Also on the above Berlin date —
Wednesday, November 6, 2013
|
Saturday, October 1, 2022
Mexican Beach Bum Glam
Sunday, August 1, 2021
The Savage Sixteens
"Savage ('wild,' 'undomesticated') modes of thought are primary
in human mentality. They are what we all have in common."
— "The Cerebral Savage: On the Work of Claude Lévi-Strauss,"
by Clifford Geertz (Encounter, vol. 28 no. 4, April 1967, pp. 25-32)
For more Geertz and some related art, see The Kaleidoscope Puzzle,
which lets you picture twin sixteens .
"Can you imagine the mathematical possibilities?"
— Line from "Annie Hall" (1977)
Saturday, August 29, 2015
Studio Time
(The title is a phrase from Oslo artist Josefine Lyche's Instagram page today.)
Note that 6 PM ET is midnight in Oslo.
An image from St. Ursula's Day, 2010 —
Related material:
"Is it a genuine demolition of the walls which seem
to separate mind from mind …. ?"
— Clifford Geertz, conclusion of “The Cerebral Savage:
On the Work of Claude Lévi-Strauss“
Wednesday, November 6, 2013
Bullshit Studies
The essay excerpted in last night's post on structuralism
is of value as part of a sustained attack by the late
Robert de Marrais on the damned nonsense of the late
French literary theorist Jacques Derrida—
Catastrophes, Kaleidoscopes, String Quartets:
Deploying the Glass Bead Game
Part I: Ministrations Concerning Silliness, or:
Is “Interdisciplinary Thought” an Oxymoron?
Part II: Canonical Collage-oscopes, or:
Claude in Jacques’ Trap? Not What It Sounds Like!
Part III: Grooving on the Sly with Klein Groups
Part IV: Claude’s Kaleidoscope . . . and Carl’s
Part V: Spelling the Tree, from Aleph to Tav
(While Not Forgetting to Shin)
The response of de Marrais to Derrida's oeuvre nicely
exemplifies the maxim of Norman Mailer that
"At times, bullshit can only be countered
with superior bullshit."
Wednesday, April 6, 2011
De Marrais Memorial
In memory of Robert de Marrais, an excerpt from an obituary at Legacy.com—
Robert “Bob” Paul de Marrais died April 4, 2011 in Boston, Mass. One measure of a life is those that grieve our absence. Bob is dearly missed. He is survived by his 92 year old mother Yvette (nee Pétronille) in NY, his brother John A. in NY, his Aunt Mae in NJ; three children Luc, Sylvie, and Nathalie in Mass, and his devoted wife Dali (nee Zangurashvili) from Georgia of the ex-Soviet-Union. Bob was born Nov. 30, 1948, grew up in Cresskill, NJ, made life-long friends during some of his happiest days at MIT in Mass., and did not wander far from there for the rest of his life. He had a lifelong interest in history, his French heritage, music, history of science, and multidimensional algebras. His wife, friends Izzy and Mitch, brother John (and wife Caroline), little nephew Louis J., and two of his own children got to say goodbye. He found the energy to reward us with a smile. Bob has now joined his loving dad Louis J., Uncle Jack, Aunt Ginny, Uncle Gil, et. al.
For some details of de Marrais's life, see a separate biography from Legacy.com.
Related material— A search for "deMarrais" in this journal. (The name often occurs only within links.)
Cached copies of the 5-part "Kaleidoscopes" work by de Marrais referred to in the search can be found here.
A more personal note, from a quotation linked to here on the date of de Marrais's death—
… and who shall ever tell the sorrow of being on this earth,
lying, on quilts, on the grass, in a summer evening, among the sounds of the night.
May God bless my people, my uncle, my aunt, my mother, my good father,
oh, remember them kindly in their time of trouble;
and in the hour of their taking away.
After a little I am taken in and put to bed.
— James Agee, "Knoxville: Summer of 1915"
Tuesday, December 21, 2010
Savage Solstice
In memory of kaleidoscope enthusiast Cozy Baker, who died at 86, according to Saturday's Washington Post , on October 19th.
This journal on that date — Savage Logic and Savage Logic continued.
See this journal on All Saints' Day 2006 for some background to those posts—
“Savage logic works like a kaleidoscope whose chips can fall into a variety of patterns while remaining unchanged in quantity, form, or color. The number of patterns producible in this way may be large if the chips are numerous and varied enough, but it is not infinite. The patterns consist in the disposition of the chips vis-a-vis one another (that is, they are a function of the relationships among the chips rather than their individual properties considered separately). And their range of possible transformations is strictly determined by the construction of the kaleidoscope, the inner law which governs its operation. And so it is too with savage thought. Both anecdotal and geometric, it builds coherent structures out of ‘the odds and ends left over from psychological or historical process.’
