zenpundit.com

[ by Charles Cameron — design fascination — including a Mimbres rabbit with a supernova at its feet ]
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Bill Benzon has been blogging a remarkable series of posts on Jamie Bérubé‘s drawings as recorded in the online illustrations to Michael Bérubé‘s book, Life As Jamie Knows It: An Exceptional Child Grows Up.

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I wanted to respond to Bill’s latest, Jamie’s Investigations, Part 5: Biomorphs, Geometry and Topology, which included this illustration:

and these comments, which I’ve edited lightly for clarity and simplicity:

I emailed Mark Changizi, a theoretical neuroscientist who has done work on letterforms. He has been making a general argument that culture re-purposes, harnesses (his term), perceptual capacities our ancestors developed for living in the natural world. One of his arguments is that the forms used in writing systems, whether Latinate or Chinese (for example), are those that happened to be useful in perceiving creatures in the natural world, such as plant and animal forms. I told him that Jamie’s forms looked like “tree branches and such.” He replied that they looked like people. His wife, an artist, thought so as well, and also: “This is like early human art.”

You’ll see why that-all interests me — letters and life forms — below.

And then:

Yes, each is a convex polygon; each has several ‘limbs’. And each has a single interior line that goes from one side, through the interior space, to another side. The line never goes outside the polygon .. Why those lines? I don’t know what’s on Jamie’s mind as he draws those lines, but I’m guessing that he’s interested in the fact that, given the relative complexity of these figures and the variety among them, in every case he can draw such a line.

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Two thoughts cross my mind.

The first is that one of these forms, Benzon’s Biomorphic Objects 6a, bears a striking resemblance to the letter aleph, with which the Hebrew alphabet — or better, alephbeth — begins:

There may be some connection there, I’m not sure — though Jamie also has a keen interest in alphabetic forms, as illustrated here:

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But it’s my second point that interests me more.

These “biomorphic objects” with “single interior line that goes from one side, through the interior space, to another side” remind me of nothing so much as the Native American style of representing animals with a “heart line” — best illustrated, perhaps, by this Acoma Pueblo Polychrome Olla with Heartline Deer:

The image comment notes:

One generally associates the use of heartline deer with pottery from Zuni Pueblo and that is most likely the origin. The fact that it appears on Acoma Pueblo pottery has been explained in a number of fashions by a number of contemporary Acoma potters. Deer designs have been documented on Acoma pottery as early as 1880, but those deer do not feature heartline elements. Some potters at Acoma have indicated that Lucy Lewis was the first Acoma potter to produce heartline deer on Acoma pottery. She did this around 1950 at the encouragement of Gallup, New Mexico Indian art dealer Katie Noe. Lewis did not use it until gaining permission from Zuni to do so. Other potters at Acoma have stated that the heartline deer is a traditional Acoma design; however, there is no documented example to prove this. Even if the heartline deer motif is not of Acoma origin, potters at Acoma have expressed that it does have meaning for them. It is said to represent life and it has a spiritual connection to deer and going hunting for deer.

Here’s a “heartline bear” from David and Jean Villasenor‘s book, Indian Designs:

And here’s an equivalent Mimbres design for a rabbit with heartline, in which the line passes completely through the body from one side to the other, as in Jamie’s biomorphs:

Again, the comment is interesting — it cites a 1990 New York Times article, Star Explosion of 1054 Is Seen in Indian Bowl:

When the prehistoric Mimbres Indians of New Mexico looked at the moon, they saw in its surface shading not the “man in the moon” but a “rabbit in the moon.” For them, as for other early Meso-American people, the rabbit came to symbolize the moon in their religion and art.

On the morning of July 5, 1054, the Mimbres Indians arose to find a bright new object shining in the Eastern sky, close to the crescent moon. The object remained visible in daylight for many days. One observer recorded the strange apparition with a black and white painting of a rabbit curled into a crescent shape with a small sunburst at the tip of one foot.

And so the Indians of the Southwestern United States left what archeologists and astronomers call the most unambiguous evidence ever found that people in the Western Hemisphere observed with awe and some sophistication the exploding star, or supernova, that created the Crab nebula.

That would be the sunburst right at the rabbit’s feet!

