Log24

Saturday, April 10, 2021

Possibility

Filed under: General — Tags: , — m759 @ 2:31 pm

The previous post, on a Joyce symposium in
Utrecht on June 15-20, 2014, suggests a review
of this  journal in June 2014.  From June 21
of that year —

"Without the possibility that
an origin can be lost, forgotten,
or alienated into what springs
forth from it, an origin could
not be an origin. The possibility
of inscription is thus a necessary
possibility, one that must always
be possible."

— Page 157 of The Tain of the Mirror:
Derrida and the Philosophy of Reflection ,
by Rodolphe Gasché, Harvard U. Press, 1986

Related art suggested by the above modal logic

Nietzsche, 'law in becoming' and 'play in necessity'

Nietzsche on Heraclitus— 'play in necessity' and 'law in becoming'— illustrated.

Monday, July 15, 2019

Possibility and Necessity: Kierkegaard Meets Nietzsche

Filed under: General — Tags: — m759 @ 7:29 am

The previous post’s search for Turing + Dyson yielded a
quotation from Kierkegaard on possibility and necessity.
Further details —

See also . . .

Nietzsche, 'law in becoming' and 'play in necessity'

Nietzsche on Heraclitus— 'play in necessity' and 'law in becoming'— illustrated.

Tuesday, April 17, 2018

A Necessary Possibility*

Filed under: General,Geometry — Tags: , — m759 @ 10:00 am

"Without the possibility that an origin can be lost, forgotten, or
alienated into what springs forth from it, an origin could not be
an origin. The possibility of inscription is thus a necessary possibility,
one that must always be possible."

— Rodolphe Gasché, The Tain of the Mirror ,
     Harvard University Press, 1986

IMAGE- Harvard University Press, 1986 - A page on Derrida's 'inscription'

An inscription from 2010 —

An inscription from 1984 —

American Mathematical Monthly, June-July 1984, p. 382

MISCELLANEA, 129

Triangles are square

"Every triangle consists of  n congruent copies of itself"
is true if and only if  n is a square. (The proof is trivial.) 
— Steven H. Cullinane

* See also other Log24 posts mentioning this phrase.

Thursday, January 31, 2013

Necessary Possibility

Filed under: General — Tags: — m759 @ 9:05 pm

The inscription  link in the previous post suggests
a review of the rather paradoxical concept of 
"necessary possibility."

See a deconstructionist view , a scholarly view,
and a graphic view.

Wednesday, January 30, 2013

Abstract Possibility

Filed under: General — m759 @ 1:01 pm

Today's NY Times  "Stone Links" to philosophy include
a link to a review of a collection of Hilary Putnam's papers.

Related material, from Putnam's "What is Mathematical
Truth?
" (Historia Mathematica  2 (1975): 529-543)—

"In this paper I argue that mathematics should be interpreted realistically – that is, that mathematics makes assertions that are objectively true or false, independently of the human mind, and that something answers to such mathematical notions as ‘set’ and ‘function’. This is not to say that reality is somehow bifurcated – that there is one reality of material things, and then, over and above it, a second reality of ‘mathematical things’. A set of objects, for example, depends for its existence on those objects: if they are destroyed, then there is no longer such a set. (Of course, we may say that the set exists ‘tenselessly’, but we may also say the objects exist ‘tenselessly’: this is just to say that in pure mathematics we can sometimes ignore the important difference between ‘exists now’ and ‘did exist, exists now, or will exist’.) Not only are the ‘objects’ of pure mathematics conditional upon material objects; they are, in a sense, merely abstract possibilities. Studying how mathematical objects behave might better be described as studying what structures are abstractly possible and what structures are not abstractly possible."

See also Wittgenstein's Diamond and Plato's Diamond.

Sunday, July 5, 2026

Exhibition Text

Filed under: General — Tags: , — m759 @ 1:51 pm

Norwegian artist Josefine Lyche's current exhibition, Geometric Utopias

https://www.nilsaas.no/utstillinger-kunstrom-jakob/josefine-lyche . . .

To look for the light

There is art that shows us the world as it is. And then there is art that insists that the world is more than what we can see and think. Josefine Lyche's art belongs to the latter category. In her world, colour, form, light, body and imagination are not separate entities, but parts of a large, coherent and sensual landscape.

In Geometric Utopias, Lyche invites us into a space where geometry is not cold or distant. It begins to pulsate. It becomes a small system of hope, an order that does not close the world but opens it, as if lines, circles and light could be traces of a greater tenderness in the universe. It points not only towards systems and structures, but towards the possibility of deeper connections between the world we know and the world that may exist just behind it. Utopia is not a finished model for a better world. It is a direction, a movement, a desire that something else can exist.

In the Space of Possibility
Geometric Utopias is not about presenting a finished vision, but about dwelling in the space of possibility. The exhibition invites us to negotiate between what we know, what we believe, what we sense, and what we can imagine. It does not ask whether we literally believe in other dimensions, cosmic messages, or hidden energies. Rather, it asks what happens when we allow such notions to have space. What happens when art is allowed to be a place where reality can be expanded, where the contours of established truths become a little looser, a little more porous, so that new light – new knowledge – can enter?

It is an important question today. We live in an era governed by control, documentation and measurability. Most things should be recorded, explained, analyzed and streamlined. At the same time, the present is full of crises that make the future difficult to imagine: climate crisis, war, unrest, technological acceleration and an unimaginable flow of information. In such a time, it may seem naive, perhaps even irresponsible, to talk about beauty, light, hope and transcendence. But perhaps that is precisely why such experiences are needed.

An order behind the world
Geometry is often associated with order. With structure, proportions, systems and mathematical principles. Utopia points towards something that does not yet exist, or that may never be fully found: an idea of ​​​​a different and more harmonious world. When these words are put together, an image emerges of a universe where form and hope are interconnected. A universe where geometry is not just decoration or composition, but a possible structure behind reality.

Josefine Lyche links this to the notion of a perfect, eternal and harmonious universe built on mathematical and geometric principles. We can think of Plato's world of ideas, where the sensible world is only an imperfect reflection of a more perfect reality. We can think of the Platonic solids, these basic forms that throughout history have been given cosmological and metaphysical significance. And we can think of how artists, philosophers, mystics and mathematicians have tried again and again to understand whether the world has a hidden order.

The image as a portal
An important track in the exhibition is the idea of ​​​​the image as a portal. The Russian theologian and philosopher Pavel Florensky described the icon as more than an image: it was a window, or a door, to an invisible reality. In this tradition, the image is not primarily a representation of the world as we see it. Rather, it is an opening to another form of experience. In a similar way, Lyche's works can be understood as portals – not because they explain the invisible, but because they invite us to approach it. This is particularly clear in the series Halo I–IX , nine round paintings in which the halo emerges as both a natural phenomenon, a cosmic circle and a sacred halo. A halo can arise when light is refracted in ice crystals in the atmosphere. At the same time, we know it as the luminous circle around the head in icon paintings and church art, where it marks the illuminated, the sacred, that which does not only belong to the ordinary human sphere.

In Lyche's paintings, these meanings come together: the natural phenomenon, the icon tradition, the cosmic circle and the painting's own world of colour. She has looked at icons in her mother's collection, where the halo is often multi-coloured and round. She has also drawn inspiration from illustrations of the creation story in the Nuremberg Chronicle from 1493. These paintings can be seen as portals. Windows to the afterlife. They do not attempt to depict light, but to approach light as an experience.

The cosmic kinship of abstraction
There is also a clear art historical line to artists such as Hilma af Klint, Emma Kunz, Wassily Kandinsky, Kazimir Malevich and Mark Rothko. These are artists who in various ways used abstraction to approach the spiritual, the cosmic or the invisible. For them, abstraction is not just a formal language, but a way of examining reality.

Hilma af Klint painted diagrams of spiritual worlds. Kandinsky saw colors and abstract forms as something that could bypass the logic of the material world and touch the soul directly. Malevich sought a zero point and a new space through the Suprematist image. Rothko wanted the floating surfaces of color to become places of intense emotional experience – tragedy, ecstasy and awe. For Emma Kunz, art was a cosmic research tool, a way of mapping invisible dimensions through geometry, pendulum and drawing.

Lyche is part of this tradition, but without repeating it in a loud or serious way. In her work, the spiritual goes hand in hand with popular culture, science fiction, cosplay, manga and contemporary visual excess. This gives her works a unique duality. They can be beautiful and strange at the same time. Precise and playful. Loud and humorous. They draw energy both from art historical notions of the sublime and from the visual culture that surrounds us today.

