moment, if seen with a truly meditative mind, nothing but a direct route into the interior of the cosmic mystery, where in the alternation between inhaling and exhaling, between heaven and earth, between Yin and Yang, holiness is forever being created."
Comments Off on Summa Mythologica
Friday, August 28, 2009
Friday August 28, 2009
Part I:
“Inside the church, the grief was real. Sen. Edward Kennedy’s voice caught as he read his lovely eulogy, and when he was done, Caroline Kennedy Schlossberg stood up and hugged him. She bravely read from Shakespeare’s ‘The Tempest‘ (‘Our revels now are ended. We are such stuff as dreams are made on‘). Many of the 315 mourners, family and friends of the Kennedys and Bessettes, swallowed hard through a gospel choir’s rendition of ‘Amazing Grace,’ and afterward, they sang lustily as Uncle Teddy led the old Irish songs at the wake.”
— Newsweek magazine, issue dated August 2, 1999
Part II:
The Ba gua (Chinese….) are eight diagrams used in Taoist cosmology to represent a range of interrelated concepts. Each consists of three lines, each either ‘broken’ or ‘unbroken,’ representing a yin line or a yang line, respectively. Due to their tripartite structure, they are often referred to as ‘trigrams’ in English. —Wikipedia
Comments Off on Friday August 28, 2009
Tuesday, April 7, 2009
Tuesday April 7, 2009
|
Bright Star and Dark Lady “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, |
||
|
Bright Star
|
Amen.
|
Dark Lady
|
The same story on
May 11, 2005
with a different
dark lady:
Comments Off on Tuesday April 7, 2009
Sunday, March 29, 2009
Sunday March 29, 2009
Getting All
the Meaning In
Webpage heading for the
2009 meeting of the
American Comparative
Literature Association:
The mysterious symbols on
the above map suggest the
following reflections:
From A Cure of the Mind: The Poetics of Wallace Stevens, by Theodore Sampson, published by Black Rose Books Ltd., 2000–
Page x:
"… if what he calls 'the spirit's alchemicana' (CP [Collected Poems] 471) addresses itself to the irrational element in poetry, to what extent is such an element dominant in his theory and practice of poetry, and therefore in what way is Stevens' intricate verbal music dependent on his irrational use of language– a 'pure rhetoric of a language without words?' (CP 374)?"
Related material:
| From "'When Novelists Become Cubists:' The Prose Ideograms of Guy Davenport," by Andre Furlani:
Laurence Zachar argues that Davenport's writing is situated "aux frontieres intergeneriques" where manifold modes are brought into concord: "L'etonnant chez Davenport est la facon don't ce materiau qui parait l'incarnation meme du chaos– hermetique, enigmatique, obscur, avec son tropplein de references– se revele en fait etre construit, ordonne, structure. Plus l'on s'y plonge, et plus l'on distingue de cohesion dans le texte." 'What astonishes in Davenport is the way in which material that seems the very incarnation of chaos– hermetic, enigmatic, obscure, with its proliferation of allusions– in fact reveals itself to be constructed, organized, structured. The more one immerses oneself in them the more one discerns the texts' cohesion.' (62). Davenport also works along the intergeneric border between text and graphic, for he illustrates many of his texts. (1) "The prime use of words is for imagery: my writing is drawing," he states in an interview (Hoeppfner 123). Visual imagery is not subordinated to writing in Davenport, who draws on the assemblage practice of superimposing image and writing. "I trust the image; my business is to get it onto the page," he writes in the essay "Ernst Machs Max Ernst." "A page, which I think of as a picture, is essentially a texture of images. […] The text of a story is therefore a continuous graph, kin to the imagist poem, to a collage (Ernst, Willi Baumeister, El Lissitzky), a page of Pound, a Brakhage film" (Geography 374-75). Note: (1.) Davenport is an illustrator of books (such as Hugh Kenner's The Stoic Comedians and The Counterfeiters) and journals (such as The Kenyon Review, Parnassus, and Paideuma). His art is the subject of Erik Anderson Reece's monograph, A Balance of Quinces, which reveals the inseparable relationship between Davenport's literary and pictorial work. References: Davenport, Guy. The Geography of the Imagination. San Francisco: North Point Press, 1981. Rpt. New York: Pantheon, 1992. Hoepffner, Bernard. "Pleasant Hill: An Interview with Guy Davenport." Conjunctions 24 (1995): 118-24. Reece, Erik Anderson. A Balance of Quinces: The Paintings and Drawings of Guy Davenport. New York: New Directions, 1996. Zachar, Laurence. "Guy Davenport: Une Mosaique du genres." Recherches Anglaises et Nord-Americaines 21 (1994): 51-63. |
"… 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."
