Uncategorized

Aesthetics continued,,,

In memory
of Irving Penn:

Graphic
Austerity

Christopher Knight
on a current exhibit
of Penn’s work:

“In American Vogue,
strict grids of nine pictures
establish an egalitarian
framework; the design
anticipates Minimalist art
by a decade.”
A Passage:

Finucane’s Wake

Terence McKenna,
“Surfing on Finnegans Wake“–

“Shall I try and find a passage?….

But I am a worker, a tombstone mason, anxious to pleace averyburies and jully glad when Christmas comes his once a year. You are a poorjoist, unctuous to polise nopebobbies….”

The Finucane of the title
was a Holy Ghost Father.

Related material:
“Haunting Time,”
June 3, 2007.
Annals of Aesthetics, continued–

A Halmos
for Gelfand:

See also
The Unity
of Mathematics.
Annals of Aesthetics:

Continued from Saturday–

Context
for the 16:

Block Designs
and Art
Context
for the 70:

Symmetry
and Counting

“Kunst ist nicht einfach.“

– Sondheim in translation
Annals of Aesthetics:

Related material:

Frame Tales, as well as
The Sacred Day of Kali,
this morning’s
New York Times obituaries,
and
Mental Health Month, 2003:

WAIS blocks

IZZI puzzle

Some Finite Geometry:

Edge on Heptads

Part I: Dye on Edge

“Summary:
….we obtain various orbits of partitions of quadrics over GF(2^a) by their maximal totally singular subspaces; the corresponding stabilizers in the relevant orthogonal groups are investigated. It is explained how some of these partitions naturally generalize Conwell’s heptagons for the Klein quadric in PG(5,2).”

“Introduction:
In 1910 Conwell… produced his heptagons in PG(5,2) associated with the Klein quadric K whose points represent the lines of PG(3,2)…. Edge… constructed the 8 heptads of complexes in PG(3,2) directly. Both he and Conwell used their 8 objects to establish geometrically the isomorphisms SL(4,2)=A₈ and O₆(2)=S₈ where O₆(2) is the group of K….”

– “Partitions and Their Stabilizers for Line Complexes and Quadrics,” by R.H. Dye, Annali di Matematica Pura ed Applicata, Volume 114, Number 1, December 1977, pp. 173-194

Part II: Edge on Heptads

“The Geometry of the Linear Fractional Group LF(4,2),” by W.L. Edge, Proc. London Math Soc., Volume s3-4, No. 1, 1954, pp. 317-342. See the historical remarks on the first page.

Note added by Edge in proof:
“Since this paper was finished I have found one by G. M. Conwell: Annals of Mathematics (2) 11 (1910), 60-76….”

Some context:

The Klein Correspondence,
Penrose Space-Time,
and a Finite Model

Art and Religion:

Midnight in the Garden,
Autumn 2009

Log24 Sunday,
Sept. 20, 2009, 12 AM

Review:

Der Einsatz

A Symbol
of Apollo

„Nichts ist wie es scheint.“

The New York Times Magazine
on Sunday, Sept. 20, 2009:

From this journal on the
following day, Sept. 21:

Happy birthday,
Stephen King.

Today’s previous entry is based on
a song, “Unthought Known,” from
the above album; the cover of the
album uses the 3×3 grid shown in
Sept. 20′s midnight review.

For related material on
the unconscious, see
June 13-15, 2005.

I know more than Apollo,
For oft when he lies sleeping
I see the stars at mortal wars
In the wounded welkin weeping.

– Tom O’Bedlam’s Song
Synchronistic Recognition:

Not So Second-Rate

From the above link in this journal on Thursday, Sept. 24, 2009:

“… the unthought-known dispatches a steady stream of ‘notes’ from underground. If it cannot gain a full return to consciousness, it at least would like some recognition– even if disguised.”

– Randall Hoedeman, Sunnyhill Church, Pittsburgh

Randall Hoedeman

Another discovery reportedly also made last Thursday, Sept. 24:

“The Cullinan mine has again given the world a spectacularly beautiful and important diamond.”

– Petra Diamonds Ltd. CEO Johan Dippenaar

Picture from Fox News:
Annals of Religion:

From Harper’s Magazine
for the Feast of
St. Michael and All Angels:

Note on a poem by Rilke
Annals of Aesthetics, continued:

Symmetry
for Germany

See Annals of Aesthetics,
January 13, 2009,
which features the following
example of modernism:

… and for readers of
the Sunday New York Times …

The funereal heart illustrates a review of a book titled Her Fearful Symmetry. The book is set, partly, in London’s Highgate Cemetery.

The book’s author, Audrey Niffenegger, has stated that her title refers to “the doubling and twinning and opposites” that are “essential to the theme and structure of the book.” For examples of doubling, twinning, and opposites that I prefer to Niffenegger’s, see this journal’s Saturday and Sunday entries.

Fans of the New York Times‘s cultural coverage may prefer Niffenegger’s own art work. They may also enjoy images from the weekend’s London Art Book Fair that suggested the rather different sort of book in Saturday’s entry.