Between faith and skepticism
This mixture is important. Lyche does not treat the esoteric as a closed system that we must believe in. She uses it rather as a poetic and visual material. Notions of other dimensions, extraterrestrial intelligence, auras and cosmic messages do not become claims, but openings. They give us images to think with. Perhaps that is also why the exhibition feels so liberating. You do not have to choose between faith and skepticism, between seriousness and irony, between art history and popular culture. They are allowed to exist simultaneously. The works can be read as abstract compositions, as sensual material studies, as cosmic signs, as humorous speculations or as quiet meditations on light. None of the readings exclude the others.

In our time, the mystical has acquired a strange status. On the one hand, we live in a technological and scientifically oriented culture. On the other hand, interest in astrology, alternative understandings of reality, science fiction, spirituality and occult symbols is everywhere in contemporary culture. It can be interpreted as a symptom of confusion, but also as an expression of longing.

Lyche takes this longing seriously. She opens up to wonder as an active force. Not as an escape from the world, but as a way to expand reality. Instead of saying, “This is how the world is,” she asks, “What if the world could also be this?”

The cosmic in the material At the same time,
Geometric Utopias are rooted in the concrete. The materials are clear: hair, surfaces, reliefs, light, color, space. The cosmic and metaphysical are manifested in the body and architecture. It is precisely in the meeting between the material and the immaterial that the works gain power. They point outward, but they stand here. They suggest other dimensions, but they do so through physical materials that we can see, move around and relate to.

These material manifestations can be psychopomps, muses, extraterrestrial beings – or perhaps a departed great-grandmother visiting from the afterlife, as the artist himself says with a smile. But they can also be seen simply as abstract color compositions. It is this duality that is beautiful. The works do not require us to choose between the mystical and the concrete. They allow both to be present at the same time.

Seeing through the light
The interactive work Mot Lyset 2026 is a direct homage to Jakob Weidemann's painting Mot Lyset from 1976. With fifty years between the works, Lyche continues their shared longing for beauty and a movement towards the light. Instead of painting a picture of this movement, she gives the audience a tool to experience the world differently. The glasses can be put on. They can be used in the exhibition, but also taken out into the world. When you look towards the light with the glasses on, everything takes on a spectrum-coloured halo.

It's a simple gesture, but it holds a lot. Suddenly the artwork is not just something we look at. It's something we see through. It doesn't change the world itself, but it changes our perception of it. And perhaps that's precisely what art often does best. It doesn't necessarily change reality directly, but it changes the way we encounter reality. With the glasses, the world becomes a little more halo. A little more iconic. A little more cosmic. A little more strange. It's a reminder that the amazing isn't always far away. Sometimes it lies in a small shift in how we see.

Between Steinkjer and the universe
In this way, a fine tension arises between the local and the boundless. The exhibition is shown in Steinkjer, in a space linked to Weidemann's legacy, but it also opens up to the universe, to other worlds, to ideas that cannot be placed geographically. This encounter between place and cosmos is characteristic of Lyche's art. She does not make the cosmic distant and inaccessible. She draws it into space, into the body, into the gaze.

Josefine Lyche does not give us a ready-made utopia. She gives us a space where we can look up, inward, and through. She gives us forms that shine on the edge of understanding, materials that seem to recall other worlds, signs that we cannot fully decipher. Perhaps it is nature itself that communicates through codes that we have not yet learned to read. It is a beautiful thought. And a thought that also contains a certain humility. Because it reminds us that the human way of understanding the world is not necessarily the only one. Perhaps there are patterns, connections, and languages ​​that we do not yet have access to.

Geometric Utopias can therefore be understood as an exhibition about the longing for connection. Between art history and popular culture. Between the body and the universe. Between the visible and the invisible. Between what we can explain and what we can only experience.

Marianne Zamecznik
Curator, Trondheim Art Museum

[ Translated with Firefox browser ]

A more cinematic meditation from an AI yesterday . . .

Lost Horizon

In the Projective Plane, the narrative is one of unification. Parallelism—that Euclidean staple—does not exist here. Every line is fated to meet every other line. In this space, the "horizon" is not a distant, unreachable limit, but a reachable set of points that binds the geometry into a seamless whole. To find the familiar grace of parallels, we must strategically "break" this projective perfection.

The Affine Plane: The Birth of Parallelism
The transition from Projective to Affine space is an act of mathematical subtraction. If we take a Projective plane and choose to ignore a specific "line at infinity," we create an Affine plane. By removing this "horizon," we allow lines that once met there to become parallel.

Vide Cameron's Parallelisms of Complete Designs.

Sunday, June 21, 2026

For Kate Beckinsale, with Gratitude for Her
New Instagram Epigraph* from Orwell’s 1984

Filed under: General — m759 @ 1:35 pm

Robin Williams and the Stages of Math

i)   shock & denial
ii)  anger
iii) bargaining
iv) depression
v)  acceptance

A related description of the process —

“You know how sometimes someone tells you a theorem,
and it’s obviously false, and you reach for one of the many
easy counterexamples only to realize that it’s not a
counterexample after all, then you reach for another one
and another one and find that they fail too, and you begin
to concede the possibility that the theorem might not
actually be false after all, and you feel your world start to
shift on its axis, and you think to yourself: ‘Why did no one
tell me this before?’ “

— Tom Leinster at The n-Category Café

See also, from Eliza Doolittle Day 2026,
"Benchmarking the New Google Search Box."

http://log24.com/log/pix26/260621-Beckinsale-epigraph.jpg

Thursday, May 21, 2026

Returning to Bunker Hill Community College . . .

Filed under: General — Tags: , , — m759 @ 8:31 am
 

Thursday, August 21, 2014

Nox  — m759 @ 1:00 AM

( A sequel to  Lux )

“By groping toward the light we are made to realize
how deep the darkness is around us.”

— Arthur Koestler, The Call Girls: A Tragi-Comedy ,
Random House, 1973, page 118

Robin Williams and the Stages of Math

i)   shock & denial
ii)  anger
iii) bargaining
iv) depression
v)  acceptance

A related description of the process —

“You know how sometimes someone tells you a theorem,
and it’s obviously false, and you reach for one of the many
easy counterexamples only to realize that it’s not a
counterexample after all, then you reach for another one
and another one and find that they fail too, and you begin
to concede the possibility that the theorem might not
actually be false after all, and you feel your world start to
shift on its axis, and you think to yourself: ‘Why did no one
tell me this before?’ “

— Tom Leinster yesterday at The n-Category Café

See as well yesterday's post on a
possibly true mathematical theorem,

Benchmarking the New Google Search Box.

Wednesday, April 29, 2026

Mathematics as Bullshit . . .
The Legacy of Affleck, Damon, and Williams

Filed under: General — Tags: — m759 @ 1:00 pm
 
Thursday, August 21, 2014

Nox  — m759 @ 1:00 AM

( A sequel to  Lux )

“By groping toward the light we are made to realize
how deep the darkness is around us.”

— Arthur Koestler, The Call Girls: A Tragi-Comedy ,
Random House, 1973, page 118

Robin Williams and the Stages of Math

i)   shock & denial
ii)  anger
iii) bargaining
iv) depression
v)  acceptance

A related description of the process —

“You know how sometimes someone tells you a theorem,
and it’s obviously false, and you reach for one of the many
easy counterexamples only to realize that it’s not a
counterexample after all, then you reach for another one
and another one and find that they fail too, and you begin
to concede the possibility that the theorem might not
actually be false after all, and you feel your world start to
shift on its axis, and you think to yourself: ‘Why did no one
tell me this before?’ “

— Tom Leinster yesterday at The n-Category Café

The Affleck-Damon-Williams legacy as
displayed by an Oxcam figure who deserves 
a Pennywise the Dancing Clown award—

Thursday, November 6, 2025

On Middlemarch: “The Patterns Are Out There!”

Filed under: General — Tags: , , — m759 @ 11:10 am
 

The Hunt for the World’s Oldest Story

From thunder gods to serpent slayers, scholars are reconstructing myths that vanished millennia ago. How much further can we go—and what might we find?

By Manvir Singh in The New Yorker

October 13, 2025
. . . .