— Guy Davenport, The Geography of the Imagination
Comments Off on Sunday March 29, 2009
Saturday, March 28, 2009
Saturday March 28, 2009
The Rest
of the Story
Today's previous entry discussed the hermeneutics of the midday NY and PA lottery numbers.
| Lotteries on Reba's birthday, 2009 |
Pennsylvania (No revelation) |
New York (Revelation) |
| Mid-day (No belief) |
No belief, no revelation 726 |
Revelation without belief 378 |
| Evening (Belief) |
Belief without revelation 006 |
Belief and revelation 091 |
Interpretations of the evening numbers–
The PA evening number, 006, may be viewed as a followup to the PA midday 726 (or 7/26, the birthday of Kate Beckinsale and Carl Jung). Here 006 is the prestigious "00" number assigned to Beckinsale.
Will: Do you like apples?
Clark: Yeah.
Will: Well, I got her number.
How do you like them apples?
Clark: Yeah.
Will: Well, I got her number.
How do you like them apples?
The NY evening number, 091, may be viewed as a followup to the NY midday 378 (the number of pages in The Innermost Kernel by Suzanne Gieser, published by Springer, 2005)–
Page 91: The entire page is devoted to the title of the book's Part 3– "The Copenhagen School and Psychology"–
The next page begins: "With the crisis of physics, interest in epistemological and psychological questions grew among many theoretical physicists. This interest was particularly marked in the circle around Niels Bohr."
A particularly
marked circle
from March 15:
marked circle
from March 15:
The circle above is
marked with a version of
the classic Chinese symbol
adopted as a personal emblem
by Danish physicist Niels Bohr,
leader of the Copenhagen School.
"Two things of opposite natures seem to depend
On one another, as a man depends
On a woman, day on night, the imagined
On the real. This is the origin of change.
Winter and spring, cold copulars, embrace
And forth the particulars of rapture come."
-- Wallace Stevens,
"Notes Toward a Supreme Fiction,"
Canto IV of "It Must Change"
The square above is marked
with a graphic design
related to the four-diamond
figure of Jung's Aion.
Comments Off on Saturday March 28, 2009
Sunday, March 15, 2009
Sunday March 15, 2009
The Origin of Change
A note on the figure
from this morning's sermon:
"Two things of opposite natures seem to depend On one another, as a man depends On a woman, day on night, the imagined On the real. This is the origin of change. Winter and spring, cold copulars, embrace And forth the particulars of rapture come." -- Wallace Stevens, "Notes Toward a Supreme Fiction," Canto IV of "It Must Change"
Comments Off on Sunday March 15, 2009
Sunday March 15, 2009
Angels, Demons,
"Symbology"
"On Monday morning, 9 March, after visiting the Mayor of Rome and the Municipal Council on the Capitoline Hill, the Holy Father spoke to the Romans who gathered in the square outside the Senatorial Palace…
'… a verse by Ovid, the great Latin poet, springs to mind. In one of his elegies he encouraged the Romans of his time with these words:
"Perfer et obdura: multo graviora tulisti."
"Hold out and persist:
you have got through
far more difficult situations."
(Tristia, Liber V, Elegia XI, verse 7).'"
This journal
on 9 March:
on 9 March:
Note the color-interchange
symmetry of each symbol
under 180-degree rotation.
Related material:
The Illuminati Diamond:
Dan Brown's novel Angels & Demons introduced in the year 2000 the fictional academic discipline of "symbology" and a fictional Harvard professor of that discipline, Robert Langdon (named after ambigram* artist John Langdon).
Tom Hanks as Robert Langdon
Tom Hanks as Robert Langdon
A possible source for Brown's term "symbology" is a 1995 web page, "The Rotation of the Elements," by one "John Opsopaus." (Cf. Art History Club.)
"The four qualities are the key to understanding the rotation of the elements and many other applications of the symbology of the four elements." –John Opsopaus
* "…ambigrams were common in symbology…." —Angels & Demons
Comments Off on Sunday March 15, 2009
Monday, March 9, 2009
Monday March 9, 2009
Humorism
"Always with a
little humor."
