Log24

Tuesday, May 8, 2018

The Museum of Slow Art

Filed under: General — Tags: — m759 @ 10:29 PM

From April 2008 —

From the Sketchbook page of next Sunday's  New York Times Book Review 

Backstory —

Tuesday, April 12, 2016

Slow Art

Filed under: General,Geometry — Tags: — m759 @ 10:45 PM

(Continued)

The American Mathematical Society today got around to
publishing an obituary for Solomon Marcus, a Bucharest
mathematician who died on St. Patrick's Day, March 17.

See as well this  journal on March 22.

Wednesday, June 17, 2015

Slow Art, Continued

Filed under: General,Geometry — Tags: — m759 @ 10:01 AM

The title of the previous post, "Slow Art," is a phrase
of the late art critic Robert Hughes.

Example from mathematics:

  • Göpel tetrads as subsets of a 4×4 square in the classic
    1905 book Kummer's Quartic Surface  by R. W. H. T. Hudson.
    These subsets were constructed as helpful schematic diagrams,
    without any reference to the concept of finite  geometry they
    were later to embody.
     
  • Göpel tetrads (not named as such), again as subsets of
    a 4×4 square, that form the 15 isotropic projective lines of the
    finite projective 3-space PG(3,2) in a note on finite geometry
    from 1986 —

    Göpel tetrads in an inscape, April 1986

  • Göpel tetrads as these figures of finite  geometry in a 1990
    foreword to the reissued 1905 book of Hudson:

IMAGE- Galois geometry in Wolf Barth's 1990 foreword to Hudson's 1905 'Kummer's Quartic Surface'

Click the Barth passage to see it with its surrounding text.

Related material:

Monday, June 15, 2015

Slow Art

Filed under: General — Tags: — m759 @ 2:03 PM

Slowness is sometimes in the eye of the beholder.

See this journal on Slow Art Day 2015.

Related material: Epistemic States in this journal.

Sunday, April 28, 2013

Slow Art

Filed under: General — Tags: — m759 @ 12:00 PM

IMAGE- Details from Josefine Lyche's installation 'Grids, You Say?'

See also Slow Art in this journal
and posts of the past 24 hours.

Wednesday, April 10, 2013

Caution: Slow Art

Filed under: General,Geometry — Tags: , — m759 @ 9:00 PM

"Of course, DeLillo being DeLillo,
it’s the deeper implications of the piece —
what it reveals about the nature of
film, perception and time — that detain him."

— Geoff Dyer, review of Point Omega

Related material:

A phrase of critic Robert Hughes,
"slow art," in this journal.

A search for that phrase yields the following
figure from a post on DeLillo of Oct. 12, 2011:

The 3x3 square

The above 3×3 grid is embedded in a 
somewhat more sophisticated example
of conceptual art from April 1, 2013:

IMAGE- A Galois-geometry key to Desargues' theorem

Update of April 12, 2013

The above key uses labels from the frontispiece
to Baker's 1922 Principles of Geometry, Vol. I ,
that shows a three-triangle version of Desargues's theorem.

A different figure, from a site at National Tsing Hua University,
shows the three triangles of Baker's figure more clearly:

IMAGE- Desargues' theorem with three triangles (the large Desargues configuration) and Galois-geometry version

Thursday, December 20, 2018

Slow

Filed under: General — Tags: , — m759 @ 8:12 PM

Some images suggested by the previous post and by the date
of the documentary below — March 12, 2005 —

See also Slow Art.

Monday, November 9, 2015

A Particular Mind

Filed under: General,Geometry — m759 @ 6:30 AM

"The old, slow art of the eye and the hand, united in service
to the imagination, is in crisis. It’s not that painting is 'dead' 
again—no other medium can as yet so directly combine
vision and touch to express what it’s like to have a particular
mind, with its singular troubles and glories, in a particular
body. But painting has lost symbolic force and function in a
culture of promiscuous knowledge and glutting information."

Peter Schjeldahl in The New Yorker ,
     issue dated Jan. 5, 2015

Cover of a 1980 book on computer music that contains a
helpful article on Walsh functions —

See, in this book, "Walsh Functions: A Digital Fourier Series,"
by Benjamin Jacoby (BYTE , September 1977).  Some context:
Symmetry of Walsh Functions.