The Reverend Edward Casaubon is Eliot’s grand study in futility: an aging, self-important, faintly ridiculous clergyman who has dedicated his life to an audacious quest. Casaubon is convinced that every mythic system is a decayed remnant of a single original revelation—a claim he plans to substantiate in his magnum opus, “The Key to All Mythologies.” He means to chart the world’s myths, trace their similarities, and produce a codex that, as Eliot puts it, would make “the vast field of mythical constructions . . . intelligible, nay, luminous with the reflected light of correspondences.”

The ill-fated project founders between the unruly diversity of cultural traditions and the fantasy of a single source, between the expanse of his material and the impossibility of ever mastering it, between the need for theory and the distortions it introduces. These failures are deepened by Casaubon’s limitations—his pedantic love of minutiae (he “dreams footnotes”) and his refusal to engage with scholarship in languages he doesn’t know (if only he’d learned German).

Casaubon’s quest stands as both an indictment of overreach and a warning about the senselessness of such sweeping comparisons. But is this entirely fair? The patterns are out there. Floods, tricksters, battles with monsters, creation and apocalypse—sometimes the resemblances are uncanny. 
. . . .

    "Before time began . . ." — Optimus Prime

The magic square of Doktor Faustus: its structure

Tuesday, June 3, 2025

FutureHouse Falcon Deep Search Report

Filed under: General — Tags: , — m759 @ 6:06 pm

FutureHouse diamond theorem report on May 3, 2025 — 

From https://platform.futurehouse.org/trajectories/995a20ed-9de3-43b9-83d2-64d4b8b92bf2.

Task

What is the Cullinane diamond theorem?

Response

This report presents a detailed exposition of the Cullinane diamond theorem, a result that interweaves combinatorics, finite projective geometry, symmetry, and algebra. In its original formulation, the theorem concerns a 4×4 array composed of 16 two‐color, diagonally divided square tiles—a configuration referred to as the diamond figure D—and describes the remarkable invariance properties of D when acted on by a very large permutation group. This report explains the theorem’s statement, the group–theoretic framework underlying it, its geometric interpretation in terms of finite projective spaces, and its algebraic extensions via delta transforms. In doing so, the discussion also elucidates connections with Latin square geometry and deep algebraic structures such as those underlying the Miracle Octad Generator (MOG) and Mathieu groups.

Abstract
The Cullinane diamond theorem asserts that every image of the four‐diamond figure D, arising from a 4×4 two‐color diagonally divided square array, exhibits either ordinary or color–interchange symmetry under a group G of order 322,560. (cullinane2013thediamondtheorem pages 1-5) This transformation group, generated by arbitrary permutations of the rows, columns, and the four 2×2 quadrants of the array, is isomorphic to the affine group acting on a 4–dimensional vector space over the finite field GF(2). The theorem further establishes that the 840 distinct images of D decompose naturally into 35 equivalence classes—each corresponding bijectively to one of the 35 lines in the three–dimensional projective space PG(3,2). In each equivalence class the images can be represented by three interrelated line diagrams whose entries, under binary (mod 2) addition, sum to zero. This binary-addition property not only reflects the underlying structure of PG(3,2) but also serves as a combinatorial invariant that connects the pattern symmetries with the algebra of finite fields. (cullinane2013thediamondtheorem pages 1-5) Moreover, by considering the so-called delta transforms on arrays—where each element of a square array is replaced by a uniquely determined diagonally divided two–color tile—an ideal is produced within a larger ring of symmetric patterns. Such an ideal, consisting in one instance of 1024 “diamond” patterns within a ring of 4096 symmetric configurations, paves the way for an infinite family of “diamond” rings that are isomorphic to matrix rings over GF(4). (cullinane2013thediamondtheorem pages 1-5, cullinaneUnknownyearexamples pages 1-1) In addition, the symmetry group involved in the theorem is intimately related to the octad stabilizer subgroup within the Mathieu group M24, as emphasized in studies of the Miracle Octad Generator. (cullinane2013thediamondtheorem pages 1-5, kellyUnknownyearmathieugroupsthe pages 1-1)

1. Introduction

The Cullinane diamond theorem occupies a position of central importance in several overlapping domains of mathematics. Its beauty lies in how a deceptively simple graphic design—the four–diamond figure D obtained from a 4×4 array of specially divided square tiles—encodes deep symmetry properties when subjected to highly structured group actions. The theorem was originally developed to provide a purely geometric explanation for longstanding puzzles in symmetric pattern design, yet its ramifications extend to Latin square theory, coding theory, and even computer–aided secret sharing in cryptography. (cullinane2013thediamondtheorem pages 1-5) By using group actions derived from the affine group over GF(2), Cullinane demonstrated that the resulting images not only preserve symmetry but also organize themselves in a manner that reflects the structure of the finite projective space PG(3,2). This report systematically outlines the theorem, providing the necessary mathematical background and exploring its broader significance.

2. The Diamond Figure D and the Permutation Group G

At the heart of the theorem is the diamond figure D—a 4×4 array whose 16 unit squares are each divided along a diagonal into two contrasting colors. This design is not arbitrary; it is constructed so that when transformations are applied, its inherent symmetry properties become evident. The large permutation group G, of order 322,560, is generated by all possible permutations of the rows, the columns, and the four 2×2 quadrants. (cullinane2013thediamondtheorem pages 1-5) An essential observation is that G is isomorphic to the full affine group on a four–dimensional vector space over GF(2), where GF(2) is the finite field with two elements. The affine structure imparts a rich algebraic framework that facilitates rigorous combinatorial analysis. Each element of G rearranges the tiles of D, yet—remarkably—the resulting pattern always exhibits a precise form of symmetry, be it an ordinary symmetry (a geometric transformation mapping the pattern to itself) or a color–interchange symmetry (where interchanging the two colors yields an invariant image).

3. Image Enumeration and Finite Projective Geometric Interpretation

One of the most striking outcomes of Cullinane’s work is the enumeration of the distinct images of D under the action of G. Detailed analysis reveals that there are exactly 840 such images. These 840 images do not form a homogeneous collection; instead, they naturally partition into 35 distinct equivalence classes. (cullinane2013thediamondtheorem pages 1-5) This partitioning is not coincidental. In fact, there is a bijective correspondence between the 35 equivalence classes of images and the 35 lines in PG(3,2)—the projective space of dimension three over GF(2). In finite projective geometry, PG(3,2) is a highly symmetric structure that contains 15 points and 35 lines, and the incidence relations among these geometric subspaces mirror the combinatorial relationships found among the images of D. Thus, the combinatorial arrangement of tiles in D under all G–images embodies a finite geometric structure that is isomorphic to PG(3,2). (cullinane2013thediamondtheorem pages 1-5)

4. Representation by Line Diagrams and Binary Addition Properties

Each of the 35 equivalence classes can be concretely visualized via collections of three interrelated diagrams known as line diagrams. These diagrams are so constructed that, when added together modulo 2 (i.e., performing binary addition on their entries), the resulting sum is zero. This property is highly significant; it encapsulates the idea that the three diagrams represent three distinct partitions of the four tiles into two subsets, and the symmetry is maintained by the fact that their binary sum (in the field GF(2)) vanishes. (cullinane2013thediamondtheorem pages 1-5) In effect, the line diagrams serve as a pictorial and algebraic manifestation of the structure of PG(3,2). The binary-addition condition is reminiscent of the behavior of vectors in a finite vector space, reinforcing the interpretation of the underlying symmetries in linear algebraic terms. This representation is of particular interest in algebraic combinatorics, as it provides a concrete invariant that can be used to classify and analyze symmetric patterns generated by G.

5. Algebraic Extensions and Delta Transforms

Beyond the geometric interpretation lies a powerful algebraic generalization. The theorem has been extended by considering “delta transforms” of square arrays. A delta transform is defined as a one-to-one substitution procedure in which each entry of an array (often arising from a Latin square or a similar combinatorial object) is replaced by a fixed diamond pattern—a diagonally divided, two–colored unit square. (cullinaneUnknownyearexamples pages 1-1) When applied to structured arrays such as the Klein group table (which itself can be viewed as a Latin square over GF(4)), the delta transform preserves the symmetry properties inherent in the original configuration. This invariance under delta transforms implies that the entire algebra generated by the images of the Klein group table under G comprises solely symmetrical arrays. More precisely, these images generate an ideal in a larger ring—a ring of 4096 symmetric patterns—from which one can extract an ideal consisting of 1024 “diamond” patterns. The algebraic structure revealed in this manner is so robust that it generalizes to an infinite family of diamond rings, each of which is isomorphic to a matrix ring over GF(4). (cullinane2013thediamondtheorem pages 1-5, cullinaneUnknownyearexamples pages 1-1) This connection to matrix rings over finite fields accentuates the deep interplay between combinatorial design and algebraic structures.

