> On Oct 15, 1:05 pm, "Jim Heckman" <rot13(reply-to)@none.invalid>
> wrote:
> > While waiting for Panu to get back to us, I see that the
> > contributors to this subthread appear to be assuming that Finnish
> > "kavallus" has something to do with the Romance words for 'horse'.
> > It doesn't, of course, which is Panu's whole point.
> > "Kavallus" means 'embezzlement', and is transparently derived from
> > the root "kavala" 'deceitful, traitorous' plus a transitive-verb
> > suffix -ta/tä- -> kavalta- 'betray; (money) embezzle', plus an
> > abstract-noun suffix -us/ys. (The change -lt- -> -ll- before a
> > closed syllable with a short vowel is part of a regular
> > morphophonemic process.)
> > I don't have a Finnish etymological dictionary on hand and have no
> > idea where "kavala" comes from. It doesn't look particularly
> > Finnish, having 3 syllables, unless maybe it's from something like
> > *kava (meaning?) plus the location suffix -la/lä (e.g., sairas
> > (stem sairaa-) 'sick, ill' -> sairaala 'hospital'), but that
> > doesn't seem likely.
> > Interestingly, there's also an abstract noun "kavaluus" 'deceit,
> > treachery' formed directly from "kavala". "Kavallus" vs. "kavaluus"
> > is a nice example of the pervasiveness of both vowel and consonant
> > gemination throughout the language.
> My etymology of cavallus 'horse' is CA BAL for the summer
and what language is cavallus? since below for Latin you caballus
> sun horse, sky CA hot BAL, accounting for Latin caballus
> Spanich caballo French cheval, also for cavalier, a polite
> and brave guy standing up for his lady, no longer a horse,
> but deriving from a knight, a rider and archer of former
> times. Horse thieves are also part of the history around
> horses, and so CA BAL could have accounted for kavala
> 'betray' - horse trading was full of deceit.
> I'd appreciate if you would take your discussions elsewhere.
> In this thread I publish and further develop my ideas, just
> having finished my interpretation of Lascaux in eight concise
> messages, now going over to Chauvet and other caves.
> My etymology of caballus 'horse' is CA BAL for the summer
> sun horse, sky CA hot BAL, accounting for Latin caballus
> Spanich caballo French cheval, also for cavalier, a polite
> and brave guy standing up for his lady, no longer a horse,
> but deriving from a knight, a rider and archer of former
> times. Horse thieves are also part of the history around
> horses, and so CA BAL could have accounted for kavala
> 'betray' - horse trading was full of deceit.
> I'd appreciate if you would take your discussions elsewhere.
> In this thread I publish and further develop my ideas, just
> having finished my interpretation of Lascaux in eight concise
> messages, now going over to Chauvet and other caves.
My third online stalker, confused as always, first considered
me an alter ego of Peter Olcott, then supported my replies
to Peter Olcott - I do not want his support, I do no want
anything to do with him, and certainly I do not allow him
to smear his dirt all over my publishing thread. Here again
my report on him.
Arnaud Fournet alias yangg posted ugly messages to
cybalist_admin, joined sci.lang blindly attacking people
with unprecedented outbursts of scatology, and began
stalking me, stepping in my way and smearing dirt
on my wall. I warned him. In vain. So I started a series
of Serri and Hurri messages, seventy-five in all, written
and delivered on a daily basis, brimful of ideas. Nothing
came from him. He can't inform us about the Hurrites.
He can't pick out a claim of mine he considers nonsense
and refute it with scientific arguments. All he can is talk
out of the wrong end of his digestion track. He is a
Frenchman and Phaistos Disc decipherer as my first
longtime online stalker Marie Jean Faucounau alias
grapheus, believing that the Phaistos Disc was written
in Phaisto-Hurrian, Hurrian being close to Proto-Indo-
European that originated 7,000 years ago in southeast
Anatolia, but he can't tell us about the Phaistos Disc.
Instead he told me nonsense, that sound rules are
actual laws holding one hundred percent, or that
Mycenaean (Late Helladic) is older than Middle Helladic
(relevant for the Phaistos Disc). His online etymologies
are nonsense (I reviewed one of them). He bedazzled
Allan Bomhard, if only for a while. Here an excerpt
from an e-mail Allan Bomhard wrote to Brian Zeisberger:
From: Allan Bomhard
To: Brian Zeisberger
Sent: Saturday, August 6, 2011 4:57 PM
Subject: Re: [Nostratic-L] Hurrian & Indo-European
I had hoped to stay out of the fray on this, but I see
that it is not going to be possible. I will not enter
into a long discussion about this matter but will make
a simple statement and let it go at that.
The Hurrian project was challenging when I was
working on it with Arnaud, but, as time has passed
and I have had a chance to think more on these issues,
I have changed my mind. I no longer support any of
the theories advanced or conclusions drawn in that work.