— Dr. Yen Lo
From Temperament: A Brief Survey
For other interpretations
of the above shape, see
The Illuminati Diamond.
from Jung's Aion:
"From the circle and quaternity motif is derived the symbol of the geometrically formed crystal and the wonder-working stone. From here analogy formation leads on to the city, castle, church, house, room, and vessel. Another variant is the wheel. The former motif emphasizes the ego’s containment in the greater dimension of the self; the latter emphasizes the rotation which also appears as a ritual circumambulation. Psychologically, it denotes concentration on and preoccupation with a centre…." –Jung, Collected Works, Vol. 9, Part II, paragraph 352
Click on image
for a related puzzle.
For a solution, see
The Diamond Theorem.
As for rotation, see the ambigrams in Dan Brown's Angels & Demons (to appear as a film May 15) and the following figures:
Click on image
for a related puzzle.
For a solution, see
The Diamond Theorem.
A related note on
"Angels & Demons"
director Ron Howard:
Click image for details.
Comments Off on Monday March 9, 2009
Sunday, May 25, 2008
Sunday May 25, 2008
Wechsler Cubes
"Confusion is nothing new."
— Song lyric, Cyndi Lauper
— Song lyric, Cyndi Lauper
Part I:
Magister Ludi
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
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) –
(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
A Magic Gallery
|
ZZ
Figures from the
Poem by Eugen Jost:
Mit Zeichen und Zahlen
Numbers and Names,
With numbers and names English translation A related poem:
Alphabets
From time to time
But if a savage
— Hermann Hesse (1943), |
Comments Off on Sunday May 25, 2008
Wednesday, December 12, 2007
Wednesday December 12, 2007
Found in Translation:
Words and Images
Words and Images
From today’s New York Times:
“Thomas P. Whitney, a former diplomat and writer on Russian affairs who was best known for translating the work of the dissident writer Aleksandr Solzhenitsyn into English, died on [Sunday] Dec. 2 in Manhattan. He was 90….
During World War II, he was an analyst in Washington with the Office of Strategic Services, a forerunner of the Central Intelligence Agency….
In the late 1960s and afterward, he bred thoroughbred horses….
On one occasion, Mr. Whitney took Mr. Solzhenitsyn to Saratoga Racetrack….”
Related material:
Words
“Lewis began with
a number of haunted images….”
a number of haunted images….”
“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….”
Images
Yesterday’s entry on
Solzhenitsyn and The Golden Compass
and the following illustrations…
from Sunday in the Park with Death,
a Log24 entry commemorating
Trotsky’s birthday–
–and from Log24 on the date
of Whitney’s death,
Sunday, Dec. 2, 2007—
Personal Emblem
of psychiatrist
Harry Stack Sullivan
The horses may refer to
the Phaedrus of Plato.
See also Art Wars.
Thursday, June 14, 2007
Thursday June 14, 2007
Unscholarly Notes
The time of the previous entry, 1:06:18, suggests both the date of Epiphany, 1:06, and Hexagram 18 of the I Ching: Ku, Work on what has been spoiled (Decay).
Epiphany: A link in the Log24 entries for Epiphany 2007 leads to Damnation Morning, which in turn leads to Why Me?, a discussion of the mythology of Spiders vs. Snakes devised by Fritz Leiber. Spiders represent the conscious mind, snakes the unconscious.
On Hexagram 18: "The Chinese character ku represents a bowl in whose contents worms are breeding. This means decay." —Wilhelm's commentary
This brings us back to the previous entry with its mention of the date of Rudolf Arnheim's death: Saturday, June 9. In Log24 on that date there was a link, in honor of Aaron Sorkin's birthday, to a short story by Leonard Michaels. That link was suggested, in part, by a review in the Sunday New York Times Book Review (available online earlier, on Friday). Here is a quote from that review related to the Hexagram 18 worm bowl:
"… what grabbed attention for his early collections was Michaels's gruesome, swaggering depiction of the sexual rampage that was the swinging '60s in New York– 'the worm bucket,' as Michaels described an orgy."
Related material for meditation on this, the anniversary (according to Encyclopaedia Britannica) of the birth of author Jerzy Kosinski— his novel The Hermit of 69th Street.
Kosinski was not unfamiliar with Michaels's worm bucket. For related information, see Hermit (or at least a review).
In Leiber's stories the symbol of the Snakes is similar to the famed Yin-Yang symbol, also known as the T'ai-chi tu. For an analysis of this symbol by Arnheim, see the previous entry. See also "Sunday in the Park with Death" (Log24, Oct. 26, 2003):
Comments Off on Thursday June 14, 2007
Saturday, June 25, 2005
Saturday June 25, 2005
Merry AntiChristmas!