These odds and ends, the chips of the kaleidoscope, are images drawn from myth, ritual, magic, and empirical lore. (How, precisely, they have come into being in the first place is one of the points on which Levi-Strauss is not too explicit, referring to them vaguely as the ‘residue of events… fossil remains of the history of an individual or a society.’) Such images are inevitably embodied in larger structures– in myths, ceremonies, folk taxonomies, and so on– for, as in a kaleidoscope, one always sees the chips distributed in some pattern, however ill-formed or irregular. But, as in a kaleidoscope, they are detachable from these structures and arrangeable into different ones of a similar sort. Quoting Franz Boas that ‘it would seem that mythological worlds have been built up, only to be shattered again, and that new worlds were built from the fragments,’ Levi-Strauss generalizes this permutational view of thinking to savage thought in general.”
– Clifford Geertz, “The Cerebral Savage: the Structural Anthropology of Claude Levi-Strauss,” in Encounter, Vol. 28 No. 4 (April 1967), pp. 25-32.
Related material —
See also "Levi-Strauss" in this journal and "At Play in the Field."
Thursday, October 21, 2010
St. Ursula’s Day
Mathematics and Narrative continued
A search for Ursula in this journal yields a story…
“The main character is a slave woman who discovers new patterns in the mosaics.”
Other such stories: Plato’s Meno and Changing Woman —
|
“Kaleidoscope turning…
Shifting pattern within — Roger Zelazny, Eye of Cat |
Philosophical postscript—
“That Lévi-Strauss should have been able to transmute the romantic passion of Tristes Tropiques into the hypermodern intellectualism of La Pensée Sauvage is surely a startling achievement. But there remain the questions one cannot help but ask. Is this transmutation science or alchemy? Is the ‘very simple transformation’ which produced a general theory out of a personal disappointment real or a sleight of hand? Is it a genuine demolition of the walls which seem to separate mind from mind by showing that the walls are surface structures only, or is it an elaborately disguised evasion necessitated by a failure to breach them when they were directly encountered? Is Lévi-Strauss writing, as he seems to be claiming in the confident pages of La Pensée Sauvage, a prolegomenon to all future anthropology? Or is he, like some uprooted neolithic intelligence cast away on a reservation, shuffling the debris of old traditions in a vain attempt to revivify a primitive faith whose moral beauty is still apparent but from which both relevance and credibility have long since departed?”
— Clifford Geertz, conclusion of “The Cerebral Savage: On the Work of Claude Lévi-Strauss“
Tuesday, October 19, 2010
Savage Logic…
and the New York Lottery
A search in this journal for yesterday's evening number in the New York Lottery, 359, leads to…
The Cerebral Savage:
On the Work of Claude Lévi-Strauss
by Clifford Geertz
Shown below is 359, the final page of Chapter 13 in
The Interpretation of Cultures: Selected Essays by Clifford Geertz,
New York, 1973: Basic Books, pp. 345-359 —
This page number 359 also appears in this journal in an excerpt from Dan Brown's novel Angels & Demons—
See this journal's entries for March 1-15, 2009, especially…
| Sunday, March 15, 2009 5:24 PM
Philosophy and Poetry: The Origin of Change A note on the figure
"Two things of opposite natures seem to depend On one another, as a man depends On a woman, day on night, the imagined On the real. This is the origin of change. Winter and spring, cold copulars, embrace And forth the particulars of rapture come." -- Wallace Stevens, "Notes Toward a Supreme Fiction," Canto IV of "It Must Change" Sunday, March 15, 2009 11:00 AM Ides of March Sermon: Angels, Demons,
"Symbology" "On Monday morning, 9 March, after visiting the Mayor of Rome and the Municipal Council on the Capitoline Hill, the Holy Father spoke to the Romans who gathered in the square outside the Senatorial Palace…
'… a verse by Ovid, the great Latin poet, springs to mind. In one of his elegies he encouraged the Romans of his time with these words: "Perfer et obdura: multo graviora tulisti." "Hold out and persist: (Tristia, Liber V, Elegia XI, verse 7).'" This journal
on 9 March:
Note the color-interchange Related material: |
The symmetry of the yin-yang symbol, of the diamond-theorem symbol, and of Brown's Illuminati Diamond is also apparent in yesterday's midday New York lottery number (see above).
"Savage logic works like a kaleidoscope…." — Clifford Geertz on Lévi-Strauss
Thursday, November 5, 2009
Universal Culture Machines
University of California anthropologist Alan Dundes:
"One could well argue that binary opposition is a universal. Presumably all human societies, past and present, made some kind of distinction between 'Male and Female,' 'Life and Death,' 'Day and Night' (or Light and Dark), etc." –"Binary Opposition in Myth: The Propp/Levi-Strauss Debate in Retrospect," Western Folklore, Winter 1997
To Levi-Strauss, I prefer Clifford Geertz —
"…what Levi-Strauss has made for himself is an infernal culture machine." –"The Cerebral Savage"
— and Heinrich Zimmer —
"…all opposition, as well as identity, stems from Maya. Great Maya is wisdom and increase, stability and readiness to assist, compassion and serenity. Queen of the World, she is alive in every nuance of feeling and perception; feelings and perceptions are her gestures. And her nature can be sensed only by one who has comprehended that she is the unity of opposites." —The King and the Corpse
And then there are more up-to-date culture machines.