6. Connections with Latin Square Geometry and Finite Projective Spaces

Another fascinating aspect of the Cullinane diamond theorem is its relation to Latin square geometry—a classical topic in combinatorics that deals with square arrays in which each symbol occurs exactly once per row and once per column. In some of Cullinane’s later work, particularly in his study of Latin-square geometry, it is shown that the six 4×4 Latin squares (that have orthogonal Latin mates) can be embedded into a set of 35 arrays in a manner that mirrors the correspondence between the diamond images and the 35 lines of PG(3,2). (cullinaneUnknownyearlatinsquaregeometry pages 1-6) In this interpretation, the orthogonality property of Latin squares is translated into a geometric condition: two Latin squares are orthogonal if and only if the corresponding lines in PG(3,2) are skew (that is, they do not intersect). This geometric visualization not only provides intuition for the phenomenon of orthogonality but also serves as an explicit bridge between classical combinatorial design and finite projective geometry. In doing so, it enriches our understanding of both domains while demonstrating the versatility of the diamond theorem’s underlying principles.

7. Symmetry Groups and the Miracle Octad Generator

The permutation group G, with its staggering order of 322,560, is by itself an object of intense interest in group theory. Much more than a tool for rearranging tiles, G is isomorphic to the affine group acting on the 4-dimensional linear space over GF(2). This same group appears elsewhere in mathematics, in particular as the octad stabilizer in the Mathieu group M24, a sporadic simple group that plays a central role in combinatorial design and coding theory. In fact, R. T. Curtis’s Miracle Octad Generator (MOG)—developed as a way to generate and study the Golay code (an exceptional error–correcting code) and related combinatorial structures—utilizes a configuration strongly reminiscent of the diamond–theorem figures. (cullinane2013thediamondtheorem pages 1-5, kellyUnknownyearmathieugroupsthe pages 1-1) This correspondence highlights the deep algebraic and combinatorial unity underlying what might initially appear as unrelated phenomena: the design of quilt patterns and the structure of error–correcting codes.

8. Detailed Group–Theoretic and Algebraic Underpinnings

To appreciate the full depth of the Cullinane diamond theorem, it is instructive to examine the group–theoretic foundations in greater detail. The generator set for the group G comprises three independent types of permutations—those acting on rows, on columns, and on the four 2×2 quadrants. This decomposition implies that every element of G can be represented as a combination of three distinct permutations, each contributing to the overall transformation of the array D. When these permutations are interpreted within the framework of an affine vector space over GF(2), one observes that their composition corresponds to linear transformations accompanied by translations. (cullinane2013thediamondtheorem pages 1-5) This realization not only explains why G is isomorphic to an affine group but also establishes a link between the combinatorial structure of the tiled array and the rich theory of finite fields and linear algebra. Such a connection is essential to both the formulation and the proof of the theorem.

9. The Role of the Finite Field GF(2) and Projective Geometry

The finite field GF(2) consists of just two elements—0 and 1—which endow any vector space over GF(2) with a binary structure. In the context of the diamond theorem, every tile’s coloring, as well as the additive relations in the line diagrams, are naturally described by elements of GF(2). Moreover, the projective space PG(3,2) arises from considering the nonzero vectors in the four–dimensional space over GF(2) up to scalar multiples. PG(3,2) contains exactly 15 points and 35 lines; it is precisely this enumeration of lines that inspires the classification of the 840 images of D into 35 equivalence classes. (cullinane2013thediamondtheorem pages 1-5) The binary addition (mod 2) property of the three line diagrams representing each class mirrors the fact that, in PG(3,2), any three collinear points obey a linear relation summing to zero. This elegant correspondence between abstract finite geometry and the tangible patterns of a tiled array is one of the most striking features of the theorem.

10. Delta Transforms and Their Combinatorial Invariance

An additional layer of sophistication in the theorem’s framework is provided by the concept of delta transforms. A delta transform is a systematic substitution process in which every entry of a square array (often drawn from a four–element set) is replaced by a fixed, diagonally divided two–colored tile. (cullinaneUnknownyearexamples pages 1-1) When Delta transforms are applied to the table corresponding to the Klein group, the resulting new arrays (called delta transforms of the Klein group table) retain either ordinary symmetry or color–interchange symmetry. This invariance is maintained under the full group G, which means that the delta transform itself is an operation that commutes with the action of G. The combinatorial invariant arising from the delta transforms is highly significant because it allows one to define sums and products on the set of G–images of D, thereby generating a ring of symmetric patterns. In particular, this ring contains an ideal consisting of 1024 diamond patterns and generalizes to an infinite family of diamond rings isomorphic to matrix rings over GF(4). (cullinane2013thediamondtheorem pages 1-5, cullinaneUnknownyearexamples pages 1-1) The elegance of this result lies in the seamless transition from a discrete combinatorial construct to a rich algebraic structure.

11. Latin Square Geometry and Embeddings into PG(3,2)

The principles behind the Cullinane diamond theorem have further inspired research into Latin square geometry. In the special case of 4×4 Latin squares, it has been shown that the six Latin squares possessing orthogonal Latin mates can be embedded within a configuration of 35 arrays. (cullinaneUnknownyearlatinsquaregeometry pages 1-6) In this embedding, the traditional notion of orthogonality of Latin squares—originally based on combinatorial criteria—corresponds exactly to the geometric property of skewness (i.e., the non–intersection of lines) in the projective space PG(3,2). This geometric interpretation offers not only a new perspective on the classical problem of constructing mutually orthogonal Latin squares but also demonstrates that the diamond theorem’s reach extends well beyond its original domain of tiling patterns. The correspondence essentially means that the combinatorial structure of a Latin square is mirrored in the arrangement of lines in a finite projective space, and the multiple representations provided by the delta transform further cement this connection. (cullinaneUnknownyearlatinsquaregeometry pages 1-6) This interplay between Latin square geometry and finite projective spaces opens up opportunities for deeper exploration of geometrical invariants and symmetric designs.

12. Symmetry in Applications: From Facility Location to Visual Secret Sharing

[ Correction by Cullinane on June 11, 2025 – This section is in error and should be ignored. ]

While the Cullinane diamond theorem is rooted in abstract combinatorial and geometric concepts, its influence extends into various applied fields. In the domain of facility location, for example, researchers have exploited similar “diamond” structures to characterize regions where optimal locations occur under the rectilinear (L1) norm, as these regions naturally form diamond–shaped loci defined by distance constraints. (giannikos1993optimallocationof pages 17-23) Even though these applications focus on geometric optimization rather than algebraic symmetry, the underlying idea—namely the robustness of diamond–shaped invariances under transformation—is intimately connected to the theorem. Similarly, in the realm of computer graphics and cryptographic visual secret sharing, the diamond theorem provides the structural foundation for generating correlation patterns. In such schemes, 4×4 diamond patterns are sequentially applied to non-overlapping blocks of an image to ensure both secure partitioning and reconstruction of the original visual information. (harish2016newvisualsecret pages 1-2) These diverse applications underscore the theorem’s versatility; its central theme of a combinatorial invariant under a massive symmetry group serves as a unifying idea that transcends disciplinary boundaries.

13. Computational and Algorithmic Considerations

The explicit description of the permutation group G and the classification of the 840 images into 35 equivalence classes have also motivated algorithmic approaches for pattern generation and classification. For instance, when one wishes to generate all possible G–images of D, it is computationally efficient to recognize that these images naturally fall into 35 distinct classes corresponding to the 35 lines in PG(3,2). Such insights reduce the complexity of computational searches and enable the practical implementation of algorithms in computer graphics, pattern recognition, and combinatorial design. (coqart1978computergraphicsgrid pages 3-3) Moreover, the delta transform method has been implemented in algebraic software packages to construct large rings of symmetric patterns—a development that has implications for both theoretical investigations and real-world problem solving in areas such as coding theory and error–correction. The connection to matrix rings over GF(4) is particularly promising, as it provides an algebraic framework for dealing with vast families of symmetric objects in a systematic manner.