All my warnings failed. I told Arnaud Fournet that he harms
himself. In vain. But then he was excluded from the cybalist,
and documented the ensuing nervous breakdown in sci.lang.
belief and promise
part 9, claiming a second life in the beyond
While the ceiling and walls of many a cave symbolized
the sky, dots on a cave wall, especially red ones, and
hand negatives claimed a second life in the beyond,
a dot reading SAI for life, existence. The oldest painted
element in the Altamira cave in northern Spain is a red
dot, more than forty thousand years old. In the Brunel
chamber of the Chauvet cave is an ideogram of six
big red dots applied with a palm, a domino five plus
an additional dot in elevated position, 32,000 years old.
In 2006 one poster Holly identified the domino five with
my PAS for everywhere in a plain, here, to the south and
north, east and west, in all five places, Greek pas pas
'all, every' pente penta- 'five'. The additional dot in
elevated position can be read as CA for sky
O O O CA
O
O O PAS
PAS CA - may the supreme leader of the Lower Rhone
Valley, the bull (man), born again by the goddess in the sky,
roam the heavens in his next life as he roams or roamed
the land in this life ... The bull (man) is shown on a stalactite
in the rear hall of the cave, next to a Venus, his left forleg
covering her left leg, his head her womb above a large
pubic triangle representing the Summer Triangle Deneb
Vega Atair
A younger version is found in another cave, a hand negative
plus a field of red dots, clearly recognizeable a cross of
five dots, below and above some more dots. The hand
claims a second life in the beyond, the cross means PAS
for everywhere in a plain, the dots below the cross mean
AC for an expanse of land with water, and the dots above
the cross CA for sky. The message is the same: may the
tribal leader whose hand can be seen on this wall roam
the heavens in his next life as he roams the land in this
life ...
A hand has five fingers, an Egyptian star five points.
A black hand negative in the cave of Cosquer near
Marseille is enforced by five horizontal red bars.
PAS CA became Russian Paskha Italian Pasqua
French Pâques for Easter.
Next time: triple goddess from Angles-sur-l'Anglin
> Sun horse and moon bull originate in the niche at the
> rear end of the axial gallery in the Lascaux cave - winter -,
> run along the southern wall of the gallery - spring - toward
> the rotunda - summer - and return along the northern wall
> of the gallery - autumn - toward the niche, where the sun
> horse descends and gives way to the pair of opposing
> ibices, midwinter symbol according to Marie E.P König.
> A little father in the narrowing gallery is the horse turned
> upside down, indicating the death of the sun horse in
> midwinter, whereupon the sun horse of the next year
> will be born and go on its heavenly mission in the frieze
> of ponies, while the long cow above the ponies gave birth
> to the bull of the young moon (sign of three elements
> marking both the cow and the young bull in the rotunda).
> The glorious rotunda stands for summer, midsummer,
> life. Another passageway leads from the rotunda to
> the nave and the chamber of felines that shows seven
> or eight cave lions and may again involve the polarity
> of life and death. If you turn from the passageway to
> the right side you arrive in the apse and reach the pit
> with a famous scene, the birdman and wounded bull
> and bird on a pole, under them a wooly rhinoceros
> Marie E.P König sees the rhinoceros as the goddess
> of life - of giving life and taking life, and here she has
> taken the life of the birdman and the bull and the bird
> on the pole. Michael Rappenglück identified the
> birdman with the constellation of Cygnus, the bull
> with Lyra, and the bird on the pole with Atair. I see
> the birdman as river map of the Guyenne, his eye
> the region of Bordeaux
> personifying the tribal leaders of the Guyenne, and his
> heavenlys eye as Deneb in Cygnus, the bull as the tribal
> leaders of the Lower Rhone Valley, his heavenly eye as
> Vega in Lyra, and the bird on a pole as tribal leaders of
> northern Spain, his heavenly eye as Atair in Aquila. Have
> a closer look at the rhinocers in the pit of Lascaux: behind
> her appear six dots, three behind her vagina, and three
> behind her anus. The three dots behind her vagina
> promise a new life in the sky for good tribal leaders,
> while bad ones will be dropped - a big promise and
> a drastic warning for the aspiring tribal leaders visiting
> the Lascaux cave and having made the whole tour,
> from the rotunda to the end of the axial gallery and back
> to the rotunda, then to the passageway and nave and
> chamber of the felines, then to the apse and pit.
> > belief and promise
> > part 7, Divine Hind or Hind Woman
> > The Divine Hind or Hind woman CER -: I -: called life
> > into existence, animals, also plants, and provided
> > a second life in the beyond for worthy souls. Pronounce
> > the consonant given as -: by touching both lips with
> > the tip of the tongue. Her heavenly emanation was the
> > winter constellation we know as Orion, from ORE EON,
> > she on the beautiful ORE shore EON of the CA LAK
> > Galaxy Milky Way, the heavenly CA lake or stream LAK.
