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Archive for the ‘games’ Category

Contextualizing the beheading of Coptic Christians in Libya

Monday, February 16th, 2015

[ by Charles Cameron — in real estate it’s location, location, location — in thought space it’s context, context, context ]

Timothy Furnish offers us context for the newly released video of Islamic State beheadings of 21 Egyptian Coptic Christians (screencap in upper panel, below) with two striking images of precedents, one of which I have reproduced in part (lower panel), illustrating how the Ottomans beheaded tens of thousands of Georgian Christians:

SPEC DQ christians beheaded

Furnish’s post is titled ISIS Beheadings: Hotwiring the Apocalypse One Christian Martyr At A Time.


I am saddened to say that this is indeed part of the history of Islamic relations with Christianity.

I am happy to add, however, that it is not the whole story. In the upper panel, below, you see Muslim and Christian at a very different form of battle, as found in the Book of Games, Chess, dice and boards, 1282, in the library of the monastery of San Lorenzo del Escorial:

SPEC DQ chess and krishna

Religious tolerance in Islam is illustrated as found today in India, in this picture of a Muslim mother in full niqab taking her son, dressed as the Hindu deity Krishna, to a festival — very probably the Janmashtami or birthday celebration of the child-god (lower panel, above).


It will be interesting to see how President Sisi repsonds to this murderous IS attack on Egyptian citizens.

The hands, the tie, the watch, the game of van Riper

Friday, February 6th, 2015

[ by Charles Cameron — because the subtler games are more interesting ]

van riper


It’s the mind that plays the game that interests me.

Why? Because what little I know of van Riper has to do with the war game he more or less closed down by sending a flotilla of tiny “red team” craft up against a US expeditionary fleet in the Persian Gulf:

Van Riper had at his disposal a computer-generated flotilla of small boats and planes, many of them civilian, which he kept buzzing around the virtual Persian Gulf in circles as the game was about to get under way. As the US fleet entered the Gulf, Van Riper gave a signal – not in a radio transmission that might have been intercepted, but in a coded message broadcast from the minarets of mosques at the call to prayer. The seemingly harmless pleasure craft and propeller planes suddenly turned deadly, ramming into Blue boats and airfields along the Gulf in scores of al-Qaida-style suicide attacks. Meanwhile, Chinese Silkworm-type cruise missiles fired from some of the small boats sank the US fleet’s only aircraft carrier and two marine helicopter carriers. The tactics were reminiscent of the al-Qaida attack on the USS Cole in Yemen two years ago, but the Blue fleet did not seem prepared. Sixteen ships were sunk altogether, along with thousands of marines. If it had really happened, it would have been the worst naval disaster since Pearl Harbor.

He may be a chess player, but that’s a whole lot subtler than chess.


As is this:

That’s a chewable.

PR Beckman tweets on bridges and analogy

Sunday, January 25th, 2015

[ by Charles Cameron — cross-posted from Sembl — this post is for Cath Styles, who has been thinking bridges ]

Pooh bridge


My blog-friend PR Beckman, on a roll, has been tweeting Octavio Paz and Martin Esslin.

I’ve taken Beckman’s tweets out of 140 characters and put them back into paragraphs, and given a little more context to some of them, but greatly though I admire Octavio Paz and much though I have puzzled over the Theater of the Absurd, I wouldn’t have run across these particular passages if I hadn’t found them in my Twitter feed today. Important.


Octavio Paz, Children of the Mire: Modern Poetry from Romanticism to the Avant-garde:

Analogy is the science of correspondences. It is, however, a science which exists only by virtue of differences. Precisely because this is not that, it is possible to extend a bridge between this and that. The bridge does not do away with distance: it is an intermediary; neither does it eliminate difrerences: it establishes a relation between different terms. Analogy is the metaphor in which otherness dreams of itself as unity, and difference projects itself illusively as identity. By means of analogy the confused landscape of plurality becomes ordered and intelligible. Analogy is the operation nby means of which, thanks to the play of similarities, we accept differences. Analogy does not elimiate differences: it redeems them, it makes their existence tolerable.

Martin Esslin, The Theatre of the Absurd, pp 419:

the Theatre of the Absurd is concerned essentially with the evocation of concrete poetic images designed to communicate to the audience the sense of perplexity that their authors feel when confronted with the human condition

and 428:

The realization that thinking in poetic images has its validity side by side with conceptual thought and the insistence on a clear recognition of the function and possibilities of each mode does not amount to a return to irrationalism; on the contrary, it opens the way to a truly rational attitude.


