“… I realized that to me,
Gödel and Escher and Bach
were only shadows
cast in different directions by
some central solid essence.
I tried to reconstruct
the central object, and
came up with this book.”
Related images —
Wednesday, May 10, 2023
Saving the Appearances
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Monday, November 11, 2019
Time and Chance
The misleading image at right above is from the cover of
an edition of Charles Williams's classic 1931 novel
Many Dimensions published in 1993 by Wm. B. Eerdmans.
Compare and constrast —
Cover of a book by Douglas Hofstadter
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Saturday, May 11, 2013
Core
Promotional description of a new book:
“Like Gödel, Escher, Bach before it, Surfaces and Essences will profoundly enrich our understanding of our own minds. By plunging the reader into an extraordinary variety of colorful situations involving language, thought, and memory, by revealing bit by bit the constantly churning cognitive mechanisms normally completely hidden from view, and by discovering in them one central, invariant core— the incessant, unconscious quest for strong analogical links to past experiences— this book puts forth a radical and deeply surprising new vision of the act of thinking.”
“Like Gödel, Escher, Bach before it….”
Or like Metamagical Themas .
Rubik core:
Non- Rubik cores:
| Of the odd nxnxn cube:
|
Of the even nxnxn cube:
|
Related material: The Eightfold Cube and…
“A core component in the construction
is a 3-dimensional vector space V over F2 .”
— Page 29 of “A twist in the M24 moonshine story,”
by Anne Taormina and Katrin Wendland.
(Submitted to the arXiv on 13 Mar 2013.)
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Monday, July 23, 2007
Monday July 23, 2007
Daniel Radcliffe
is 18 today.
is 18 today.
Greetings.
“The greatest sorcerer (writes Novalis memorably)
would be the one who bewitched himself to the point of
taking his own phantasmagorias for autonomous apparitions.
Would not this be true of us?”
–Jorge Luis Borges, “Avatars of the Tortoise”
“El mayor hechicero (escribe memorablemente Novalis)
sería el que se hechizara hasta el punto de
tomar sus propias fantasmagorías por apariciones autónomas.
¿No sería este nuestro caso?”
–Jorge Luis Borges, “Los Avatares de la Tortuga“
Autonomous Apparition
At Midsummer Noon:“In Many Dimensions (1931)
Williams sets before his reader the
mysterious Stone of King Solomon,
an image he probably drew from
a brief description in Waite’s
The Holy Kabbalah (1929) of
a supernatural cubic stone
on which was inscribed
‘the Divine Name.’”
 Related material:
|
| It is not enough to cover the rock with leaves. We must be cured of it by a cure of the ground Or a cure of ourselves, that is equal to a cure Of the ground, a cure beyond forgetfulness. And if we ate the incipient colorings – Wallace Stevens, “The Rock” |
See also
“… I realized that to me,
Gödel and Escher and Bach
were only shadows
cast in different directions by
some central solid essence.
I tried to reconstruct
the central object, and
came up with this book.”
Gödel and Escher and Bach
were only shadows
cast in different directions by
some central solid essence.
I tried to reconstruct
the central object, and
came up with this book.”
Hofstadter’s cover.
Here are three patterns,
“shadows” of a sort,
derived from a different
“central object”:
“shadows” of a sort,
derived from a different
“central object”:
Click on image for details.
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Saturday, November 5, 2005
Saturday November 5, 2005
Contrapuntal Themes
in a Shadowland
(See previous entry.)
Douglas Hofstadter on his magnum opus:
"… I realized that to me, Gödel and Escher and Bach were only shadows cast in different directions by some central solid essence. I tried to reconstruct the central object, and came up with this book."
Hofstadter's cover
Here are three patterns,
"shadows" of a sort,
derived from a different
"central object":
For details, see
Solomon's Cube.
Related material:
The reference to a
"permutation fugue"
(pdf) in an article on
Gödel, Escher, Bach.
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Friday, May 6, 2005
Friday May 6, 2005
Fugues
"To improvise an eight-part fugue
is really beyond human capability."
— Douglas R. Hofstadter,
Gödel, Escher, Bach
Order of a projective
automorphism group:
168
"There are possibilities of
contrapuntal arrangement
of subject-matter."
— T. S. Eliot, quoted in
Origins of Form in Four Quartets.
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