Religious Symbolism
at Midnight:
Related material:
Star Wars 6/13/05,
Dark City 6/14/05,
and De Arco, as well
as the following from
July 26, 2003:
|
Bright Star and Dark Lady "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, |
||
|
Bright Star
|
Amen.
|
Dark Lady
|
Comments Off on Saturday June 25, 2005
Tuesday, May 24, 2005
Tuesday May 24, 2005
Final Arrangements, continued:
Two Poles
From today’s New York Times:
From erraticimpact.com on Paul Ricoeur:
“Ricoeur reserves his greatest admiration for
the narratologist Algirdas-Julien Greimas.
the narratologist Algirdas-Julien Greimas.
[See below.]
Ricoeur also explores the relationship
between the philosophical and religious
domains, attempting to reconcile
the two poles in his thought.”
between the philosophical and religious
domains, attempting to reconcile
the two poles in his thought.”
| From today’s NYT obituary of Sol Stetin:
“Mr. Stetin, who emigrated from Poland at the age of 10 and dropped out of high school in the ninth grade, was fond of saying he got his education in the labor movement.” |
 |
Elementary Art
continued:
continued:
“… it is not in isolation that the rhetorical power of such oppositions resides, but in their articulation in relation to other oppositions. In Aristotle’s Physics the four elements of earth, air, fire and water were said to be opposed in pairs. For more than two thousand years oppositional patterns based on these four elements were widely accepted as the fundamental structure underlying surface reality….
The structuralist semiotician Algirdas Greimas introduced the semiotic square (which he adapted from the ‘logical square’ of scholastic philosophy) as a means of analysing paired concepts more fully….”
— Daniel Chandler, Semiotics for Beginners
Related material:
Poetry’s Bones and
Theme and Variations.
Other readings on polarity:
Log24, May 24, 2003, and
from July 26, 2003:
|
Bright Star and Dark Lady “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, |
||
|
Bright Star
|
Amen. |
Dark Lady
|
Comments Off on Tuesday May 24, 2005
Monday, April 4, 2005
Monday April 4, 2005
Fourth Day of the Fourth Month,
4:04:04
4:04:04
“My wife took, unnoticed, this picture, unposed, of me in the act of writing a novel…. The date (discernible in the captured calendar) is February 27, 1929. The novel, Zashchita Luzhina (The Defense), deals with the defense invented by an insane chess player….”
— Vladimir Nabokov, note to photograph following page 256 in Speak, Memory: An Autobiography Revisited, Vintage International paperback, August 1989
— Quoted in The Matthias Defense
From a site titled Meaning of the Twentieth Century —
“Freeman Dyson has expressed some thoughts on craziness. In a Scientific American article called ‘Innovation in Physics,’ he began by quoting Niels Bohr. Bohr had been in attendance at a lecture in which Wolfgang Pauli proposed a new theory of elementary particles. Pauli came under heavy criticism, which Bohr summed up for him: ‘We are all agreed that your theory is crazy. The question which divides us is whether it is crazy enough to have a chance of being correct. My own feeling is that is not crazy enough.’ To that Freeman added: ‘When a great innovation appears, it will almost certainly be in a muddled, incomplete and confusing form. To the discoverer, himself, it will be only half understood; to everyone else, it will be a mystery. For any speculation which does not at first glance look crazy, there is no hope!’ “
— Kenneth Brower, The Starship and the Canoe, 1979, pp. 146, 147
It is my hope that the speculation, implied in The Matthias Defense, that the number 162 has astonishing mystical properties (as a page number, article number, etc.) is sufficiently crazy to satisfy Pauli and his friend Jung as well as the more conventional thinkers Bohr and Dyson.
— Log24.net, Feast of St. Mark, 2003
See also The Black Queen and The Eight.