Let me add a quote of my own choosing, this one from Winnie the Pooh:

Sometimes, if you stand on the bottom rail of a bridge and lean over to watch the river slipping slowly away beneath you, you will suddenly know everything there is to be known.

Illustration: Original, 1928 Illustration Of Pooh, Christopher Robin and Piglet Could Fetch Over $200K

Intelligence vs the Artificial

Friday, January 16th, 2015

[ by Charles Cameron — who believes that detours are the spice of life ]

Craig Kaplan:

Craig Kaplan

Maurits Escher:

M Escher


There’s a fasacinating article about Craig Kaplan and his work with tiling that I came across today, Crazy paving: the twisted world of parquet deformations — I highly recommend it to anyone interested in pattern — and I highly recommend anyone uninterested in pattern to get interested!

Kaplan himself is no stranger to Escher’s work, obviously enough — he’s even written a paper, Metamorphosis in Escher’s Art — the abstract reads:

M.C. Escher returned often to the themes of metamorphosis and deformation in his art, using a small set of pictorial devices to express this theme. I classify Escher’s various approaches to metamorphosis, and relate them to the works in which they appear. I also discuss the mathematical challenges that arise in attempting to formalize one of these devices so that it can be applied reliably.

I mean Kaplan no dishonor, then, when I say that his algorithmic tilings, as seen in the upper panel above, still necessarily lack something that his mentor’s images have, as seen in the lower panel — a quirky willingness to go beyond pattern into a deeper pattern, as when the turreted outcropping of a small Italian town on the Amalfi coast becomes a rook in the game of chess


Comparing one with the other, I am reminded of the differences between quantitative and qualitative approaches to understanding, of SIGINT and HUMINT in terms of the types of intelligence collected — and at the philosophical limit, of the very notions of quantity and quality.

DoubleQuoting Andreessen with Turing

Tuesday, December 23rd, 2014

[ by Charles Cameron — counterintuitive insights are like eddies in group mind ]



Adam Elkus said a while back that he wondered “if @pmarca and @hipbonegamer could team up for a double quote post.”

Well, I’m @hipbonegamer, and @pmarca is Marc Andreessen — and while we haven’t teamed up as such, the DoubleQuote above consists of a tweet from Marc two or three days ago, and a paragraph I ran across yesterday which seemed to echo Marc’s tweet from one of Alan Turing‘s posthumously published essays, and which is juxtaposed with Marc’s tweet as my response. Effectively, Marc made the first move on this two panel board, and I responded with the second — and that’s how this most basic form of my HipBone Games is played.

The degree of kinship between Marc’s tweet and Turing’s para is even stronger if you look up the link Marc offered in his tweet, which goes to a pre-pub paper by Jerker Denrell and Christina Fang titled Predicting the Next Big Thing: Success as a Signal of Poor Judgment, in which they suggest:

The explanation is that because extreme outcomes are very rare, managers who take into account all the available information are less likely to make such extreme predictions, whereas those who rely on heuristics and intuition are more likely to make extreme predictions. As such, if the outcome was in fact extreme, an individual who predicts accurately an extreme event is likely to be someone who relies on intuition, rather than someone who takes into account all available information. She is likely to be someone who raves about any new idea or product. However, such heuristics are unlikely to produce consistent success over a wide range of forecasts. Therefore, accurate predictions of an extreme event are likely to be an indication of poor overall forecasting ability, when judgment or forecasting ability is defined as the average level of forecast accuracy over a wide range of forecasts.

— and then goes on to demonstrate it:

Consistent with our model, both the experimental and field results demonstrate that in a dataset containing all predictions, an accurate prediction is an indication of good forecasting ability (i.e., high accuracy on all predictions). However, if we only consider extreme predictions, then an accurate prediction is in fact associated with poor forecasting ability.


The counterintuitive nature of this prediction is delighful in its own right — there’s a sense in which “going against the tide” of what appears obvious is part of a wider pattern that includes knots in a plank and eddies in a stream, close cousins to von Kármán’s vortex streets. And I suspect it’s that built-in paradox that we perceive as “counterintuitive” that caught the eye and attention of Turing, Denrell and Fang, Marc Andreessen and myself. Once again, form, ie pattern, is the indicator of interest.

So this DQ is for Marc and Adam, raising a toast to Alan Turing, in playful spirit and with season’s greetings.

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