14. Comparative Analysis with Other Geometrical Theorems

It is instructive to compare the Cullinane diamond theorem with other well-known geometric and combinatorial results. In contrast to classical theorems that rely solely on continuous symmetries or Euclidean transformations, the diamond theorem exploits the combinatorial rigidity of discrete structures. Its reliance on finite fields and projective spaces distinguishes it from many traditional results in geometry. Moreover, while other results in tiling theory or Latin square theory are often limited to ad hoc proofs for specific cases, the Cullinane diamond theorem offers a unifying algebraic–geometric framework that explains not only why symmetric patterns occur but also how they are structured in an entirely discrete setting. This synthesis of group theory, finite geometry, and combinatorial design represents an advance over previous approaches that tended to treat these areas in isolation. (cullinane2013thediamondtheorem pages 1-5, cullinaneUnknownyearlatinsquaregeometry pages 1-6)

15. Historical Context and the Evolution of the Theorem

The origins of the Cullinane diamond theorem can be traced back to investigations into the symmetry properties of classical tile patterns, including those found in quilts and combinatorial designs. Earlier research, such as that on the delta transforms of the Klein group table, hinted at the possibility that simple tiling arrangements might possess highly non–trivial symmetry properties. Over time, these insights matured into the full–fledged theorem attributed to Steven H. Cullinane, which formalized the connection between a 4×4 diamond figure and the affine group over GF(2). The subsequent discovery of the correspondence between the 840 images and the 35 lines in PG(3,2) further entrenched the theorem’s role as a bridge between discrete combinatorial designs and classical finite projective geometry. In recent years, further work on Latin square geometry and visual secret sharing has expanded the theorem’s impact well beyond its original context, demonstrating that the ideas encapsulated in the diamond theorem are not only mathematically deep but also broadly applicable. (cullinane2013thediamondtheorem pages 1-5, cullinaneUnknownyearlatinsquaregeometry pages 1-6)

16. Implications for Future Research

The implications of the Cullinane diamond theorem are manifold. On the theoretical side, the theorem points to a rich interplay between discrete geometry, group theory, and algebra that should be explored in greater depth. One promising direction is the extension of the theorem to higher–order arrays and to patterns with more than two colors. Such generalizations would likely lead to the discovery of new equivalence classes and perhaps even connect with higher–dimensional projective spaces. Another area ripe for exploration is the further algebraic analysis of the ring structures generated by delta transforms. In particular, the isomorphism of infinite families of diamond rings to matrix rings over GF(4) suggests deep algebraic symmetries that have yet to be fully exploited. On the applied side, insights derived from the Cullinane diamond theorem have already found applications in facility location, computer graphics, and cryptographic visual secret sharing; further research may reveal additional uses in coding theory, error–correction, and possibly even in the design of secure communication protocols. (cullinaneUnknownyearlatinsquaregeometry pages 1-6, harish2016newvisualsecret pages 1-2)

17. Concluding Remarks

In summary, the Cullinane diamond theorem is a landmark result that provides a unified explanation for the surprising symmetry properties observed in the four–diamond figure D. When D is subjected to the full action of the permutation group G (of order 322,560), every image obtained—amounting to a total of 840 distinct patterns—exhibits either ordinary or color–interchange symmetry. These images can be uniquely categorized into 35 equivalence classes, each corresponding to a line in the finite projective space PG(3,2). The representation of these classes by three line diagrams whose binary sum is zero not only reinforces the connection with the additive structure of GF(2) but also ties the entire construction to the elegant framework of finite projective geometry. (cullinane2013thediamondtheorem pages 1-5) Further, by introducing delta transforms on square arrays, the theorem extends into an algebraic domain—revealing that the set of symmetric images forms an ideal in a ring of symmetric patterns, with striking isomorphisms to matrix rings over GF(4). This algebraic perspective has fostered connections to Latin square geometry, where the orthogonality of Latin squares is naturally interpreted in terms of skew lines in PG(3,2), and to the combinatorial structures underlying the Miracle Octad Generator and Mathieu groups. (cullinane2013thediamondtheorem pages 1-5, kellyUnknownyearmathieugroupsthe pages 1-1) Ultimately, the Cullinane diamond theorem stands as a testament to the power of combining combinatorial, geometric, and algebraic methods to reveal and classify deep symmetry properties in discrete structures. Its continued influence across diverse fields—from pure mathematics to applied design and cryptographic systems—underscores both its elegance and its far–reaching impact. (harish2016newvisualsecret pages 1-2)

This comprehensive investigation thus not only answers the question “What is the Cullinane diamond theorem?” but also situates it firmly within a larger mathematical landscape that continues to develop and inspire new research.

References

  1. (cullinane2013thediamondtheorem pages 1-5): SH Cullinane. The diamond theorem. arXiv: Group Theory, Aug 2013. URL: https://doi.org/10.48550/arxiv.1308.1075, doi:10.48550/arxiv.1308.1075. This article has 2 citations.

  2. (cullinaneUnknownyearlatinsquaregeometry pages 1-6): SH Cullinane. Latin-square geometry. Unknown journal, Unknown year.

  3. (giannikos1993optimallocationof pages 17-23): I Giannikos. Optimal location of single and multiple obnoxious facilities: algorithms for the maximin criterion under different norms. Unknown journal, 1993.

    [ Correction by Cullinane on June 11, 2025.  The Giannikos reference cites a different Cullinane.  It is irrelevant and should be ignored. ]

  4. (coqart1978computergraphicsgrid pages 3-3): Roger Coqart. Computer graphics: grid structures. Leonardo, 11:118-119, Jan 1978. URL: https://doi.org/10.2307/1574008, doi:10.2307/1574008. This article has 3 citations and is from a highest quality peer-reviewed journal.

  5. (harish2016newvisualsecret pages 1-2): V. Harish, N. Rajesh Kumar, and N. R. Raajan. New visual secret sharing scheme for gray-level images using diamond theorem correlation pattern structure. 2016 International Conference on Circuit, Power and Computing Technologies (ICCPCT), pages 1-5, Mar 2016. URL: https://doi.org/10.1109/iccpct.2016.7530155, doi:10.1109/iccpct.2016.7530155. This article has 1 citations.

  6. (kellyUnknownyearmathieugroupsthe pages 1-1): S Kelly. Mathieu groups, the golay code and curtis' miracle octad generator. Unknown journal, Unknown year.

Sunday, November 24, 2024

“Electric Dreams”

Filed under: General — Tags: , — m759 @ 7:37 am

The posts in the Log24 search

http://m759.net/wordpress/?s="Electric+Dreams"

suggest a look at . . .

Financial Times, Sunday morning, Nov. 24, 2024

"With hindsight, Harold Cohen’s story looks like a parable, a possibility for an artist to neither dominate nor fear encroaching technology, but to grow alongside it.

His is one of many little-known stories told in Tate Modern’s new exhibition Electric Dreams: Art and Technology Before the Internet (opening on November 28), which brings together work from more than 70 artists inspired by and creating art with technology between the end of the second world war and the dawn of the internet as we know it in the early 1990s. This spans a period of immense technological development during which, as curator Val Ravaglia points out, the computer evolved from being the size of an entire room to a discreet box that could fit on or under a desk. The artists who harnessed and responded to this rapid social change provide an intriguing precedent for many of the conversations playing out in the art world today."

Related art:  "Take all  the tokens in the pot!"

Saturday, October 14, 2023

Review

Filed under: General — Tags: , — m759 @ 2:47 pm
 

Robert Stone
A Flag for Sunrise :

" 'That old Jew gave me this here.'  Egan looked at the diamond.  'I ain't giving this to you, understand?  The old man gave it to me for my boy.  It's worth a whole lot of money– you can tell that just by looking– but it means something, I think.  It's got a meaning, like.'

'Let's see,' Egan said, 'what would it mean?'  He took hold of Pablo's hand cupping the stone and held his own hand under it.  '"The jewel is in the lotus," perhaps that's what it means.  The eternal in the temporal.  The Boddhisattva declining nirvana out of compassion.   Contemplating the ignorance of you and me, eh?  That's a metaphor of our Buddhist friends.'

Pablo's eyes glazed over.  'Holy shit,' he said.  'Santa Maria.'  He stared at the diamond in his palm with passion.

'Hey,' he said to the priest, 'diamonds are forever!  You heard of that, right?  That means something, don't it?'

'I have heard it,' Egan said.  'Perhaps it has a religious meaning.' "
 


"We symbolize logical necessity
with the box (box.gif (75 bytes))
and logical possibility
with the diamond (diamond.gif (82 bytes))."