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Posts in Bill’s series thus far:

Jamie’s Investigations, Part 1: Emergence

Jamie’s Investigations, Part 2: On Discovering Jamie’s Principle

Jamie’s Investigations, Part 3: Towers of Color

Jamie’s Investigations, Part 4: Concentrics, Letters, and the Problem of Composition

Jamie’s Investigations, Part 5: Biomorphs, Geometry and Topology

My previous comment on #1 in the series:

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

[ by Charles Cameron — a long, lazy Sunday post, packed with quirky interest and neat maps ]
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Ten? What’s so special about ten, hunh? Just because you have ten fingers, you suppose that makes ten special?

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One:

As simple as a map can get:

Simon Kirby, The Worry Line

Two:

As complex as one can get:

Eric Jaffe, The World’s 15 Most Complex Subway Maps

And I mean complex, cognitively complex:

When it comes to information processing, an average person’s “cognitive threshold” is about 250 connections, or the equivalent of roughly eight bits of data, according to the researchers. New York’s system neared that limit, with 161 total connections, and the most complicated two-transfer trip a person could make on the subway exceeded it—clocking in at 8.1 bits. Maps for the Paris Metro (with 78 total connections), Tokyo Metro (56), and London Tube (48) clustered around six bits of information.

Three:

Naked:

Nick van Mead, Can you identify the world cities from their ‘naked’ metro maps?

The Guardian wanted to know if you could recognize various cities if shown their metro maps without the stations markings.. and i could manage Chicago (above).

Four:

Coffee:

Chris Ward, Coffee Stops

Sadly, the map is not the territory, or I could get my Java from South Ken while sitting at my desk just outside Sacramento.

The London Coffee Map, “Coffee Stops,” was designed by Chris Ward, who calls himself “the boss who works from coffee shops.” He recently published Out of Office: Work Where You Like and Achieve More, a best-selling guide to leading a successful working life outside an office building. Apparently, being properly caffeinated is one of his biggest tips. Now you can grab your joe at local London cafes with quaint names like Scooter and Electric Elephant.

Five:

Mug:

I could then quaff it from an appropriately poetical Map Mug:

Royal Shakespeare Company, Greater Shakespeare Map Mug

The map here representing affinities between characters in the Bard’s various plays:

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Interlude:

— and we’re half way to ten, let’s imagine ourselves at Shakespeare and Co‘s bookstore and cafe in Paris —

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Six:

Calvino

While we’re on a literary streak, here’s a thumbnail of one of artist Rod McLaren‘s illuminations of Italo Calvino‘s Invisible Cities:

Rod McLaren, Invisible Cities Illustrated #2: Trude/Ersilia

The detail here is fantastic, as befits Calvino’s work:

The diagram, a network of curved lines connecting to every other node on a 6 x 5 grid, has two configurations: if the picture is hung one way up, it shows the “Ersilia configuration” (where the lines are like the threads strung between the buildings of Ersilia); if hung the other way up, it shows that of Trude (where the lines are like a complicated airline route map).

Ersilia (Trading Cities 4, p78):

In Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or gray or black-and-white according to whether they mark a relationship of blood, of trade, or authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain. From a mountainside, camping with their household goods, Ersilia’s refugees look at the labyrinth of taut strings and poles that rise in the plain. That is the city of Ersilia still, and they are nothing.

They rebuild Ersilia elsewhere. They weave a similar pattern of strings which they would like to be more complex and at the same time more regular than the other. Then they abandon it and take themselves and their houses still farther away.

Thus, when travelling in the territory of Ersilia, you come upon the ruins of the abandoned cities, without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form.

Trude (Continuous Cities 2, p128):

If on arriving at Trude I had not read the city’s name written in big letters, I would have thought I was landing at the same airport from which I had taken off. The suburbs they drove me through were no different from the others, with the same greenish and yellowish houses. Following the same signs we swung around the same flower beds in the same squares. The downtown streets displayed goods, packages,signs that had not changed at all. This was the first time I had come to Trude, but I already knew the hotel where I happened to be lodged; I had already heard andspoken my dialogues with the buyers and sellers of hardware; I had ended other days identically,looking through the same goblets at the same swaying navels.

Why come to Trude? I asked myself. And I already wanted to leave.

“You can resume your flight whenever you like,” they said to me, “but you will arrive at another Trude, absolutely the same, detail by detail. The world is covered by a sole Trude which does not begin and does not end. Only the name of the airport changes.”

All of which reminds me of nothing so much as Antonio Gaudi‘s model — made of hanging chains — catenaries —

which when turned upside down provide the structure for his Sagrada Familia cathedral in Barcelona:

Seven:

Ghost:

Meanwhile, back in London, we have maps of the ghost (ie abandoned) London tube stops:

Dylan Maryk, Ghost Stations On The London Underground

Eight:

That’s one way to de-clutter the Tube map — show what ain’t there any more.