Excerpts from a search for Steve + Jobs in this journal —

Friday, October 10, 2014

High White Noon

Filed under: General — m759 @ 12:00 PM

(The phrase is from Don DeLillo and Josefine Lyche.)

See “Complex Grid.”

See as well Bill O’Reilly’s remark, “Do not be a coxcomb,”
and an artist‘s self-portrait:

IMAGE- Jamie Foxx in 'Amazing Spider Man 2'

Grid Designer

Sunday, October 6, 2013

The Curve

Filed under: General — m759 @ 9:00 PM

(Saturday's Dream Girls, continued)

"How would you touch me?"

The computer in the new film Her

For some remarks on Arcade Fire, see Saturday's 10 PM post 
and Sunday's 10:10 AM post.

In related news…

See also posts with Slow Art  and Amy Adams
shooting pool (scroll to the bottom).

Thursday, April 11, 2013

Naked Art

Filed under: General,Geometry — m759 @ 9:48 PM

The New Yorker  on Cubism:

"The style wasn’t new, exactly— or even really a style,
in its purest instances— though it would spawn no end
of novelties in art and design. Rather, it stripped naked
certain characteristics of all pictures. Looking at a Cubist
work, you are forced to see how you see. This may be
gruelling, a gymnasium workout for eye and mind.
It pays off in sophistication."

Online "Culture Desk" weblog, posted today by Peter Schjeldahl

Non-style from 1911:

IMAGE- Britannica 11th edition on the symmetry axes and planes of the cube

See also Cube Symmetry Planes  in this  journal.

A comment at The New Yorker  related to Schjeldahl's phrase "stripped naked"—

"Conceptualism is the least seductive modern-art movement."

POSTED 4/11/2013, 3:54:37 PM BY CHRISKELLEY

(The "conceptualism" link was added to the quoted comment.)

Wednesday, April 3, 2013

Museum Piece

Filed under: General,Geometry — Tags: — m759 @ 3:01 PM

Roberta Smith in 2011 on the American Folk Art Museum (see previous post):

"It could be argued that we need a museum of folk art
the way we need a museum of modern art,
to shine a very strong, undiluted light on
a very important achievement."

Some other aesthetic remarks:

"We have had a gutful of fast art and fast food.
What we need more of is slow art: art that holds time
as a vase holds water: art that grows out of modes
of perception and whose skill and doggedness
make you think and feel; art that isn't merely sensational,
that doesn't get its message across in 10 seconds,
that isn't falsely iconic, that hooks onto something
deep-running in our natures. In a word, art that is
the very opposite of mass media. For no spiritually
authentic art can beat mass media at their own game."

— Robert Hughes, speech of June 2, 2004,
     quoted here June 15, 2007.

Perhaps, as well as museums of modern art and of folk art,
we need a Museum of Slow Art

One possible exhibit, from this journal Monday:

The diagram on the left is from 1922.  The 20 small squares at right
that each have 4 subsquares darkened were discussed, in a different
context, in 1905. They were re-illustrated, in a new context
(Galois geometry), in 1986. The "key" square, and the combined
illustration, is from April 1, 2013. For deeper background, see
Classical Geometry in Light of Galois Geometry.

Those who prefer faster art may consult Ten Years After.

Tuesday, August 7, 2012

The Space of Horizons

Filed under: General,Geometry — m759 @ 4:00 AM

“In the space of horizons that neither love nor hate”
— Wallace Stevens, “Things of August”

Seven years ago yesterday—

IMAGE- 3x3 grid related to Borofsky's 'Four Gods'

For some context, see Rosetta Stone as a Metaphor.

Related material from the University of Western Australia

Projective plane of order 3

(The four points on the curve
at the right of the image are
the points on the line at infinity.)

Art critic Robert Hughes,  who nearly died in Western
Australia in a 1999 car crash, actually met his death
yesterday at Calvary Hospital in the Bronx.

See also Hughes on “slow artin this journal.

Wednesday, October 12, 2011

High White Noon

Filed under: General,Geometry — m759 @ 12:00 PM

Grid from a post linked to in yesterday's 24 Hour DeLillo

The 3x3 square

A Study in Art Education

For an example of this grid as slow art , consider the following—

"One can show that the binary tetrahedral group
is isomorphic to the special linear group SL(2,3)—
the group of all 2×2 matrices over the finite field F3
with unit determinant." —Wikipedia

As John Baez has noted, these two groups have the same structure as the geometric 24-cell.