In accordance with the theology of the previous entry, based on Zein’s list of the most common Chinese characters, here are some meanings of
character 162:
[si4] {sì} /to watch/to wait/to examine/to spy/
[si4] {sì} /to seem/to appear/similar/like/to resemble/
[si4] {sì} /until/wait for/
[si4] {sì} /rhinoceros indicus/
[si4] {sì} /four/
[si4] {sì} /(surname)/wife of older brother/
[si4] {sì} /Buddhist temple/
[si4] {sì} /6th earthly branch/9-11 a.m./
[si4] {sì} /stream which returns after branching/
[si4] {sì} /place name/snivel/
[si4] {sì} /offer sacrifice to/
[si4] {sì} /hamper/trunk/
[si4] {sì} /plough/ploughshare/
[si4] {sì} /four (fraud-proof)/market/
[si4] {sì} /to feed/
[si4] {sì} /to raise/to rear/to feed/
[si4] {sì} /team of 4 horses/
[si4 bai3 wan4] {sì bǎi wàn} /four million/
[si4 bai3 yi4] {sì bǎi yì} /40 billion/
[si4 cao2] {sì cáo} /feeding trough/
[si4 cao3] {sì cǎo} /forage grass/
[si4 chu4] {sì chù} /all over the place/everywhere and all directions/
[si4 chuan1] {sì chuān} /Sichuan province, China/
[si4 chuan1 sheng3] {sì chuān shěng} /(N) Sichuan, a south west China province/
[si4 de5] {sì de} /seem as if/rather like/
[si4 fang1] {sì fāng} /four-way/four-sided/
[si4 fen1 zhi1 yi1] {sì fēn zhī yī} /one-quarter/
[si4 fu2] {sì fú} /servo/
[si4 fu2 qi4] {sì fú qì} /server (computer)/
[si4 ge4 xiao3 shi2] {sì gè xiǎo shí} /four hours/
[si4 hu5] {sì hu} /apparently/to seem/to appear/as if/seemingly/
[si4 hu5 hen3 an1 quan2] {sì hu hěn ān quán} /to appear (to be) very safe/
[si4 ji1] {sì jī} /to watch for one's chance/
[si4 ji4] {sì jì} /(n) the four seasons/
[si4 liao4] {sì liào} /feed/fodder/
[si4 lun2 ma3 che1] {sì lún mǎ chē} /chariot/
[si4 men2 jiao4 che1] {sì mén jiào chē} /sedan (motor car)/
[si4 mian4 ba1 fang1] {sì miàn bā fāng} /in all directions/all around/far and near/
[si4 mian4 ti3] {sì miàn tǐ} /tetrahedron/
[si4 miao4] {sì miào} /temple/monastery/shrine/
[si4 nian2] {sì nián} /four years/
[si4 nian2 qian2] {sì nián qián} /four years previously/
[si4 nian2 zhi4 de5 da4 xue2] {sì nián zhì de dà xué} /four-year university/
[si4 qian1] {sì qiān} /four thousand/4 000/
[si4 shi2] {sì shí} /forty/40/
[si4 shi2 duo1] {sì shí duō} /more than 40/
[si4 shi2 liu4] {sì shí liù} /forty six/46/
[si4 shi2 san1] {sì shí sān} /43/forty three/
[si4 shi4 er2 fei1] {sì shì ér fēi} /(saying) appeared right but actually was wrong/
[si4 tian1] {sì tiān} /four days/
[si4 xiao4 fei1 xiao4] {sì xiào fēi xiào} /(saying) resemble a smile yet not smile/
[si4 xue3] {sì xuě} /snowy/
[si4 yang3] {sì yǎng} /to raise/to rear/
[si4 yang3 zhe3] {sì yǎng zhě} /feeder/
[si4 yuan4] {sì yuàn} /cloister/
[si4 yue4] {sì yuè} /April/fourth month/
[si4 yue4 shi2 qi1 hao4] {sì yuè shí qī hào} /April 17/
[si4 zhi1] {sì zhī} /(n) the four limbs of the body/
[si4 zhou1] {sì zhōu} /all around/
Comments Off on Monday April 4, 2005
Tuesday, April 6, 2004
Tuesday April 6, 2004
Ideas and Art, Part III
The first idea was not our own. Adam
In Eden was the father of Descartes…
— Wallace Stevens, from
Notes Toward a Supreme Fiction
"Quaedam ex his tanquam rerum imagines sunt, quibus solis proprie convenit ideae nomen: ut cùm hominem, vel Chimaeram, vel Coelum, vel Angelum, vel Deum cogito."
— Descartes, Meditationes III, 5
"Of my thoughts some are, as it were, images of things, and to these alone properly belongs the name idea; as when I think [represent to my mind] a man, a chimera, the sky, an angel or God."
— Descartes, Meditations III, 5
Begin, ephebe, by perceiving the idea
Of this invention, this invented world,
The inconceivable idea of the sun.
You must become an ignorant man again
And see the sun again with an ignorant eye
And see it clearly in the idea of it.
