See also this journal on the above Cambridge U. Press date.
"There are many places one can read about twistors
and the mathematics that underlies them. One that
I can especially recommend is the book Twistor Geometry
and Field Theory, by Ward and Wells."
— Peter Woit, "Not Even Wrong" weblog post, March 6, 2020.
* A fictional entity. See Synchronology in this journal.
Three approaches to The World as Myth…
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From Heinlein's 1985 The Cat Who Walks Through Walls … The World as Myth is a subtle concept. It has sometimes been called multiperson solipsism, despite the internal illogic of that phrase. Yet illogic may be necessary, as the concept denies logic. For many centuries religion held sway as the explanation of the universe- or multiverse. The details of revealed religions differed wildly but were essentially the same: Somewhere up in the sky-or down in the earth-or in a volcano-any inaccessible place- there was an old man in a nightshirt who knew everything and was all powerful and created everything and rewarded and punished… and could be bribed. "Sometimes this Almighty was female but not often because human males are usually bigger, stronger, and more belligerent; God was created in Pop's image. "The Almighty-God idea came under attack because it explained nothing; it simply pushed all explanations one stage farther away. In the nineteenth century atheistic positivism started displacing the Almighty-God notion in that minority of the population that bathed regularly. "Atheism had a limited run, as it, too, explains nothing, being merely Godism turned upside down. Logical positivism was based on the physical science of the nineteenth century which, physicists of that century honestly believed, fully explained the universe as a piece of clockwork. "The physicists of the twentieth century made short work of that idea. Quantum mechanics and Schrodringer's cat tossed out the clockwork world of 1890 and replaced it with a fog of probability in which anything could happen. Of course the intellectual class did not notice this for many decades, as an intellectual is a highly educated man who can't do arithmetic with his shoes on, and is proud of his lack. Nevertheless, with the death of positivism, Godism and Creationism came back stronger than ever. "In the late twentieth century -correct me when I' m wrong, Hilda-Hilda and her family were driven off Earth by a devil, one they dubbed 'the Beast.' They fled in a vehicle you have met, Gay Deceiver, and in their search for safety they visited many dimensions, many universes… and Hilda made the greatest philosophical discovery of all time." "I'll bet you say that to all the girls!" "Quiet, dear. They visited, among more mundane places, the Land of Oz-" I sat up with a jerk. Not too much sleep last night and Dr. Harshaw's lecture was sleep-inducing. "Did you say 'Oz'?" "I tell you three times. Oz, Oz, Oz. They did indeed visit the fairyland dreamed up by L. Frank Baum. And the Wonderland invented by the Reverend Mr. Dodgson to please Alice. And other places known only to fiction. Hilda discovered what none of us had noticed before because we were inside it: The World is Myth. We create it ourselves-and we change it ourselves. A truly strong myth maker, such as Homer, such as Baum, such as the creator of Tarzan, creates substantial and lasting worlds … whereas the fiddlin', unimaginative liars and fabulists shape nothing new and their tedious dreams are forgotten. …. |
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Friday, November 6, 2009
Where Entertainment is God (continued)
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Tina Fey to Steve Martin
at the Oscars:
"Oh, Steve, no one wants
to hear about our religion
… that we made up."
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From Wallace Stevens: A World of Transforming Shapes, by Alan D. Perlis, Bucknell University Press, 1976, p. 117:
… in 'The Pediment of Appearance,' a slight narrative poem in Transport to Summer… A group of young men enter some woods 'Hunting for the great ornament, The pediment of appearance.' Though moving through the natural world, the young men seek the artificial, or pure form, believing that in discovering this pediment, this distillation of the real, they will also discover the 'savage transparence,' the rude source of human life. In Stevens's world, such a search is futile, since it is only through observing nature that one reaches beyond it to pure form. As if to demonstrate the degree to which the young men's search is misaligned, Stevens says of them that 'they go crying/The world is myself, life is myself,' believing that what surrounds them is immaterial. Such a proclamation is a cardinal violation of Stevens's principles of the imagination. |
Superficially the young men's philosophy seems to resemble what Wikipedia calls "pantheistic solipsism"– noting, however, that "This article has multiple issues."
As, indeed, does pantheistic solipsism– a philosophy (properly called "eschatological pantheistic multiple-ego solipsism") devised, with tongue in cheek, by science-fiction writer Robert A. Heinlein.
Despite their preoccupation with solipsism, Heinlein and Stevens point, each in his own poetic way, to a highly non-solipsistic topic from pure mathematics that is, unlike the religion of Martin and Fey, not made up– namely, the properties of space.
"Sharpie, we have condensed six dimensions into four, then we either work by analogy into six, or we have to use math that apparently nobody but Jake and my cousin Ed understands. Unless you can think of some way to project six dimensions into three– you seem to be smart at such projections."
I closed my eyes and thought hard. "Zebbie, I don't think it can be done. Maybe Escher could have done it."
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A discussion of Stevens's late poem "The Rock" (1954) in Wallace Stevens: A World of Transforming Shapes, by Alan D. Perlis, Bucknell University Press, 1976, p. 120:
For Stevens, the poem "makes meanings of the rock." In the mind, "its barrenness becomes a thousand things/And so exists no more." In fact, in a peculiar irony that only a poet with Stevens's particular notion of the imagination's function could develop, the rock becomes the mind itself, shattered into such diamond-faceted brilliance that it encompasses all possibilities for human thought:
The rock is the gray particular of man's life,
The stone from which he rises, up—and—ho,
The step to the bleaker depths of his descents ...
The rock is the stern particular of the air,
The mirror of the planets, one by one,
But through man's eye, their silent rhapsodist,
Turquoise the rock, at odious evening bright
With redness that sticks fast to evil dreams;
The difficult rightness of half-risen day.
The rock is the habitation of the whole,
Its strength and measure, that which is near,
point A
In a perspective that begins again
At B: the origin of the mango's rind.
(Collected Poems, 528)
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Stevens's rock is associated with empty space, a concept that suggests "nothingness" to one literary critic:
B. J. Leggett, "Stevens's Late Poetry" in The Cambridge Companion to Wallace Stevens— On the poem "The Rock":
"… the barren rock of the title is Stevens's symbol for the nothingness that underlies all existence, 'That in which space itself is contained'…. Its subject is its speaker's sense of nothingness and his need to be cured of it."
More positively…
Space is, of course, also a topic
in pure mathematics…
For instance, the 6-dimensional
affine space (or the corresponding
5-dimensional projective space)
over the two-element Galois field
can be viewed as an illustration of
Stevens's metaphor in "The Rock."
Cara:
Here the 6-dimensional affine
space contains the 63 points
of PG(5, 2), plus the origin, and
the 3-dimensional affine
space contains as its 8 points
Conwell's eight "heptads," as in
Generating the Octad Generator.
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