For the De las Cuevas above, see …
https://www.gemmadelascuevas.com/ —
"I am an Assistant Professor at the Institute for Theoretical Physics
at the University of Innsbruck (Austria) . . . ."
— and a tweet from Thursday, April 14, 2022, that indicates
an interest in philosophy as well as physics —
Related vocabulary —
Related drama —
The title is from "Federico Ardila on Math, Music and
the Space of Possibilities," a podcast from Steven Strogatz's
Quanta Magazine series. The transcript is dated March 29, 2021.
Ardila: … in a nutshell, what combinatorics is about is just
the study of possibilities and how do you organize them,
given that there’s too many of them to list them.
Strogatz: So, I love it. Combinatorics is not just
the art of the possible, but the enumeration of the possible,
the counting of the possible and the organizing of the possible.
Strogatz: It’s such a poetic image, actually: the space of possibilities.
This journal on the podcast date, March 29, 2021 —
A more precise approach to the space of possibilities:
From the previous post, Expanding the Spielraum —
"The knights and squires of nearby Ambras used to let their
steeds romp here, whence came the name Tummelplatz ."
— Quelle: Ludwig von Hörmann, "Der Tummelplatz bei Amras,"
in: Der Alpenfreund , 1. Band, Gera 1870, S. 72 – 73.
Halloween meditation on the Tummelplatz at Innsbruck —
"Die Ritter und Knappen des nahegelegenen Ambras
pflegten hier ihre Rosse zu tummeln, woher sich auch
der Name Tummelplatz schreibt."
"The knights and squires of nearby Ambras used to let their
steeds romp here, whence came the name Tummelplatz ."
— Quelle: Ludwig von Hörmann, "Der Tummelplatz bei Amras,"
in: Der Alpenfreund , 1. Band, Gera 1870, S. 72 – 73.
See as well Sigmund Freud, Erinnern, Wiederholen und Durcharbeiten
(1914) —
"Wir eröffnen ihm die Übertragung als den Tummelplatz ,
auf dem ihm gestattet wird, sich in fast völliger Freiheit
zu entfalten, und auferlegt ist, uns alles vorzuführen,
was sich an pathogenen Trieben im Seelenleben des
Analysierten verborgen hat."
"We admit it into the transference as a playground
in which it is allowed to expand in almost complete freedom
and in which it is expected to display to us everything in the
way of pathogenic instincts that is hidden in the patient's mind."
This passage has been discussed by later psychotherapists,
notably Russell Meares. Dr. Meares, working from a translation
that has "playground" for Freud's Tummelplatz , uses Spielraum
in place of Freud's own word.
For related material in this journal, see Expanding the Spielraum.
An illustration from that search —
Yesterday's nonsense from The New York Times suggests
a better example of cultural criticism is needed. Try this …
The opening paragraph of "The many faces of Pablo Picasso,"
by Peter Conrad, at theguardian.com on Saturday,
7 February, 2009, 19.01 EST* —
"Picasso," the surrealist poet Paul Eluard said,
"paints like God or the devil." Picasso favoured
the first option. "I am God," he was once heard
telling himself. He muttered the mantra three
times, boasting of his power to animate and
enliven the visible world. Any line drawn by
his hand pulsed with vitality; when he looked
at it, a bicycle seat and its handlebar could
suddenly turn into the horned head of a bull.
But he also took a diabolical pleasure in
warping appearances, deforming faces and
twisting bodies, subjecting reality to a
tormenting inquisition.
As noted here, yesterday was the birth date (in 1811) of Galois.
It was also the birth date (in 1881) of Picasso.
Related material from the 2009 date* of the Conrad article —
The Log24 post "Childish Things." For those who deeply
dislike Picasso, there is also an 1880 opening illustration
to Hans Christian Andersen's The Snow Queen —
Story the First,
Which Describes a Looking-Glass
and the Broken Fragments
"You must attend to the commencement
of this story, for when we get to the end
we shall know more than we do now about
a very wicked hobgoblin; he was one of the
very worst, for he was a real demon."
Houghton Mifflin edition of 1880, Riverside Press, Cambridge
Click the above illustration for related posts in this journal.
* Also dated the following day, to correspond to the 00.01 GMT publication
time of The Guardian 's Sunday version, The Observer , in which it appeared.
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