— Wallace Stevens, from
Notes Toward a Supreme Fiction
"… Quinimo in multis saepe magnum discrimen videor deprehendisse: ut, exempli causâ, duas diversas solis ideas apud me invenio, unam tanquam a sensibus haustam, & quae maxime inter illas quas adventitias existimo est recensenda, per quam mihi valde parvus apparet, aliam verò ex rationibus Astronomiae desumptam, hoc est ex notionibus quibusdam mihi innatis elicitam, vel quocumque alio modo a me factam, per quam aliquoties major quàm terra exhibetur; utraque profecto similis eidem soli extra me existenti esse non potest, & ratio persuadet illam ei maxime esse dissimilem, quae quàm proxime ab ipso videtur emanasse."
— Descartes, Meditationes III, 11
"… I have observed, in a number of instances, that there was a great difference between the object and its idea. Thus, for example, I find in my mind two wholly diverse ideas of the sun; the one, by which it appears to me extremely small draws its origin from the senses, and should be placed in the class of adventitious ideas; the other, by which it seems to be many times larger than the whole earth, is taken up on astronomical grounds, that is, elicited from certain notions born with me, or is framed by myself in some other manner. These two ideas cannot certainly both resemble the same sun; and reason teaches me that the one which seems to have immediately emanated from it is the most unlike."
— Descartes, Meditations III, 11
"Et quamvis forte una idea ex aliâ nasci possit, non tamen hîc datur progressus in infinitum, sed tandem ad aliquam primam debet deveniri, cujus causa sit in star archetypi, in quo omnis realitas formaliter contineatur, quae est in ideâ tantùm objective."
— Descartes, Meditationes III, 15
"And although an idea may give rise to another idea, this regress cannot, nevertheless, be infinite; we must in the end reach a first idea, the cause of which is, as it were, the archetype in which all the reality [or perfection] that is found objectively [or by representation] in these ideas is contained formally [and in act]."
— Descartes, Meditations III, 15
Michael Bryson in an essay on Stevens's "Notes Toward a Supreme Fiction,"
The Quest for the Fiction of the Absolute:
"Canto nine considers the movement of the poem between the particular and the general, the immanent and the transcendent: "The poem goes from the poet's gibberish to / The gibberish of the vulgate and back again. / Does it move to and fro or is it of both / At once?" The poet, the creator-figure, the shadowy god-figure, is elided, evading us, "as in a senseless element." The poet seeks to find the transcendent in the immanent, the general in the particular, trying "by a peculiar speech to speak / The peculiar potency of the general." In playing on the senses of "peculiar" as particular and strange or uncanny, these lines play on the mystical relation of one and many, of concrete and abstract."
Brian Cronin in Foundations of Philosophy:
"The insight is constituted precisely by 'seeing' the idea in the image, the intelligible in the sensible, the universal in the particular, the abstract in the concrete. We pivot back and forth between images and ideas as we search for the correct insight."
— From Ch. 2, Identifying Direct Insights
Michael Bryson in an essay on Stevens's "Notes Toward a Supreme Fiction":
"The fourth canto returns to the theme of opposites. 'Two things of opposite natures seem to depend / On one another . . . . / This is the origin of change.' Change resulting from a meeting of opposities is at the root of Taoism: 'Tao produced the One. / The One produced the two. / The two produced the three. / And the three produced the ten thousand things' (Tao Te Ching 42) …."
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From an entry of March 7, 2004:
From the web page
Introduction to the I Ching– "He who has perceived the meaning of change fixes his attention no longer on transitory individual things but on the immutable, eternal law at work in all change. This law is the tao of Lao-tse, the course of things, the principle of the one in the many. That it may become manifest, a decision, a postulate, is necessary. This fundamental postulate is the 'great primal beginning' of all that exists, t'ai chi — in its original meaning, the 'ridgepole.' Later Chinese philosophers devoted much thought to this idea of a primal beginning. A still earlier beginning, wu chi, was represented by the symbol of a circle. Under this conception, t'ai chi was represented by the circle divided into the light and the dark, yang and yin,
This symbol has also played a significant part in India and Europe. However, speculations of a gnostic-dualistic character are foreign to the original thought of the I Ching; what it posits is simply the ridgepole, the line. With this line, which in itself represents oneness, duality comes into the world, for the line at the same time posits an above and a below, a right and left, front and back-in a word, the world of the opposites." The t'ai chi symbol is also illustrated on the web page Cognitive Iconology, which says that
"W.J.T. Mitchell calls 'iconology' A variation on the t'ai chi symbol appears in a log24.net entry for March 5:
The Line, See too my web page Logos and Logic, which has the following:
Logos Alogos, In the conclusion of Section 3, Canto X, of "Notes," Stevens says
This is the logoi alogoi of Simone Weil. |
In "Notes toward a Supreme Fiction,"
Wallace Stevens lists three criteria
for a work of the imagination:
It Must Be Abstract
The Line,
by S.H. Cullinane
It Must Change
It Must Give Pleasure
Related material:
Comments Off on Tuesday April 6, 2004
Sunday, March 7, 2004
Sunday March 7, 2004
Ridgepole
CBS News Sunday Morning today had a ridgepole ceremony for a house that was moved from China to Salem, Massachusetts.