For the connection of the grid to the groups and the 24-cell, see Visualizing GL(2,p).

Related material—

The 3×3 grid has been called a symbol of Apollo (Greek god of reason and of the sun).

"This is where we sat through his hushed hour,
a torchlit sky, the closeness of hills barely visible
at high white noon." — Don DeLillo, Point Omega

Tuesday, October 11, 2011

24 Hour DeLillo

Filed under: General — m759 @ 12:00 PM

Review of DeLillo's novel Point Omega

"One difference between art and entertainment has to do with the speed of perception. Art deliberately slows and complicates reading, hearing, and/or viewing so that you’re challenged to re-think and re-feel form and experience. Entertainment deliberately accelerates and simplifies them so that you don’t have to think about or feel very much of anything at all except, perhaps, the adrenalin rush before dazzling spectacle. Although, of course, there can be myriad gradations between the former and latter, in their starkest articulation we’re talking about the distance between, say, David Foster Wallace’s Infinite Jest  and Dan Brown’s The Lost Symbol…."

— Lance Olsen, March 1, 2010, in The Quarterly Conversation

Robert Hughes on fast and slow art

"We have had a gutful of fast art and fast food. What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and whose skill and doggedness make you think and feel; art that isn't merely sensational, that doesn't get its message across in 10 seconds, that isn't falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media. For no spiritually authentic art can beat mass media at their own game."

– Speech of June 1, 2004

Log24 on art speeds—

A Study in Art Education (June 15, 2007)

Twenty-four (March 13, 2011)

Friday, June 15, 2007

Friday June 15, 2007

Filed under: General,Geometry — Tags: , — m759 @ 1:00 PM
A Study in
Art Education

Rudolf Arnheim, a student of Gestalt psychology (which, an obituary notes, emphasizes "the perception of forms as organized wholes") was the first Professor of the Psychology of Art at Harvard.  He died at 102 on Saturday, June 9, 2007.

The conclusion of yesterday's New York Times obituary of Arnheim:

"… in The New York Times Book Review in 1986, Celia McGee called Professor Arnheim 'the best kind of romantic,' adding, 'His wisdom, his patient explanations and lyrical enthusiasm are those of a teacher.'"

A related quotation:

"And you are teaching them a thing or two about yourself. They are learning that you are the living embodiment of two timeless characterizations of a teacher: 'I say what I mean, and I mean what I say' and 'We are going to keep doing this until we get it right.'"

Tools for Teaching

Here, yet again, is an illustration that has often appeared in Log24– notably, on the date of Arnheim's death:
 

The 3x3 square

Related quotations:

"We have had a gutful of fast art and fast food. What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and whose skill and doggedness make you think and feel; art that isn't merely sensational, that doesn't get its message across in 10 seconds, that isn't falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media. For no spiritually authentic art can beat mass media at their own game."

Robert Hughes, speech of June 2, 2004

"Whether the 3×3 square grid is fast art or slow art, truly or falsely iconic, perhaps depends upon the eye of the beholder."

Log24, June 5, 2004

If the beholder is Rudolf Arnheim, whom we may now suppose to be viewing the above figure in the afterlife, the 3×3 square is apparently slow art.  Consider the following review of his 1982 book The Power of the Center:

"Arnheim deals with the significance of two kinds of visual organization, the concentric arrangement (as exemplified in a bull's-eye target) and the grid (as exemplified in a Cartesian coordinate system)….

It is proposed that the two structures of grid and target are the symbolic vehicles par excellence for two metaphysical/psychological stances.  The concentric configuration is the visual/structural equivalent of an egocentric view of the world.  The self is the center, and all distances exist in relation to the focal spectator.  The concentric arrangement is a hermetic, impregnable pattern suited to conveying the idea of unity and other-worldly completeness.  By contrast, the grid structure has no clear center, and suggests an infinite, featureless extension…. Taking these two ideal types of structural scaffold and their symbolic potential (cosmic, egocentric vs. terrestrial, uncentered) as given, Arnheim reveals how their underlying presence organizes works of art."

