Tuesday, March 13, 2012

Geometry and Death

Filed under: General,Geometry — m759 @ 4:28 AM

Continued from other posts.

IMAGE- From the 3/13 NY Times obituaries- Albert Abramson, Holocaust Museum backer, with other deaths

Related material from Washington Jewish Week

"Abramson did not always get his way; he didn't have to win, but never took his eye off the ball— the Museum had to emerge the better. He did not take loses personally but pragmatically. A design for the Museum building done by an architect from his firm was charitably speaking 'mediocre.' It was replaced by a brilliant building designed by James Ingo Freed who rightfully regarded it as the master work of his distinguished career. Abramson became Freed's champion. He pushed the design team for a happy ending, saying that he knew the American people and they needed an uplifting ending since the subject of the Holocaust was so very depressing."

— and from the Holocaust Memorial Museum

IMAGE- Holocaust Museum, architectural details

Update of 5:01 AM March 13—

See also yesterday's post The Line and
the section "The Pythagorean/ Platonic tradition"
at David Wade's website Pattern in Islamic Art.

Tuesday, February 21, 2012

Public Space

Filed under: General — m759 @ 10:00 AM

See Wade + "Islamic Art"  in this journal. 

Thursday, June 4, 2009

Thursday June 4, 2009

Filed under: General,Geometry — Tags: — m759 @ 12:00 AM
continued from
October 16, 2008

New collection release:
Pattern in Islamic Art
from David Wade

October 16, 2008

David Wade has partnered with ARTstor to distribute approximately 1,500 images of Islamic art, now available in the Digital Library. These images illustrate patterns and designs found throughout the Islamic world, from the Middle East and Europe to Central and South Asia. They depict works Wade photographed during his travels, as well as drawings and diagrams produced for publication. Reflective of Wade's particular interest in symmetry and geometry, these images analyze and break down common patterns into their basic elements, thereby revealing the underlying principles of order and balance in Islamic art. Islamic artists and craftsmen employed these intricate patterns to adorn all types of surfaces, such as stone, brick, plaster, ceramic, glass, metal, wood, and textiles. The collection contains examples of ornamentation from monumental architecture to the decorative arts.

To view the David Wade: Pattern in Islamic Art collection: go to the ARTstor Digital Library, browse by collection, and click "David Wade: Pattern in Islamic Art;" or enter the Keyword Search: patterninislamicart.

For more detailed information about this collection, visit the David Wade: Pattern in Islamic Art collection page.

The above prose illustrates
the institutional mind at work.

Those who actually try to view
the Wade collection will
encounter the following warning:

To access the images in the ARTstor Digital Library you need to be affiliated with a participating institution (university, college, museum, public library or K-12 school).
You say
"go to the ARTstor Digital Library,"
I say

Wednesday, September 20, 2006

Wednesday September 20, 2006

Filed under: General,Geometry — m759 @ 8:00 AM

Public Space

“… the Danish cartoons crisis last March showed ‘two world views colliding in public space with no common point of reference.'”

George Carey, Archbishop of Canterbury from 1991 to 2002, quoted in today’s London Times.

Related material:

Geometry and Christianity
   (Google search yielding
    “about 1,540,000” results)

Geometry and Islam
   (Google search yielding
    “about 1,580,000” results)


The image “http://www.log24.com/log/pix06A/060828-Cube.jpg” cannot be displayed, because it contains errors.

A Public Space

The image “http://www.log24.com/log/pix06A/060920-Motto.jpg” cannot be displayed, because it contains errors.

— Motto of 
Plato’s Academy

Background from
Log24 on Feb. 15, 2006:


Hellmut Wilhelm on the Tao

If we replace the Chinese word “I” (change, transformation) with the word “permutation,” the relevance of Western mathematics (which some might call “the Logos“) to the I Ching (“Changes Classic”) beomes apparent.

For the relevance of Plato to
Islam, see David Wade’s
Pattern in Islamic Art
and a Google search on
Plato and Islam
(“about 1,680,000” results).

“We should let ourselves be guided by what is common to all. Yet although the Logos is common to all, most men live as if each had a private intelligence of his own.”

Heraclitus of Ephesus, about 500 B.C.

Tuesday, February 3, 2004

Tuesday February 3, 2004

Filed under: General — Tags: — m759 @ 7:11 PM

Retiring Faculty

The following is related to
today's previous four log24 entries.

From my paper journal, a Xeroxed note, composed entirely of cut copies
of various documents,
from July 11, 1990….


Harvard Alumni Gazette June 1990

Retiring Faculty Continue their Love of Learning, Creativity

Thought for today: "He who tells the truth must have one foot in the stirrup." — Armenian Proverb

Preserve me from the enemy
     who has something to gain: and
     from the friend who has something to lose.
Remembering the words of
     Nehemiah the Prophet:
"The trowel in hand, and the gun
     rather loose in the holster."

— T. S. Eliot, Choruses from the Rock — 1934

Pattern in Islamic Art is the most thorough study yet published of the structure of the art.

Oleg Grabar, Aga Khan Professor of Islamic Art, will join the Institute for Advanced Study at Princeton, where he will devote himself to pure research.  He has three books planned — which he estimates will take him about four years to finish — including books on the theory of ornament, and studies of early medieval Jerusalem and Islamic Sicily.  "I'm also planning to brush up on my Persian, which I had kind of forgotten," he said.

Clint Eastwood is the nameless stranger who mysteriously appears in the Warner Brothers film 'Pale Rider.'

Closing the cylinder, he holstered the gun, pivoted, and strode across the now silent street toward his horse.
   An ashen-faced Lahood stared out the second-story window, following the tall man's movements.  In his right hand he held a long-barreled blue-black derringer.  He raised the muzzle purposefully.
   The Preacher put a foot in the stirrup and hesitated.  Turning, he lifted his eyes to a particular window.  The curtains behind it moved slightly.  The report of the single shot was muffled by distance and glass.  From his position the Preacher could not hear the thump of the body as it struck the thick Persian rug.  He did not have to hear it.
   Lahood had begun this day's work, and Lahood had finished it.

Sources: Harvard Alumni Gazette, local newspaper, a volume of the poems of T. S. Eliot, David Wade's Pattern in Islamic Art, and a paperback novelization of Pale Rider

Tuesday February 3, 2004

Filed under: General — m759 @ 6:16 PM

Theory of Design

For an introduction, see

Pattern in Islamic Art, by David Wade.

For a deeper look that is related to the previous three log24 entries, see Goppold‘s

Prolegomena to an Art Theory.

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