Levi-Strauss, obtuse and boring, is an opposite, of sorts, to the smart and funny Dundes. The latter, in the binary opposition posed in yesterday's Log24 title "Sinner or Saint?," is definitely on the side of the saints. (See selected Log24 entries for the date of his death– Warren Beatty's birthday.)
Today's happy birthdays — Elke Sommer —
and Sesame Street —
Google logo today, Nov. 5, 2009
Click images for historical background.
Sunday, May 25, 2008
Sunday May 25, 2008
Epigraph to
“Deploying the Glass Bead Game, Part II,”
by Robert de Marrais:
“For a complete logical argument,”
Arthur began
with admirable solemnity,
“we need two prim Misses –”
“Of course!” she interrupted.
“I remember that word now.
And they produce — ?”
“A Delusion,” said Arthur.
— Lewis Carroll,
Sylvie and Bruno
Erin O’Connor’s weblog “Critical Mass” on May 24:
Roger Rosenblatt’s Beet [Ecco hardcover, Jan. 29, 2008] is the latest addition to the noble sub-genre of campus fiction….
Curricular questions and the behavior of committees are at once dry as dust subjects and areas ripe for sarcastic send-up– not least because, as dull as they are, they are really both quite vital to the credibility and viability of higher education.
Here’s an excerpt from the first meeting, in which committee members propose their personal plans for a new, improved curriculum:
“… Once the students really got into playing with toy soldiers, they would understand history with hands-on excitement.”
To demonstrate his idea, he’d brought along a shoe box full of toy doughboys and grenadiers, and was about to reenact the Battle of Verdun on the committee table when Heilbrun stayed his hand. “We get it,” he said.
“That’s quite interesting, Molton,” said Booth [a chemist]. “But is it rigorous enough?”
At the mention of the word, everyone, save Peace, sat up straight.
“Rigor is so important,” said Kettlegorf.
“We must have rigor,” said Booth.
“You may be sure,” said the offended Kramer. “I never would propose anything lacking rigor.”
Smythe inhaled and looked at the ceiling. “I think I may have something of interest,” he said, as if he were at a poker game and was about to disclose a royal flush. “My proposal is called ‘Icons of Taste.’ It would consist of a galaxy of courses affixed to several departments consisting of lectures on examples of music, art, architecture, literature, and other cultural areas a student needed to indicate that he or she was sophisticated.”
“Why would a student want to do that?” asked Booth.
“Perhaps sophistication is not a problem for chemists,” said Smythe. Lipman tittered.
“What’s the subject matter?” asked Heilbrun. “Would it have rigor?”
“Of course it would have rigor. Yet it would also attract those additional students Bollovate is talking about.” Smythe inhaled again. “The material would be carefully selected,” he said. “One would need to pick out cultural icons the students were likely to bring up in conversation for the rest of their lives, so that when they spoke, others would recognize their taste as being exquisite yet eclectic and unpredictable.”
“You mean Rembrandt?” said Kramer.
Smythe smiled with weary contempt. “No, I do not mean Rembrandt. I don’t mean Beethoven or Shakespeare, either, unless something iconic has emerged about them to justify their more general appeal.”
“You mean, if they appeared on posters,” said Lipman.
“That’s it, precisely.”
Lipman blushed with pride.
“The subject matter would be fairly easy to amass,” Smythe said. “We could all make up a list off the top of our heads. Einstein–who does have a poster.” He nodded to the ecstatic Lipman. “Auden, for the same reason. Students would need to be able to quote ‘September 1939[ or at least the last lines. And it would be good to teach ‘Musee des Beaux Arts’ as well, which is off the beaten path, but not garishly. Mahler certainly. But Cole Porter too. And Sondheim, I think. Goya. Warhol, it goes without saying, Stephen Hawking, Kurosawa, Bergman, Bette Davis. They’d have to come up with some lines from Dark Victory, or better still, Jezebel. La Dolce Vita. Casablanca. King of Hearts. And Orson, naturally. Citizen Kane, I suppose, though personally I prefer F for Fake.”
“Judy!” cried Heilbrun.
“Yes, Judy too. But not ‘Over the Rainbow.’ It would be more impressive for them to do ‘The Trolley Song,’ don’t you think?” Kettlegorf hummed the intro.
“Guernica,” said Kramer. “Robert
Capa.” “Edward R. Murrow,” said Lipman.