— Review of Rudolf Arnheim's The Power of the Center: A Study of Composition in the Visual Arts (Univ. of Calif. Press, 1982). Review by David A. Pariser, Studies in Art Education, Vol. 24, No. 3 (1983), pp. 210-213

Arnheim himself says in this book (pp. viii-ix) that "With all its virtues, the framework of verticals and horizontals has one grave defect.  It has no center, and therefore it has no way of defining any particular location.  Taken by itself, it is an endless expanse in which no one place can be distinguished from the next.  This renders it incomplete for any mathematical, scientific, and artistic purpose.  For his geometrical analysis, Descartes had to impose a center, the point where a pair of coordinates [sic] crossed.  In doing so he borrowed from the other spatial system, the centric and cosmic one."

Students of art theory should, having read the above passages, discuss in what way the 3×3 square embodies both "ideal types of structural scaffold and their symbolic potential."

We may imagine such a discussion in an afterlife art class– in, perhaps, Purgatory rather than Heaven– that now includes Arnheim as well as Ernst Gombrich and Kirk Varnedoe.

Such a class would be one prerequisite for a more advanced course– Finite geometry of the square and cube.

Saturday, June 26, 2004

Saturday June 26, 2004

Filed under: General — m759 @ 3:03 AM
Deep Game

The entry Ado of June 25, 2004 contains a link to an earlier entry, A Form, continued, of June 5, 2004.  This in turn contains a link to a site by Wolfgang Wildgen which contains the following:

“Historically, we may say that the consequence of Bruno’s parallel work on cosmology and artificial memory is a new model of semantic fields which was so radical in its time that the first modern followers (although ignorant of this tradition) are the Von-Neumann automata and the neural net systems of the 1980s (cf. Wildgen 1998: 39, 237f).”

Wildgen, W. 1998. Das kosmische Gedächtnis. Kosmologie, Semiotik und Gedächtniskunst im Werke von Giordano Bruno. Frankfurt/Bern: Lang.

For an applet illustrating
the above remarks, see


Gedächtniskunst:

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Figure A

Neighborhood in a
Cellular Automaton
by Adam Campbell

For more of the Gedächtnis
in this Kunst, see the following
Google search on shc759:

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Figure B

Note that the reference to “forerunners” in fig. B occurs in a journal entry of June 12, 2002. See also the reference to a journal entry of the following day, June 13, 2002, in last Tuesday’s Dirty Trick.

Those who have viewed Campbell’s applet (see  fig. A) may appreciate the following observation of poet and Dante translator Robert Pinsky:

“… a grid, and a flow–
that is the essence of terza rima….”

Poetry, Computers, and Dante’s Inferno

For some related remarks
on the muses and epic poetry,
see a paper on Walter Benjamin:

“Here the memory (Gedächtnis) means
‘the epic faculty par excellence.’ “
(Benjamin, Der Erzähler, 1936: in
Gesammelte Schriften, 1991, II.2, 453)

Benjamin on Experience,
Narrative, and History
(pdf)

One possible connection to the muses is, as noted in a link in yesterday’s Ado, via George Balanchine.

An apt link to epic poetry (aside from the reference to Dante above) is, via the June 12, 2002, entry, to the epic The Gameplayers of Zan (the third reference in fig. B above).

The applet linked below fig. A very nicely illustrates the “structured chaos” of a space described by automata theory.  For a literary approach to such a space, see the Gameplayers entry.

For the benefit of art critic Robert Hughes, who recently made a distinction between “fast art” and “slow art,” the Campbell applet has a convenient speed control.
 

Saturday, June 5, 2004

Saturday June 5, 2004

Filed under: General,Geometry — m759 @ 11:11 AM
A Form,
 continued…

Some cognitive uses
of the 3×3 square
are discussed in

From Lullus to Cognitive Semantics:
The Evolution of a Theory of Semantic Fields

by Wolfgang Wildgen and in

Another Page in the Foundation of Semiotics:
A Book Review of On the Composition of Images, Signs & Ideas, by Giordano Bruno…
by Mihai Nadin

“We have had a gutful of fast art and fast food. What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and whose skill and doggedness make you think and feel; art that isn’t merely sensational, that doesn’t get its message across in 10 seconds, that isn’t falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media. For no spiritually authentic art can beat mass media at their own game.”

Robert Hughes, speech of June 2, 2004

Whether the 3×3 square grid is fast art or slow art, truly or falsely iconic, perhaps depends upon the eye of the beholder.

For a meditation on the related 4×4 square grid as “art that holds time,” see Time Fold.

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