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[ by Charles Cameron — if the territory is graphical, so’s the map ]
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Terrain, with its named places and transportation links between them, is graphical, as illustrated in this map:

#IS info graph claims 53 suicide attacks for Sept 2016 in #Syria and #Iraq pic.twitter.com/niCVar6ArW

— Jasmine Opperman (@Jasminechic00) October 6, 2016

It makes me wonder how often graph theory (of the sort that gives us the Königsberg Bridge Problem, see the first post in this series) is applied to troop movements — as it often is to public transportation (see the upcoming tenth post).

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My next example of the use of a node-and-edge graphical design both puzzles and intrigues me:

Development Directions is out! https://t.co/R4I9mSZaQE #FB Stories via @mamaphlls @PublicSphereWB @clarissa_panama #poverty #aid

— Raza Ahmad Rumi (@Razarumi) October 6, 2016

It puzzles me, because I can’t quitec grasp what Raza Rumi — a very bright fellow — is up to in choosing this particular illustration. And it intrigues me, because once on a vision quest I glimpsed an outstretched eagle’s or hawk’s wing, with a similar graphical overlay of its structural essence. It’s a sight I’ve never forgotten, an exquisite linking of the real and abstract worlds, and one that I’m sadly ill-equipped to reproduce visually myself. Words don’t do it justice.

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My third example, as you can see, is taken from a learned paper describing the use of graphs to illustrate musical compositions according to a strictly defined protocol:

"On the Modeling of Musical Solos as Complex Networks” #facemelter #rockon https://t.co/RhMQR8I1vD pic.twitter.com/swnHg4XPq8

— Chris Danforth (@ChrisDanforth) October 4, 2016

What interests me here — aside from the fact that any of these digrams could be used as a board in a sufficiently complex HipBone or Sembl game — is that I ran across this particular paper within 24 hours of reading m’friend Bill Benzon‘s account of his friend Michael Bérubé and his son Jamie, introduced in this tweet:

#downssyndrome Aesthetic investigations of a young man with Down syndrome. https://t.co/CqTg88arVV

— Bill Benzon (@bbenzon) October 6, 2016

Bill’s post Jamie’s Investigations, Part 1: Emergence to which his tweet refers us — is illustrated thus:

Michael Bérubé, we read, has recently published a book about Jamie, who has Down’s, Life as Jamie Knows It: An Exceptional Child Grows Up, and it contains a series of Jamie’s drawings, of which this is one example.

Bill, who is himself the author of Beethoven’s Anvil: Music in Mind and Culture, notes “Jamie loves music, and his dad is a rock-and-roll drummer, so’s his older brother Nick, I believe.” And here’s the clincher — he then asks:

In what way are these drawings like drum beats?

So that’s two examples of novel visual representations of musical pattern in just two days, earlier this week.

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Enough for now — onwards to On the felicities of graph-based game-board design: ten — a long, fascinating post IMO, long enough that I’m glad this is a Sunday.

Earlier in this series:

On the felicities of graph-based game-board design: preliminaries

On the felicities of graph-based game-board design: two dazzlers

On the felicities of graph-based game-board design: three

On the felicities of graph-based game-board design: four

On the felicities of graph-based game-board design: five

On the felicities of graph-based game-board design: six

On the felicities of graph-based game-board design: seven

On the felicities of graph-based game-board design: eight

This entry was posted on Sunday, October 9th, 2016 at 5:00 pm and is filed under bill benzon, blog-friends, Charles Cameron, Doublequotes, doubletweets, form, games, graphical thinking, Hipbone Analysis, Hipbone Games, iraq, IS, ISIS, mathematics, music, Sembl, series, syria, Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.