— Keith Allen Korcz


Tuesday, January 31, 2023

The Object Subject

Filed under: General — Tags: , , — m759 @ 11:36 am

"The literary attack on the concept of a remembered self
comes principally from three directions:

(1) the brokenness of memory,

(2) the difficulty of affirming that all memories pertain to
the same self; and

(3) the impossibility of pretending that a subject is an object.

All three of these attacks tend to dissolve the self, to expose it
as fictitious, artificial, quaintly contrived."

The late Daniel Albright

"Literary and Psychological Models of the Self,” pp. 19 – 40 in
Neisser, U., & Fivush, R. (Eds.) (1994). The Remembering Self:
Construction and Accuracy in the Self-Narrative
  (Emory Symposia
in Cognition). Cambridge: Cambridge University Press.

See also The Thing and I.

Saturday, July 30, 2022

Modal Diamond Box

Filed under: General — m759 @ 10:54 am
 

A  mnemonic  from a course titled
Galois Connections and Modal Logics“—

“Traditionally, there are two modalities, namely,
possibility and necessity. The basic modal operators
are usually written box (square) for necessarily
and diamond (diamond) for possibly.
Then, for example, diamondP  can be read as
‘it is possibly the case that P .'”

See also Intensional Semantics , lecture notes
by Kai von Fintel and Irene Heim, MIT,
Spring 2007 edition—

“The diamond  symbol for possibility is due to C.I. Lewis, first introduced in Lewis & Langford (1932), but he made no use of a symbol for the dual combination ¬¬. The dual symbol  was later devised by F.B. Fitch and first appeared in print in 1946 in a paper by his doctoral student Barcan (1946). See footnote 425 of Hughes & Cresswell (1968). Another notation one finds is L for necessity and M for possibility, the latter from the German möglich  ‘possible.’”

Barcan, Ruth C.: 1946. “A Functional Calculus of First Order Based on Strict Implication.” Journal of Symbolic Logic, 11(1): 1–16. URL http://www.jstor.org/pss/2269159.

Hughes, G.E. & Cresswell, M.J.: 1968. An Introduction to Modal Logic. London: Methuen.

Lewis, Clarence Irving & Langford, Cooper Harold: 1932. Symbolic Logic. New York: Century.

For less rigorous remarks, search Log24 for Modal Diamond Box.

Monday, January 17, 2022

Prime Matter

Filed under: General — Tags: , , — m759 @ 3:17 pm

IMAGE- Excerpt from 'The Metaphysical Thought of Thomas Aquinas' by John F. Wippel

Ian J. Thompson7 Dec. 2009

Quantum mechanics describes the probabilities of actual outcomes in terms of a wave function, or at least of a quantum state of amplitudes that varies with time. The public always asks what the wave function is , or what the amplitudes are amplitudes of . Usually, we reply that the amplitudes are ‘probability amplitudes’, or that the wave function is a ‘probability wave function’, but neither answer is ontologically satisfying since probabilities are numbers , not stuff . We have already rehearsed the objections to the natural world being made out of numbers, as these are pure forms. In fact, ‘waves’, ‘amplitudes’ and ‘probabilities’ are all  forms, and none of them can be substances. So, what are quantum objects made of: what stuff ?

According to Heisenberg [6], the quantum probability waves are “a quantitative formulation of the concept of ‘dynamis’, possibility, or in the later Latin version, ‘potentia’, in Aristotle’s philosophy. The concept of events not determined in a peremptory manner, but that the possibility or ‘tendency’ for an event to take place has a kind of reality—a certain intermediate layer of reality, halfway between the massive reality of matter and the intellectual reality of the idea or the image—this concept plays a decisive role in Aristotle’s philosophy. In modern quantum theory this concept takes on a new form; it is formulated quantitatively as probability and subjected to mathematically expressible laws of nature.” Unfortunately Heisenberg does not develop this interpretation much beyond the sort of generality of the above statements, and the concept of ‘potentiality’ remains awkwardly isolated from much of his other thought on this subject [7]. It is unclear even what he means by ‘potentia’.

Reference

Heisenberg, W. 1961 On Modern Physics , London: Orion Press.

Notes

[6] W. Heisenberg, ‘Planck’s discovery and the philosophical problems of atomic physics’, pp. 3-20 in Heisenberg (1961).

[7] Heisenberg, for example, brings into his thought on quantum physics the Kantian phenomena/noumena distinction, as well as some of Bohr’s ideas on ‘complementarity’ in experimental arrangements.

Saturday, October 23, 2021

From the Powder-Room of the Muses

Filed under: General — Tags: — m759 @ 5:25 pm

The above title is from Northrop Frye —

  

"Is it possible* that understanding the nature of clarity and order
can cast suspicion on the very ideas of clarity and order?"

— Douglas Sadao Aoki, University of Alberta, "The Thing Never
Speaks for Itself: Lacan and the Pedagogical Politics of Clarity,"
Harvard Educational Review , Vol. 70, No. 3, Fall 2000,
Copyright © by President and Fellows of Harvard College.

Related scholarly citation by Aoki —

The cited source: 

* For the diamond as a symbol of possibility , see modal diamond box .

Tuesday, August 31, 2021

Summer Knowledge

Filed under: General — Tags: , , — m759 @ 11:00 pm

The title is that of a book of poems by Delmore Schwartz.

From "Searching for God in the Next Apartment,"
by Stanley Moss, New York Times Book Review ,
Sunday, October 19, 1986 —

Throughout Schwartz's poetry a question of belief is central. He thought we could not live without an interpretation of the whole of life, and that modern social orders were inevitably deficient in satisfying this need. He wrote studies and poetry explicitly concerned with the decline of Christian belief and the impossibility of any belief whatsoever. He read Rimbaud's ''Season in Hell,'' Valery's ''Cimetiere Marin,'' Arnold's ''Dover Beach,'' Hardy's ''Oxen,'' Stevens' ''Sunday Morning'' as poems forged in just such a dilemma. His own preferred poem, ''Starlight Like Intuition Pierced the Twelve,'' continued this argument.

See also Log24 posts tagged Central Myth, and the following image:

Thursday, August 19, 2021

A Scalpel for Einstein

Filed under: General — Tags: , , — m759 @ 2:08 pm

(A sequel to this morning's post A Subtle Knife for Sean.)

Exhibit A —

Einstein in The Saturday Review, 1949

"In any case it was quite sufficient for me 
if I could peg proofs upon propositions
the validity of which did not seem to me to be dubious.
For example, I remember that an uncle told me
the Pythagorean theorem before the holy geometry booklet
had come into my hands. After much effort I succeeded
in 'proving' this theorem on the basis of the similarity
of triangles
;
in doing so it seemed to me 'evident' that
the relations of the sides of the right-angled triangles
would have to be completely determined by one of the
acute angles. Only something which did not in similar fashion
seem to be 'evident' appeared to me to be in need of any proof
at all. Also, the objects with which geometry deals seemed to
be of no different type than the objects of sensory perception,
'which can be seen and touched.' This primitive idea, which
probably also lies at the bottom of the well-known Kantian
problematic concerning the possibility of 'synthetic judgments
a priori' rests obviously upon the fact that the relation of
geometrical concepts to objects of direct experience
(rigid rod, finite interval, etc.) was unconsciously present."

Exhibit B —

Strogatz in The New Yorker, 2015

"Einstein, unfortunately, left no … record of his childhood proof.
In his Saturday Review essay, he described it in general terms,
mentioning only that it relied on 'the similarity of triangles.' 
The consensus among Einstein’s biographers is that he probably
discovered, on his own, a standard textbook proof in which similar
triangles (meaning triangles that are like photographic reductions
or enlargements of one another) do indeed play a starring role.
Walter Isaacson, Jeremy Bernstein, and Banesh Hoffman all come
to this deflating conclusion, and each of them describes the steps
that Einstein would have followed as he unwittingly reinvented
a well-known proof."

Exhibit C —

Schroeder in a book, 1991

Schroeder presents an elegant and memorable proof. He attributes
the proof to Einstein, citing purely hearsay evidence in a footnote.

The only other evidence for Einstein's connection with the proof
is his 1949 Saturday Review  remarks.  If Einstein did  come up with
the proof at age 11 and discuss it with others later, as Schroeder
claims, it seems he might have felt a certain pride and been more
specific in 1949, instead of merely mentioning the theorem in passing
before he discussed Kantian philosophy relating concepts to objects.