From the web page
Introduction to the I Ching–
By Richard Wilhelm:
"He who has perceived the meaning of change fixes his attention no longer on transitory individual things but on the immutable, eternal law at work in all change. This law is the tao of Lao-tse, the course of things, the principle of the one in the many. That it may become manifest, a decision, a postulate, is necessary. This fundamental postulate is the 'great primal beginning' of all that exists, t'ai chi — in its original meaning, the 'ridgepole.' Later Chinese philosophers devoted much thought to this idea of a primal beginning. A still earlier beginning, wu chi, was represented by the symbol of a circle. Under this conception, t'ai chi was represented by the circle divided into the light and the dark, yang and yin, 
.
This symbol has also played a significant part in India and Europe. However, speculations of a gnostic-dualistic character are foreign to the original thought of the I Ching; what it posits is simply the ridgepole, the line. With this line, which in itself represents oneness, duality comes into the world, for the line at the same time posits an above and a below, a right and left, front and back-in a word, the world of the opposites."
The t'ai chi symbol is also illustrated on the web page Cognitive Iconology, which says that
"W.J.T. Mitchell calls 'iconology' a study of the 'logos' (the words, ideas, discourse, or 'science') of 'icons' (images, pictures, or likenesses). It is thus a 'rhetoric of images' (Iconology: Image, Text, Ideology, p. 1)."
A variation on the t'ai chi symbol appears in a log24.net entry for March 5:
The Line,
by S. H. Cullinane
See too my web page Logos and Logic, which has the following:
"The beautiful in mathematics resides in contradiction. Incommensurability, logoi alogoi, was the first splendor in mathematics."
— Simone Weil, Oeuvres Choisies, éd. Quarto, Gallimard, 1999, p. 100
Logos Alogos,
by S. H. Cullinane
In the conclusion of Section 3, Canto X, of "Notes," Stevens says
"They will get it straight one day
at the Sorbonne.
We shall return at twilight
from the lecture
Pleased that
the irrational is rational…."
This is the logoi alogoi of Simone Weil.
Comments Off on Sunday March 7, 2004
Friday, November 21, 2003
Friday November 21, 2003
Just Say NO
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For more on the above “spider” symbol, see
ART WARS for Trotsky’s Birthday
(Oct. 26, 2003), Parts I and II
and the site from which
the above figure is taken,
For some Chinese poetic justice, see
Library of Paradise, and
See, too, the Chinese character for “end”
used to sell the work of Ian Fleming:
Note, in Endings and Beginnings, the strong resemblance between this character and the name of the Chinese-American architect of the Robert Frost Library at Amherst College. Then meditate on the following passage by Amherst graduate Stephen Mitchell:
“We dance round in a ring and suppose,
But the Secret sits in the middle
and knows,”
Robert Frost wrote,
looking in from the outside.
Looking out from the inside,
Chuang-tzu wrote,
“When we understand, we are at
the center of the circle,
and there we sit while Yes and No
chase each other
around the circumference.”
A view of the Robert Frost Library
from the inside is available in the entry
mentioned above.
See, too, my entry
of July 28, 2002.
Comments Off on Friday November 21, 2003
Sunday, October 26, 2003
Sunday October 26, 2003
ART WARS for
Trotsky’s Birthday
Part I:
Symbols
From my entry of July 26, 2003, in memory
of Marathon Man director John Schlesinger:
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Bright Star and Dark Lady “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, |
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Bright Star
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Amen. |
Dark Lady
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For the meaning of the above symbols, see
Kubrick’s 1x4x9 monolith in 2001,
the Halmos tombstone in Measure Theory,
and the Fritz Leiber Changewar stories.
