Month: June 2005

  • On This Date:

    In 1936, Gone with the Wind
    was published.

    In 1971, Monica Potter
    was born.

    The image “http://www.log24.com/log/pix05A/050630-Potter2A.jpg” cannot be displayed, because it contains errors.

    Sources:
    Amazon.com and
    Tall Tall Trees


    Related material:

    There is one story and one story only
    That will prove worth your telling,
    Whether as learned bard or gifted child;
    To it all lines or lesser gauds belong
    That startle with their shining
    Such common stories as they stray into.

    Is it of trees you tell, their months and virtues,
    Or strange beasts that beset you,
    Of birds that croak at you the Triple will?
    Or of the Zodiac and how slow it turns
    Below the Boreal Crown,
    Prison to all true kings that ever reigned?

    Water to water, ark again to ark,
    From woman back to woman:
    So each new victim treads unfalteringly
    The never altered circuit of his fate,
    Bringing twelve peers as witness
    Both to his starry rise and starry fall.

    Or is it of the Virgin’s silver beauty,
    All fish below the thighs?
    She in her left hand bears a leafy quince;
    When, with her right hand she crooks a finger, smiling,
    How may the King hold back?
    Royally then he barters life for love.

    Or of the undying snake from chaos hatched,
    Whose coils contain the ocean,
    Into whose chops with naked sword he springs,
    Then in black water, tangled by the reeds,
    Battles three days and nights,
    To be spewed up beside her scalloped shore?

    Much snow is falling, winds roar hollowly,
    The owl hoots from the elder,
    Fear in your heart cries to the loving-cup:
    Sorrow to sorrow as the sparks fly upward.
    The log groans and confesses:
    There is one story and one story only.

    Dwell on her graciousness,

    dwell on her smiling,

    Do not forget what flowers
    The great boar trampled down in ivy time.
    Her brow was creamy as the crested wave,
    Her sea-blue eyes were wild
    But nothing promised that is not performed.



    – Robert Graves,


    To Juan at the Winter Solstice



  • Meditation for St. Peter’s Day

    “Religious
    activists fool themselves if they believe public displays of the Ten
    Commandments reflect a more moral and less corrupt nation. One needs
    only to watch television to discern the level of our depravity.”

    Cal Thomas, June 28, 2005

    For further details, see

  • Reading for St. Peter’s Day:

    The image “http://www.log24.com/log/pix05A/050629-Gate240.jpg” cannot be displayed, because it contains errors.

    Click on picture for details.
     

  • Summation

      “Res ipsa loquitur, baby.”

    – Maureen Dowd in
        “Quid Pro Quack



    Cross Window



    Royal Palm Student

    Dream of Heaven

      March 21, 2004

  • Thanks for the Memory

    As I write, Susannah McCorkle is singing “Thanks for the Memory.”

    Below are some photos from the website of Paul Winchell, ventriloquist, inventor, theologian.  Winchell died in his sleep at 82 early on Friday, June 24, 2005.

    The image “http://www.log24.com/log/pix05A/050626-LucyAndHope.jpg” cannot be displayed, because it contains errors.

    Paul Winchell seems to have
    posted a topic for discussion:

    “God is a mathematical equation
       beyond our understanding.”


    Related material:

    From Friday’s entry
    Cross by Sol LeWitt
    (Fifteen Etchings, 1973):

    The image “http://www.log24.com/log/pix05A/050626-Cross.jpg” cannot be displayed, because it contains errors.

    “No bridge reaches God, except one…

    God’s Bridge: The Cross.”
    – Billy Graham Evangelistic Association,
    quoted in Friday’s entry.

    This cross may, of course, also
    be interpreted as panes of a window
     
    – see Lucy photo above —
    or as a plus sign — see “a mathematical
    equation beyond our understanding”
    in, for instance, Algebraic Geometry,
    by Robin Hartshorne. For a theological
    citation of Hartshorne’s work, see
    Midsummer Eve’s Dream
    (June 23, 1995).

  • Religious Symbolism
    at Midnight:


    The image “http://www.log24.com/log/pix05A/050625-Star.jpg” cannot be displayed, because it contains errors.