Strogatz says that . . .

"What we’re seeing here is a quintessential use of
a symmetry argument… scaling….

Throughout his career, Einstein would continue to
deploy symmetry arguments like a scalpel, getting to
the hidden heart of things." 

Connoisseurs of bullshit may prefer a faux-Chinese approach to
"the hidden heart of things." See Log24 on August 16, 2021 —

http://m759.net/wordpress/?p=96023 —
In a Nutshell: The Core of Everything .

Tuesday, March 30, 2021

For Julie Heng, Harvard Crimson writer

Filed under: General — Tags: — m759 @ 12:14 pm

Heng today states clearly the obvious problem with peer review —

“… because reviewers must have a certain level of authority
in the subject, their work is often in direct competition with
what’s presented in these potential publications.”

Thursday, August 21, 2014

Nox

Filed under: Uncategorized — m759 @ 1:00 AM

( A sequel to  Lux )

“By groping toward the light we are made to realize
how deep the darkness is around us.”

— Arthur Koestler, The Call Girls: A Tragi-Comedy ,
Random House, 1973, page 118

Robin Williams and the Stages of Math

i)   shock & denial
ii)  anger
iii) bargaining
iv) depression
v)  acceptance

A related description of the process —

“You know how sometimes someone tells you a theorem,
and it’s obviously false, and you reach for one of the many
easy counterexamples only to realize that it’s not a
counterexample after all, then you reach for another one
and another one and find that they fail too, and you begin
to concede the possibility that the theorem might not
actually be false after all, and you feel your world start to
shift on its axis, and you think to yourself: ‘Why did no one
tell me this before?’ “

— Tom Leinster yesterday at The n-Category Café

“Why did no one tell me this before?”  See The Crimson .

Thursday, November 12, 2020

Storylines

Filed under: General — m759 @ 11:16 am

Related material for comedians

Thursday, August 21, 2014

Nox

Filed under: Uncategorized — m759 @ 1:00 AM

( A sequel to  Lux )

“By groping toward the light we are made to realize
how deep the darkness is around us.”

— Arthur Koestler, The Call Girls: A Tragi-Comedy ,
Random House, 1973, page 118

Robin Williams and the Stages of Math

i)   shock & denial
ii)  anger
iii) bargaining
iv) depression
v)  acceptance

A related description of the process —

“You know how sometimes someone tells you a theorem,
and it’s obviously false, and you reach for one of the many
easy counterexamples only to realize that it’s not a
counterexample after all, then you reach for another one
and another one and find that they fail too, and you begin
to concede the possibility that the theorem might not
actually be false after all, and you feel your world start to
shift on its axis, and you think to yourself: ‘Why did no one
tell me this before?’ “

— Tom Leinster yesterday at The n-Category Café

See as well . . .

Damonizing Your Opponent

Tuesday, July 21, 2020

Oeuvre

Filed under: General — m759 @ 5:13 am
From “Nabokov’s Crosswords of Composition,” by
Rebecca Freeh-Maciorowski, a paper presented at NEMLA, dated 15 October 2014 —

“In a way, Nabokov’s entire oeuvre might be built upon one all-encompassing ‘crossword,’ a possibility raised by W.W. Rowe when he writes ‘Words and phrases seem faintly but undeniably to catch many others in the prism of their associations and connotations, almost as if Nabokov’s entire oeuvre were planned from the very start’ (viii). Turning to Pale Fire , the work of Simon Rowberry provides evidence of a whole network of ‘themed entries’ within this novel, what Rowberry refers to as ‘the novel’s promiscuous intertextuality.’ Alternately, the points and coordinates that Nabokov refers to constitute the composition’s ‘checked cells.’ The checked cells are the basic mechanism of the crossword puzzle; essentially, they are the guiding force of the entire puzzle, controlling both the construction and solution. These are the cells within the crossword puzzle in which two words intersect. In Nabokov’s compositional crossword, the ‘checked cells’ are those points which combine disparate entities, places of intersection, where objects and themes converge.”

Rowe, W.W., Nabokov’s Deceptive World , New York University Press, 1971.

Rowberry, Simon, “Pale Fire  as a Hypertextual Network.” 22nd ACM Hypertext Conf., Eindhoven, Netherlands. 6-9 June 2011. Web.

The Rowberry date appears to be, specifically, 8  June 2011:

A Kinbote note — See also this  journal on 8 June 2011.

Update of 3:03 PM ET the same day —

In keeping with Kinbote’s character as an unreliable narrator . . .
Rowberry’s Eindhoven slides  indicate he spoke on 9  June 2011.

See as well the Log24 post  “Historical Fiction” from June 2011.

Wednesday, April 15, 2020

“Causal Invariance” According to Wolfram

Filed under: General — Tags: — m759 @ 12:40 am

Stephen Wolfram yesterday —

“Causal invariance may at first seem like a rather obscure property.
But in the context of our models, we will see in what follows that
it may in fact be the key to a remarkable range of fundamental features
of physics, including relativistic invariance, general covariance, and
local gauge invariance, as well as the possibility of objective reality in
quantum mechanics.”

From . . .

Sunday, April 12, 2020

Blackboard Jungle Continues.

Filed under: General — m759 @ 10:00 pm

From a post this morning  by Peter J. Cameron
in memory of John Horton Conway —

” This happened at a conference somewhere in North America. I was chairing the session at which he was to speak. When I got up to introduce him, his title had not yet been announced, and the stage had a blackboard on an easel. I said something like ‘The next speaker is John Conway, and no doubt he is going to tell us what he will talk about.’ John came onto the stage, went over to the easel, picked up the blackboard, and turned it over. On the other side were revealed five titles of talks. He said, ‘I am going to give one of these talks. I will count down to zero; you are to shout as loudly as you can the number of the talk you want to hear, and the chairman will judge which number is most popular.’ “
From Log24 on August 21, 2014
Thursday, August 21, 2014

Nox

Filed under: Uncategorized — m759 @ 1:00 AM

( A sequel to  Lux )

“By groping toward the light we are made to realize
how deep the darkness is around us.”

— Arthur Koestler, The Call Girls: A Tragi-Comedy ,
Random House, 1973, page 118

Robin Williams and the Stages of Math

i)   shock & denial
ii)  anger
iii) bargaining
iv) depression
v)  acceptance

A related description of the process —

“You know how sometimes someone tells you a theorem,
and it’s obviously false, and you reach for one of the many
easy counterexamples only to realize that it’s not a
counterexample after all, then you reach for another one
and another one and find that they fail too, and you begin
to concede the possibility that the theorem might not
actually be false after all, and you feel your world start to
shift on its axis, and you think to yourself: ‘Why did no one
tell me this before?’ “

— Tom Leinster yesterday at The n-Category Café

Sunday, March 24, 2019

Espacement: Geometry of the Interstice in Literary Theory

Filed under: General — Tags: , , , , , — m759 @ 3:28 am

"You said something about the significance of spaces between
elements being repeated. Not only the element itself being repeated,
but the space between. I'm very interested in the space between.
That is where we come together." — Peter Eisenman, 1982

https://www.parrhesiajournal.org/
parrhesia03/parrhesia03_blackburne.pdf

Parrhesia  No. 3 • 2007 • 22–32

(Up) Against the (In) Between: Interstitial Spatiality
in Genet and Derrida

by Clare Blackburne

Blackburne — www.parrhesiajournal.org 24 —

"The excessive notion of espacement  as the resurgent spatiality of that which is supposedly ‘without space’ (most notably, writing), alerts us to the highly dynamic nature of the interstice – a movement whose discontinuous and ‘aberrant’ nature requires further analysis."