Part II:
Sunday in the Park with Death
To Leon from Diego —
Details of a mural,
A Dream of a Sunday Afternoon
in Alameda Park,
Fresco, 1947-48,
Alameda Hotel, Mexico City:
Three’s a Crowd:
Symbol:
Comments Off on Sunday October 26, 2003
Saturday, July 26, 2003
Saturday July 26, 2003
Funeral March
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John Schlesinger dead at 77; LOS ANGELES – Oscar-winning director John Schlesinger, who daringly brought gay characters into mainstream cinema with Midnight Cowboy and tapped into nightmares with the teeth-drilling torture of Marathon Man, died Friday at 77. The British-born filmmaker…. died about 5:30 a.m…. |
Schlesinger also directed The Day of the Locust, based on a novel by Nathanael West.
See Heaven, Hell, and Hollywood and
From the latter:
“Then you know your body’s sent,
Don’t care if you don’t pay rent,
Sky is high and so am I,
If you’re a viper — a vi-paah.”
— The Day of the Locust,
by Nathanael West (1939),
New Directions paperback,
1969, page 162
This song may be downloaded at
That same site begins with a traditional Mexican song…
“La cucaracha, la cucaracha,
ya no puede caminar,
porque no quiere,
porque le falta
marihuana que fumar.”
(“The cockroach, the cockroach,
can’t walk anymore,
because he doesn’t want to,
because he has no
marihuana to smoke.”)
This suggests an appropriate funeral march for John Schlesinger:
“Ya murió la cucaracha, ya la llevan a enterrar…” – La Cucaracha
Those attending Schlesinger’s wake, as opposed to his funeral, may wish to perform other numbers from the Pot Culture page, which offers a variety of “viper” songs.
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Bright Star and Dark Lady “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, |
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Bright Star
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Amen.
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Dark Lady
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For the meaning of the above symbols, see
Kubrick’s 1x4x9 monolith in 2001,
the Halmos tombstone in Measure Theory,
and the Fritz Leiber Changewar stories.
Concluding Unscientific Postscript:
Oh, yes… the question of
Heaven or Hell for John Schlesinger…
Recall that he also directed the delightful
Cold Comfort Farm and see
last year’s entry for this date.
Tuesday, March 4, 2003
Tuesday March 4, 2003
Fearful Symmetry
I just Googled this phrase and found the following site, which turns out to be related to my previous entry on the Bead Game and the death of John P. Thompson.
Fearful Symmetry:
The Music Master’s Lecture,
by Daniel d’Quincy.
This in turn links to an excerpt from The Glass Bead Game that includes this passage:
“I suddenly realized that in the language, or at any rate in the spirit of the Glass Bead Game, everything actually was all-meaningful, that every symbol and combination of symbols led not hither and yon, not to single examples, experiments, and proofs, but into the center, the mystery and innermost heart of the world, into primal knowledge. Every transition from major to minor in a sonata, every transformation of a myth or a religious cult, every classical or artistic formulation was, I realized in that flashing moment, if seen with a truly meditative mind, nothing but a direct route into the interior of the cosmic mystery, where in the alternation between inhaling and exhaling, between heaven and earth, between Yin and Yang, holiness is forever being created.”
It is very easy to get dangerously confused about holiness, but here are some relevant quotes:
“You will have to allow me to digress a bit in order to bring ourselves to a sufficiently elevated perspective… I warn you, it will require an attitude of playfulness on your part. Our approach will aim more at sincerity than seriousness. The attitude I’m aiming at is best expressed, I suppose, in the playing of a unique game, known by its German name as Das Glasperlenspiel, and which we may translate as the Glass Bead Game.”
— Daniel d’Quincy, Fearful Symmetry
“7:11”
— God himself said this, at least according to the previous entry and to my Jan. 28 entry, State of the Communion.
“Seven is heaven.”
— See my web page Eight is a Gate.
“An excellent example of a ‘universal’ in the sense of Charles Williams, Jung, or Plato is Hexagram 11 in China’s 3,000-year-old classic, the I Ching:
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‘Heaven and earth unite: |
— S. H. Cullinane, Plato, Pegasus, and the Evening Star
Thus we may associate the numbers 7 and 11 with the notions of heaven and peace; for a somewhat darker association of the time 7:11 with Kali as Time the Destroyer, see my last entry and also my previous entries
Fat Man and Dancing Girl (Feb. 18, 2003), and
Time and Eternity (Feb. 1, 2003).