    Related material:

    Star Wars 6/13/05,
    Dark City 6/14/05,
    and De Arco, as well
    as the following from
    July 26, 2003:

    Bright Star and Dark Lady

    “Mexico is a solar country — but it is also a black
    country, a dark country. This duality of Mexico has preoccupied me
    since I was a child.”

    Octavio Paz,
    quoted by Homero Aridjis

    Bright Star

    Amen.

     

    Dark Lady

  • Geometry for Jews
    continued:

    The image “http://www.log24.com/log/pix05A/050624-Cross.jpg” cannot be displayed, because it contains errors.

    People have tried in many ways

    to bridge the gap

    between themselves
    and God….
    No bridge reaches God, except one…
    God’s Bridge: The Cross

    – Billy Graham Evangelistic Association,

    according to messiahpage.com

    “… just as God defeats the devil:
    this bridge exists;
    it is the theory of the field
    of algebraic functions over
    a finite field of constants
    (that is to say, a finite number
    of elements: also said to be a Galois
    field, or earlier ‘Galois imaginaries’
    because Galois first defined them
    and studied them….)”

    André Weil, 1940 letter to his sister,
    Simone Weil, alias Simone Galois
    (see previous entry)

    Related material:

    Billy Graham and the City:
    A Later Look at His Words

    – New York Times, June 24, 2005

    Geometry for Jews
    and other art notes

  • Mathematics and Metaphor

    The current (June/July) issue of the Notices of the American Mathematical Society has two feature articles.  The first, on the vulgarizer Martin Gardner, was dealt with here in a June 19 entry, Darkness Visible.  The second is related to a letter of André Weil (pdf) that is in turn related to mathematician Barry Mazur’s attempt to rewrite mathematical history  and to vulgarize
    other people’s research by using metaphors
    drawn, it would seem, from the Weil letter.
     
    A Mathematical Lie conjectures that Mazur’s revising of history was motivated by a desire to dramatize some arcane
    mathematics, the Taniyama conjecture, that deals with elliptic curves
    and modular forms, two areas of mathematics that have been known since
    the nineteenth century to be closely related.

    Mazur led
    author Simon Singh to believe that these two areas of mathematics were,
    before Taniyama’s conjecture of 1955, completely unrelated – 

    “Modular forms and elliptic equations live in completely different
    regions of the mathematical cosmos, and nobody would ever have believed
    that there was the remotest link between the two subjects.” — Simon
    Singh, Fermat’s Enigma, 1998 paperback, p. 182

    This is false.  See Robert P. Langlands, review of Elliptic Curves, by Anthony W. Knapp, Bulletin of the American Mathematical Society, January 1994.

    It now appears that Mazur’s claim was in part motivated by a desire
    to emulate the great mathematician André Weil’s manner of speaking;
    Mazur parrots Weil’s “bridge” and “Rosetta stone” metaphors —

    From Peter Woit’s weblog, Feb. 10, 2005:

    “The focus of Weil’s letter is the analogy between number fields and
    the field of algebraic functions of a complex variable. He describes
    his ideas about studying this analogy using a third, intermediate
    subject, that of function fields over a finite field, which he thinks
    of as a ‘bridge‘ or ‘Rosetta stone.’” 

    In “A 1940 Letter of André Weil on Analogy in Mathematics,” (pdf), translated by Martin H. Krieger, Notices of the A.M.S., March 2005, Weil writes that

    “The purely algebraic theory of algebraic functions in any arbitrary
    field of constants is not rich enough so that one might draw useful
    lessons from it. The ‘classical’ theory (that is, Riemannian) of
    algebraic functions over the field of constants of the complex numbers
    is infinitely richer; but on the one hand it is too much so, and in the
    mass of facts some real analogies become lost; and above all, it is too
    far from the theory of numbers. One would be totally obstructed if
    there were not a bridge between the two.  And just as God defeats the devil: this bridge exists; it is the theory of the field of algebraic functions over a finite field of constants….