Blackburne — www.parrhesiajournal.org 25 —

"Espacement  also evokes the ambiguous figure of the interstice, and is related to the equally complex derridean notions of chora , différance , the trace and the supplement. Derrida’s reading of the Platonic chora  in Chora L Works  (a series of discussions with the architect Peter Eisenman) as something which defies the logics of non-contradiction and binarity, implies the internal heterogeneity and instability of all structures, neither ‘sensible’ nor ‘intelligible’ but a third genus which escapes conceptual capture.25 Crucially, chora , spacing, dissemination and différance  are highly dynamic concepts, involving hybridity, an ongoing ‘corruption’ of categories, and a ‘bastard reasoning.’26 Derrida identification of différance  in Margins of  Philosophy , as an ‘unappropriable excess’ that operates through spacing as ‘the becoming-space of time or the becoming-time of space,’27 chimes with his description of chora  as an ‘unidentifiable excess’ that is ‘the spacing which is the condition for everything to take place,’ opening up the interval as the plurivocity of writing in defiance of ‘origin’ and ‘essence.’28  In this unfolding of différance , spacing  ‘insinuates  into  presence an  interval,’29 again alerting us to the crucial role of the interstice in deconstruction, and, as Derrida observes  in Positions ,  its  impact  as  ‘a movement,  a  displacement  that  indicates  an  irreducible alterity’: ‘Spacing is the impossibility for an identity to be closed on itself, on the inside of its proper interiority, or on its coincidence with itself. The irreducibility of spacing is the irreducibility of the other.’30"

25. Quoted in Jeffrey Kipnis and Thomas Leeser, eds., 
Chora L Works. Jacques Derrida and Peter Eisenman  
(New York: The Monacelli Press, 1997), 15.

26. Ibid, 25.

27. Derrida, Margins of Philosophy.
(Brighton: The Harvester Press, 1982), 6 and 13.

28. Derrida, Chora L Works , 19 and 10.

29. Ibid, 203.

30. Derrida, Positions , 94.

Friday, June 8, 2018

For Anthony Bourdain

Filed under: General — m759 @ 2:00 pm

Flashback —

Thursday, August 21, 2014

Nox

Filed under: Uncategorized — m759 @ 1:00 AM 

( A sequel to  Lux )

“By groping toward the light we are made to realize
how deep the darkness is around us.”

— Arthur Koestler, The Call Girls: A Tragi-Comedy ,
Random House, 1973, page 118

Robin Williams and the Stages of Math

i)   shock & denial
ii)  anger
iii) bargaining
iv) depression
v)  acceptance

A related description of the process —

“You know how sometimes someone tells you a theorem,
and it’s obviously false, and you reach for one of the many
easy counterexamples only to realize that it’s not a
counterexample after all, then you reach for another one
and another one and find that they fail too, and you begin
to concede the possibility that the theorem might not
actually be false after all, and you feel your world start to
shift on its axis, and you think to yourself: ‘Why did no one
tell me this before?’ “

— Tom Leinster yesterday at The n-Category Café

Tuesday, July 11, 2017

Dialogue from Plato’s Cave

Filed under: General — Tags: , , — m759 @ 10:15 am

At  scifi.stackexchange.com

Why was the Cosmic Cube named the Tesseract 
in the Marvel movie series? Is there any specific reason 
for the name change? According to me, Cosmic Cube
seems a nice and cooler name.

— Asked March 14, 2013, by Dhwaneet Bhatt
    
At least it wasn't called 'The AllSpark.' 
It's not out of the realm of possibility. 

— Solemnity, March 14, 2013

Tuesday, September 27, 2016

Chomsky and Lévi-Strauss in China

Filed under: General,Geometry — Tags: , , , — m759 @ 7:31 am

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 —

The larger cases —

The diamond theorem

Tuesday, May 24, 2016

Rosenhain and Göpel Revisited

The authors Taormina and Wendland in the previous post
discussed some mathematics they apparently did not know was
related to a classic 1905 book by R. W. H. T. Hudson, Kummer's
Quartic Surface
.

"This famous book is a prototype for the possibility
of explaining and exploring a many-faceted topic of
research, without focussing on general definitions,
formal techniques, or even fancy machinery. In this
regard, the book still stands as a highly recommendable,
unparalleled introduction to Kummer surfaces, as a
permanent source of inspiration and, last but not least, 
as an everlasting symbol of mathematical culture."

— Werner Kleinert, Mathematical Reviews ,
     as quoted at Amazon.com

Some 4×4 diagrams from that book are highly relevant to the
discussion by Taormina and Wendland of the 4×4 squares within
the 1974 Miracle Octad Generator of R. T. Curtis that were later,
in 1987, described by Curtis as pictures of the vector 4-space over
the two-element Galois field GF(2).

Hudson did not think of his 4×4 diagrams as illustrating a vector space,
but he did use them to picture certain subsets of the 16 cells in each
diagram that he called Rosenhain and Göpel tetrads .

Some related work of my own (click images for related posts)—

Rosenhain tetrads as 20 of the 35 projective lines in PG(3,2)

IMAGE- Desargues's theorem in light of Galois geometry

Göpel tetrads as 15 of the 35 projective lines in PG(3,2)

Anticommuting Dirac matrices as spreads of projective lines

Related terminology describing the Göpel tetrads above

Ron Shaw on symplectic geometry and a linear complex in PG(3,2)

Thursday, March 31, 2016

Devil’s Gate Revisited

Filed under: General — Tags: , — m759 @ 10:27 am

The revisiting, below, of an image shown here in part
on Spy Wednesday, 2016, was suggested in part by
a New York Times  obituary today for a Nobel-prize
winning Hungarian novelist. 

Note the references on the map to 
"Devil's Gate" and "Pathfinder."

See also the following from a review of The Pathseeker , a novel 
by the Nobel laureate (Imre Kertész), who reportedly died today —

The commissioner is in fact not in search of a path, but rather of traces of the past (more literally the Hungarian title means ‘trace seeker’). His first shock comes at his realization that the site of his sufferings has been converted into a museum, complete with tourists “diligently carrying off the significance of things, crumb by crumb, wearing away a bit of the unspoken importance” (59). He meets not only tourists, however. He also comes across paradoxically “unknown acquaintances who were just as much haunted by a compulsion to revisit,” including a veiled woman who slowly repeats to him the inventory of those she lost: “my father, my younger brother, my fiancé” (79). The commissioner informs her that he has come “to try to redress that injustice” (80). When she asks how, he suddenly finds the words he had sought, “as if he could see them written down: ‘So that I should bear witness to everything I have seen’” (80).

The act of bearing witness, however, proves elusive. In the museum he is compelled to wonder, “What could this collection of junk, so cleverly, indeed all too cleverly disguised as dusty museum material, prove to him, or to anyone else for that matter,” and adds the chilling observation, “Its objects could be brought to life only by being utilized” (71). As he touches the rust-eaten barbed wire fence he thinks, “A person might almost feel in the mood to stop and dutifully muse on this image of decay – were he not aware, of course, that this was precisely the goal; that the play of ephemerality was merely a bait for things” (66). It is this play of ephemerality, the possibility that the past will be consigned to the past, against which the commissioner struggles, yet his struggle is frustrated precisely by the lack of resistance, the indifference of the objects he has come to confront. “What should he cling on to for proof?” he wonders. “What was he to fight with, if they were depriving him of every object of the struggle? Against what was he to try and resist, if nothing was resisting?” (68) He had come with the purpose of “advertis[ing] his superiority, celebrat[ing] the triumph of his existence in front of these mute and powerless things. His groundless disappointment was fed merely by the fact that this festive invitation had received no response. The objects were holding their peace” (109). 

In point of fact The Pathseeker  makes no specific mention either of the Holocaust or of the concentration camps, yet the admittedly cryptic references to places leave no doubt that this is its subject. Above the gate at the camp the commissioner’s wife reads the phrase, “Jedem das Seine,” to each his due, and one recalls the sign above the entrance to the camp at Buchenwald. Further references to Goethe as well as the Brabag factory, where Kertész himself worked as a prisoner, confirm this. Why this subterfuge on the part of the author? Why a third-person narrative with an unnamed protagonist when so many biographical links tie the author to the story? One cannot help but wonder if Kertész sought specifically to avoid binding his story to particulars in order to maintain the ultimately metaphysical nature of the quest. Like many of Kertész’s works,The Pathseeker  is not about the trauma of the Holocaust itself so much as the trauma of survival. The self may survive but the triumph of that survival is chimerical.

Translator Tim Wilkinson made the bold decision, in translating the title of the work, not to resort to the obvious. Rather than simply translate Nyomkereső , an allusion to the Hungarian translation of James Fenimore Cooper’s The Pathfinder , back into English, he preserves an element of the unfamiliar in his title. This tendency marks many of the passages of the English translation, in which Wilkinson has opted to preserve the winding and often frustratingly serpentine nature of many of the sentences of the original instead of rewriting them in sleek, familiar English.  . . .

— Thomas Cooper

"Sleek, familiar English" —

"Those were the good old days!" — Applegate in "Damn Yankees"
(See previous post.)

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