i pulled my (dover edition of) cantor’s epoch-making
contributions to the founding of the theory of transfinite numbers
(one can evidently download it here)
yesterday to show tony from church;
he’d noticed my (prominently displayed)
copy of god created the integers
(hawking’s anthology great math by math greats)
and mentioned “infinity” a few times in
my hearing, so it seemed like a natural.
and maybe it is… anyway, one does *not*
need a lot of high-tech “advanced math” to
read cantor’s stuff… and be just as mystified,
most likely, as most of the mathematicians
of cantor’s time (and many long after).
but i *should* have broken out the fourth dimension (w’edia),
by rudy rucker (w’edia).
tony’s *also* mentioned “the fourth dimension”
(as a concept) and *this* thing is bound to be
a whole lot more accessible than cantor.
i don’t know this particular rucker book at all well…
but i used his infinity and the mind in a class
long ago and’ve read some of his stories and whatnot.
rucker’s one of math’s best “popular” writers ever,
with a “transreal” SF-like vibe all his own.
i’d post more but my mouse is acting up again. damn it.
the PDF introduction to eli maor’s trigonometric delights
is still up at princeton press. when i plugged it here
back in ’09, along with a mini-lecture about the number “e”
for my then-precalc-class blog (Math 148: Precalculus),
it seems they were offering the whole thing.
apparently it’s out of print. great book.
i can’t get the mouse to behave
and goddammit we the living were
supposed to be in charge but if
i twitch what little is left of
my, admittedly imaginary, “free”
“will”, in this fucking digital
ratmaze, for, one, second, longer.
well. no. not well.
that would be, hello.
make it stop i beg you.
hang up and drive.
for five bucks you can get
a quarter’s worth of popcorn
at a kitsch shop at the mall
in the seven colors of the
of the “color wheel”.
that, and a cup of coffee.
PS: i’m not altogether sure
that my Mud kernel isn’t actually
just a deep Purple. ah, well.
soon i’ll dissolve it all in
coffee and saliva and worse.
the pink point is “on its own polar”
(in the “polarity of P^2(F_4)” shown here)
& so the Big pink Circle “includes” one
of the little pink circles.
the other colored points of the display
*don’t* have this property… one sees
instead that the Orange Circle “includes”
a blue circle, & the Blue “includes” an
orange. note that the “maps” of 21-space
found in the Orange and Blue Circles
correspond to the *positions taken*
by the orange and blue circles
(respectively): the blue circles
“go across the top and then take the
rightmost point”—the Orange ‘position’,
if you will—and the oranges “go up the
right-hand-side and then take the very middle”
(i.e., the Blue position).
similarly the “turquoise” & “lime”
points (let’s say) are found
respectively on the lime & turquoise
before you recycle anything
scribble all over it and make copies.
so nothing goes to waste.
the medium is the massage
so i painted this with a brush
more or less as an exercise
in “graphic design”. if ever
the zine is reissued (it’s seen
here in its natural state, back in the brief
hardcopy-heyday of MEdZ),
this’ll be the cover.
never got drawn.
on the other hand,
visual complex analysis
is a marvelous work and a wonder.
(tristan needham, oxford u.~press)
not that i’ve looked it over *that*
carefully. a few minutes a couple
summers ago in a crowd and a few
more… or maybe a couple of hours…
with the PDF. online reading, yick.
another random shout-out.
this one’s a hard-copy.
conics (keith kendig,
suddenly i’m clearly seeing
lots of stuff i thought i’d
*never* understand. and in an
entertaining style, yet.
this guy’s *good*.
not just on , either…
but on *the big picture*:
(this turns out to be the natural setting
for understanding “conic sections”.
one *hears* this kind of thing all the time
but is seldom brought face-to-face with such
vlorbik sez check it out.
five-string exercise for guitar
(lose the sixth string.)
tune the fifth up
a half-tone higher
(than its usual “A”,
to B-flat [or A-sharp;
B-flat to us today]):
X B♭ D G B E. so far.
now we’re gonna “barre”
four strings more or less
throughout the rest. in
“across the universe”
pushing down the first four
strings at the first fret—
in this tuning gives, as it
were, a “shifted-ordinary”
tuning: the familiar
A D G B E (learned by every
beginner) is “shifted up” to
B♭ E♭ A♭ C F.
the good news is, forget the
“accidentals”: the exercise
is to play on the high four
with the “A-string” (now in
some sense “really” a B♭)
droning away (or silenced…
but otherwise untouched by
the left hand) the whole time.
so new-school “D”:
this is (of course… ) just
“old school” D
“raised by one fret”.
but, alas, putting that second
“barre” down? (the first finger
is barring four frets “throughout”;
to get the “D” here, i have to
*also* barre three strings with
my third finger [and finally put
my pinkie in the middle of the bar,
one fret up.) that’s pretty brutal.
more good news: one already plays
[[X,X,3,2,1,1]] (regular tuning):
this is Beginner F (typically one’s
*first* “barre” chord… note that
only two frets must be barred).
well, new tuning *improves* on the
sound of that cord since we can now
loudly *play* that fifth string:
[[X,0,3,2,1,1]] (“new” tuning) gives
us an extra bass note, as it were
the real payoff, though…
or anyway my reason for having developed
this whole line of investigation…
the “A” chord and its variants
(as i think of ’em while playing
actual B-flats and *their* variants)
take the cool-sound-making form
where you’re just mashing down the
major-chord in the middle and can
drop in the boogie-woogie treble
with very small movements of one’s
this A-form trick (e.g.) also works
in ordinary tuning at the fifth
and seventh frets and that where i
first figured it out.
the “raise the bass” trick lets me
play in the same style but lower
on the neck.