Here’s another —

Matt Thomason, 150 years of The London Underground

Don’t ask me what it means — seeing as Hugh Grant gets a station, it’s either gentlemanly or ungentlemanly, I’m not sure which.

Nine:

Music:

I simply didn’t know you’d have to travel this far to get from Dylan to the Beatles:

Dorian Lynskey, in Tufte, Response to London Underground maps

I mean —

Michelle Geslani, The Beatles and Bob Dylan met 50 years ago today

Ten:

I’ve kept this one for last because in some ways it’s the subtlest:

It’s the work of architect Jug Cerovic., and on his page In Borders We Trust he offers this conceptual comment:

Borders are primarily a mental construct.

Just like a deity, they exist only insofar as People believe in them. Question is however how necessary our belief in their existence is and when exactly does that belief start harming us?

At which point do borders cease to be a convenient orientation marker, a helpful tool for the comprehension of the land we inhabit, a common identifier for the construction of a shared identity? At which point do borders become a dogmatic limitation to imagination, a terrifying prison for the body and mind, a symbol and support of hatred?

Borders do not possess an inherent bad or good character, on the contrary they are a malleable concept subject to appropriation and interpretation.

“In borders we trust” examines the perception, physical manifestation and enforcement of the couple formed by People and Borders focusing on three key areas of the contemporary migration routes:

Gibraltar

Serbia

Levant

For this purpose the peculiar relationship between Borders and People is illustrated with a sequence of three distinct maps:

Borders without People

Borders with People

People without Borders

This novel perspective of a seemingly familiar representation, with each component of the couple shown separately and juxtaposed to their combined illustration, questions the articulation and pertinence of our present predicament.

Happily, this is an area that I’ve delved into at some length myself in my earlier post, No man’s land, one man’s real estate, everyone’s dream? — with specific reference to ISIS’ bulldozing of the border between Iraq and Syria, and the Basque country, Euskadi, saddling the French / Spanish border.

Cerovic has achieved an eminently practical limited version of one of my own grandiose castle-in-air schemes — building a universal graphical mapping system. Cerovic’s version offers us a universal graphical underground / tube / metro mapping system, in the form of his book One Metro World — you still have a couple of weeks to support it on Kickstarter!

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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

And hey, and we’re back at maps — where we started in

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

[ 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

[ by Charles Cameron — on Kakutani, Hitler, Trump, Duterte, Aesop — and was Don Quixote a converso Jew? ]
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You don’t have to be an aging Kremlinologist to read between the lines, you don’t have to be a member of the target audience to be alert for dog-whistles, you don’t need a decoder ring to catch what the Washington Post calls “a thinly veiled Trump comparison” in Michiko Kakutani‘s New York Times review of Volker Ullrich‘s new biography, Hitler: Ascent, 1889-1939.

However..

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In his essay Persecution and the Art of Writing, Leo Strauss suggests that..

Persecution gives rise to a peculiar technique of writing and therewith to a peculiar type of literature, in which the truth about all crucial things is presented exclusively between the lines.

Such a style may or may not be evident in Michiko Kakutani’s review, but if it is there it is skilfully done — and not, I’d guess, in fear of persecution.

There’s a blunt equivalent now in use of social media in which, to quote but one example (others, equally or more distasteful, here):

“skittles” has come to refer to Muslims, an obvious reference to Donald Trump Jr.’s comparing of refugees with candy that “would kill you.”

Here, the purpose is to avoid algorithms that hunt down racist and other hateful comments on social media and expunge them — so the code words used include google, skype, yahoo and bing.

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But wait. If you lob the h-word at Donald Trump, what ammunition will you have left for Rodrigo Duterte? Duterte is quite open about his admiration for Hitler.

But Trump?

David Duke wouldn’t mind:

The truth is, by the way, they might be rehabilitating that fellow with the mustache back there in Germany, because I saw a commercial against Donald Trump, a really vicious commercial, comparing what Donald Trump said about preserving America and making America great again to Hitler in Germany preserving Germany and making Germany great again and free again and not beholden to these Communists on one side, politically who were trying to destroy their land and their freedom, and the Jewish capitalists on the other, who were ripping off the nation through the banking system,

And Trump himself? From that 1990 Vanity Fair interview:

Ivana Trump told her lawyer Michael Kennedy that from time to time her husband reads a book of Hitler’s collected speeches, My New Order, which he keeps in a cabinet by his bed. Kennedy now guards a copy of My New Order in a closet at his office, as if it were a grenade. Hitler’s speeches, from his earliest days up through the Phony War of 1939, reveal his extraordinary ability as a master propagandist.