“No! Don’t be ridiculous!” said Smythe, ending Lipman’s brief foray into the world of respectable thought.
“Marilyn Monroe!” said Kettlegorf.
“Absolutely!” said Smythe, clapping to indicate his approval.
“And the Brooklyn Bridge,” said Booth, catching on. “And the Chrysler Building.”
“Maybe,” said Smythe. “But I wonder if the Chrysler Building isn’t becoming something of a cliche.”
Peace had had enough. “And you want students to nail this stuff so they’ll do well at cocktail parties?”
Smythe sniffed criticism, always a tetchy moment for him. “You make it sound so superficial,” he said.
Prim Miss 2:
Siri Hustvedt speaks at Adelaide Writers’ Week– a story dated March 24,
“I have come to think of my books as echo chambers or halls of mirrors in which themes, ideas, associations continually reflect and reverberate inside a text. There is always point and counterpoint, to use a musical illustration. There is always repetition with difference.”
A Delusion:
Exercise — Identify in the following article the sentence that one might (by unfairly taking it out of context) argue is a delusion.
(Hint: See Reflection Groups in Finite Geometry.)
Why Borovik’s Figure 4
is included above:
No Royal Roads.
For more on Prim Miss 2
and deploying
the Glass Bead Game,
see the previous entry.
And now, perhaps, his brother Cornell Capa, who died Friday.† Related material: Log24 on March 24– Death and the Apple Tree— with an excerpt from George MacDonald, and an essay by David L. Neuhouser mentioning the influence of MacDonald on Lewis Carroll– Lewis Carroll: Author, Mathematician, and Christian (pdf).
Saturday, March 24, 2007
Saturday March 24, 2007
In face of which desire no longer moved,
Nor made of itself that which it could not find…
Three times the concentred self takes hold, three times
The thrice concentred self, having possessed
The object, grips it in savage scrutiny,
Once to make captive, once to subjugate
Or yield to subjugation, once to proclaim
The meaning of the capture, this hard prize,
Fully made, fully apparent, fully found.”
— “Credences of Summer,” VII,
by Wallace Stevens, from
Transport to Summer (1947)
Clifford Geertz on Levi-Strauss, from The Cerebral Savage:
“Savage logic works like a kaleidoscope whose chips can fall into a variety of patterns…. “
Related material:
The kaleidoscope puzzle and “Claude Levi-Strauss and the Aesthetic Object,” a videotaped interview with Dr. Boris Wiseman.
Wednesday, November 1, 2006
Wednesday November 1, 2006
Professor Emeritus,
Institute for Advanced Study
Savage Logic
"Savage logic works like a kaleidoscope whose chips can fall into a variety of patterns while remaining unchanged in quantity, form, or color. The number of patterns producible in this way may be large if the chips are numerous and varied enough, but it is not infinite. The patterns consist in the disposition of the chips vis-a-vis one another (that is, they are a function of the relationships among the chips rather than their individual properties considered separately). And their range of possible transformations is strictly determined by the construction of the kaleidoscope, the inner law which governs its operation. And so it is too with savage thought. Both anecdotal and geometric, it builds coherent structures out of 'the odds and ends left over from psychological or historical process.'
These odds and ends, the chips of the kaleidoscope, are images drawn from myth, ritual, magic, and empirical lore. (How, precisely, they have come into being in the first place is one of the points on which Levi-Strauss is not too explicit, referring to them vaguely as the 'residue of events… fossil remains of the history of an individual or a society.') Such images are inevitably embodied in larger structures– in myths, ceremonies, folk taxonomies, and so on– for, as in a kaleidoscope, one always sees the chips distributed in some pattern, however ill-formed or irregular. But, as in a kaleidoscope, they are detachable from these structures and arrangeable into different ones of a similar sort. Quoting Franz Boas that 'it would seem that mythological worlds have been built up, only to be shattered again, and that new worlds were built from the fragments,' Levi-Strauss generalizes this permutational view of thinking to savage thought in general."
— Clifford Geertz, "The Cerebral Savage: the Structural Anthropology of Claude Levi-Strauss," in Encounter, Vol. 28 No. 4 (April 1967), pp. 25-32.
Today's New York Times
reports that
Geertz died on Monday,
October 30, 2006.
Related material:
and Up the River:
|
While it's a story that's never been written, a suggested title– Indiana Jones Sails Up The River Of Death–
shows how readily we as individuals or we as a culture can automatically visualize a basic story motif. We may each see the particular elements of the story differently, but almost instantaneously we catch its drift. The hero sails up the river of death to discover what lies within his own heart: i.e., how much moral and physical strength he has. Indiana Jones sails up the River of Death. We are following Indiana Jones up the River of Death. We're going to visit with Colonel Kurtz. (You may not want to get off the boat.) No, I am not mixing up metaphors. These are the Story. |
Amen.