    On the other hand, between the function fields and the ‘Riemannian’
    fields, the distance is not so large that a patient study would not
    teach us the art of passing from one to the other, and to profit in the
    study of the first from knowledge acquired about the second, and of the
    extremely powerful means offered to us, in the study of the latter,
    from the integral calculus and the theory of analytic functions. That
    is not to say that at best all will be easy; but one ends up by
    learning to see something there, although it is still somewhat
    confused. Intuition makes much of it; I mean by this the faculty of
    seeing a connection between things that in appearance are completely
    different; it does not fail to lead us astray quite often. Be that as
    it may, my work consists in deciphering a trilingual text {[cf. the Rosetta Stone]};
    of each of the three columns I have only disparate fragments; I have
    some ideas about each of the three languages: but I know as well there
    are great differences in meaning from one column to another, for which
    nothing has prepared me in advance. In the several years I have worked
    at it, I have found little pieces of the dictionary. Sometimes I worked
    on one column, sometimes under another.”

    Here is another statement of the Rosetta-stone metaphor, from Weil’s translator, Martin H.  Krieger, in the A.M.S. Notices of November 2004,  “Some of What Mathematicians Do” (pdf):

    “Weil refers to three columns, in analogy with the Rosetta Stone’s
    three languages and their arrangement, and the task is to ‘learn to
    read Riemannian.’  Given an ability to read one column, can you
    find its translation in the other columns?  In the first column
    are Riemann’s transcendental results and, more generally, work in
    analysis and geometry.  In the second column is algebra, say
    polynomials with coefficients in the complex numbers or in a finite
    field. And in the third column is arithmetic or number theory and
    combinatorial properties.”

    For greater clarity, see  Armand Borel (pdf) on Weil’s Rosetta stone,
    where the three columns are referred to as Riemannian (transcendental),
    Italian (“algebraico-geometric,” over finite fields), and arithmetic
    (i.e., number-theoretic).
     
    From Fermat’s Enigma, by Simon Singh, Anchor paperback, Sept. 1998, pp. 190-191:

    Barry
    Mazur: “On the one hand you have the elliptic world, and on the other
    you have the modular world.  Both these branches of mathematics
    had been studied intensively but separately…. Than along comes the
    Taniyama-Shimura conjecture, which is the grand surmise that there’s a bridge between these two completely different worlds.  Mathematicians love to build bridges.”

    Simon Singh: “The value of mathematical bridges
    is enormous.  They enable communities of mathematicians who have
    been living on separate islands to exchange ideas and explore each
    other’s  creations…. The great potential of the Taniyama-Shimura
    conjecture was that it would connect two islands and allow them to
    speak to each other for the first time.  Barry Mazur thinks of the
    Taniyama-Shimura conjecture as a translating device similar to the Rosetta stone…. ‘It’s as if you know one language and this Rosetta stone
    is going to give you an intense understanding of the other language,’
    says Mazur.  ‘But the Taniyama-Shimura conjecture is a Rosetta stone with a certain magical power.’”

    If Mazur, who is scheduled to speak at a conference on Mathematics and Narrative this July, wants more material on stones with magical powers, he might consult The Blue Matrix and The Diamond Archetype.

  • Art History


    “I studied with Reinhardt and I found
    that a fantastic course. I think he was really very stimulating….

    Art history was very personal through the eyes of Ad Reinhardt.”

    – Robert Morris,
        Smithsonian Archives of American Art


    Related material:

    “The Road to Simplicity
    Followed by Merton’s Friends: Ad Reinhardt and Robert Lax” in The Merton
    Annual
    13
    (2000) 245-256, by Paul J. Spaeth, library director at St. Bonaventure University

    The Merton here is Trappist monk Thomas Merton.  Here is
    Merton in a letter to poet Robert Lax on the death of their friend Ad Reinhardt,
    sometimes called the “black monk” of abstract art:

    “Make Mass beautiful silence like big black picture
    speaking requiem. Tears in the shadows of hermit hatch requiems blue
    black tone. Sorrows for Ad in the oblation quiet peace request rest.
    Tomorrow is solemns in the hermit hatch for old lutheran reinhardt
    commie paintblack… Tomorrow is the eternal solemns and the barefoots
    and the ashes and the masses, oldstyle liturgy masses without the
    colonels… Just old black quiet requiems in hermit hatch with decent
    sorrows good by college chum.”

    – from J. S. Porter, “Farewell to a Monk,”
        Antigonish Review, Winter 1997