It’s worth noting that a few lines later, Trump declares:

If I had these speeches, and I am not saying that I do, I would never read them.

and that the interviewer, Marie Brenner, concedes:

Trump is no reader or history buff. Perhaps his possession of Hitler’s speeches merely indicates an interest in Hitler’s genius at propaganda.

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So. Why Trump?

Mightn’t Kakutani simply be writing about Hitler and the new biography?

Oh, and if you insist on her having a second target, Trump may be nearer to hand, but Duterte is, well, more overt about his leanings..

Have you considered the Duterte possibility?

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The range of uses to which “Aesopian language” — defined as:

conveying an innocent meaning to an outsider but a hidden meaning to a member of a conspiracy or underground movement

— can be put is enormous.

Here, to take your mind off contemporary politics and point it towards the higher levels of literary and religious thought, is Dominique Aubier’s comment on the Quixote, from Michael McGaha, Is There a Hidden Jewish Meaning in Don Quixote?

if one accepts that Cervantes’ thought proceeds from a dynamic engagement with the concepts of the Zohar, themselves resulting from a dialectic dependence on Talmudic concepts, which in turn sprang from an active engagement with the text of Moses’s book, it is then on the totality of Hebrew thought — in all its uniqueness, its unity of spirit, its inner faithfulness to principles clarified by a slow and prodigious exegesis — that the attentive reader of Don Quixote must rely in order at last to be free to release Cervantes’ meaning from the profound signs in which it is encoded.

You want to read the Quixote? How about spending a few decades in the Judaica section of your local university library first?

But then, those were brutal times.

[ by Charles Cameron — “You’re not haunted by the war, Dr Watson. You miss it.” Yes, this will be a series. ]
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Part of what’s interesting about the upper image above, the one of a woman (presumably) wearing a burqa and holding a gun, is the number of times it has been used by the Daily Mirror — in articles on such topics as:

ISIS bans the BURKA after ‘veiled female assassin’ kills two terrorist commanders in Iraq
Desperate ISIS commanders now sending female fighters to die in combat
See US army taunt ISIS with special message in footage of coalition airstrike
Hundreds of ISIS brides sent for COMBAT TRAINING in Libya after being ‘promoted’ from role as wives

The legend under that last one reads “ISIS is using hundreds of women on the frontline in Libya” — which might lead one to believe the photo was taken there, in Libya. Why, then, would it also be applicable to two pieces about ISIS in Iraq?

That image is a glorious stimulus for hatred, though, which seems to mean it bears frequent repetition. And guess what, it might have been shot with a model, a male model for that matter, in Brixton, not Libya or Afghanistan (where blue burqas are common) or Iraq…

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Um Hanadi (the cook, whom you’ll notice, lower image above, does not wear a burqa) is on Facebook, CNN reports:

After listing all the attacks against her, and all the loved ones lost to ISIS, Um Hanadi said: “I fought them. I beheaded them. I cooked their heads, I burned their bodies.”

She made no excuses, nor attempted to rationalize this. It was delivered as a boast, not a confession.

“This is all documented,” she said. “You can see it on my Facebook page.”

So we checked. Among many pictures of her with her dead husbands, fighters and generals, there was a photo of her in the same black combat fatigues and headscarf holding what appeared to be a freshly severed head. Another showed two severed heads in a cooking pot. In a third photograph, she is standing among partially-burned corpses. It’s impossible to verify whether the photos are authentic or Photoshopped, but we got the point.

Two questions for moralists / ethicists:

Is a woman killing ISIS militants morally or ethically any different from a man doing so?

Is a woman who cooks the heads of her and our deceased enemies a desirable ally?

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Hey, that Express piece about the “veiled female assassin” who killed two ISIS militants even gets to offer you this tasty view, with the accomnpanying legend “A woman wears a veil, which is now being banned in parts of northern Iraq”:

Now, is that hot, or what?

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Sources:

Iraqi News, Veiled woman kills 2 ISIS militants in Mosul

CNN, The Iraqi housewife who ‘cooked the heads’ of ISIS fighters