> > She also called moon bulls into life, thus creating time,
> > lunar periods of 30 29 30 29 30 29 30 29 30 29 30 ...
> > days. The moon bulls waiting to go on their heavenly
> > mission were present in Aldebaran, the Hyads, the
> > constellation we know as Taurus, from TOR meaning
> > bull in motion.
> > Altamira in northern Spain was the main sanctuary of
> > the Divine Hind. The cave is famous for the powerful
> > bulls that inspired Picasso, many of them in rounded,
> > compact form. However, by far the largest painted
> > animal is a beautiful hind, three meters long, licking
> > the horns of a small bison under her
> > Animals in European cave art and in the rock art of
> > southern Africa are often shown as if emerging from
> > or disappearing into clefts and niches in the rock,
> > anticipating Vladimir Vernadzky's famous dictum
> > of life being the metamorphosis of rock.
> > Back to Lascaux and the niche at the rear end of the
> > axial gallery
> > The horses come down and give way to a pair of
> > opposing ibices (Latin plural) or ibexes (English plural),
> > symbol of midwinter according to Marie E.P. König.
> > These animals mate in winter, the males fighting for
> > the females. Between them appears an incomplete
> > calendar grid 3 by 3, only the bottom squares given,
> > midwinter occurring in the middle of the central square
> > or period of time. The curved lines of the horns and
> > heads form an hourglass and evoke Orion, constellation
> > of the Divine Hind Woman, invisibly present between
> > her emblematic animals, while Taurus may be indicated
> > by the lunar calendar ideogram next to the long cow
> > - mother of the young moon bull in the rotunda, linked
> > to him by the sign of three elements (GEN for the 3 days
> > of the young moon bull). Under the long cow appear
> > the pretty ponies - the young sun horse of a new year
> > following midwinter. Both the long cow and the frieze
> > of ponies indicate the band of the ecliptic.
> > CER -: I -: has a derivative in cow-eyed Hera, another
> > in northwest Proto-Indo-European *kerdeh- 'herd, series'.
> > -: I -: has many derivatives, among them the loba call
> > of Celtic herdsmen to their cattle, surviving in the locally
> > famous lyoba call of herdsmen in the Swiss Canton of
> > Fribourg. Further derivatives are German Leben English
> > life, German Liebe English love, Latin libido 'desire',
> > words for lip (licking the lips would once have been
> > a way of declaring love and desire, and still can signal
> > appetite and lust), Ugaritic dd 'beloved' and Phoenician
> > Dido 'Loved One', Ukrainian lyalka 'doll', the female
> > given name Lily and the flower lily, German Laub 'foliage'
> > and Laube 'arbor' wherefrom English lobby. Some of
> > the bulls of Altamira have regular tails in the form of
> > 'paintbrushes', others have tails in the form of fir twiglets.
> > The goddess would have been worshipped in arbors
> > built in her honor.
> > > belief and promise
> > > part 6, Divine Stag, and an alternative
> > > or complementary calendar of Lascaux
> > > The Divine Stag CER KOS, stag CER heavenly vault
> > > KOS, guarded the fiery eastern exits from and western
> > > entrances to the Underworld, traversed by the sun horse
> > > and moon bull. The proud antlers of the Divine Stag
> > > were seen in the summer constellations we know as
> > > Sagittarius and Scorpio. His tree was the oak, CER KOS
> > > Latin quercus 'oak' Gaulish érkos 'oak forest'. A group
> > > of stags can be seen in the rotunda, before the red mare
> > > of the early midsummer morning and the white bull of
> > > the full moon by her side. If you
quote:
the do-support phenomenon in English (i.e. the use of do in questions and negative sentences) is now believed by many scholars to have diffused from an older form of the now-extinct Cornish language.
End
On Oct 16, 10:00 am, Franz Gnaedinger <f...@bluemail.ch> wrote:
> I'd appreciate if you would take your discussions elsewhere.
> In this thread I publish and further develop my ideas, just
> having finished my interpretation of Lascaux in eight concise
> messages, now going over to Chauvet and other caves.
This is a discussion group. People discuss stuff here. If you want to
publish and develop your ideas, do it where you won't disrupt people's
discussions.
On 2012-10-20 17:04:14 +0000, The General of the Faceless Anti-Franz Shadow Army said:
> On Oct 16, 10:00 am, Franz Gnaedinger <f...@bluemail.ch> wrote:
>> I'd appreciate if you would take your discussions elsewhere.
>> In this thread I publish and further develop my ideas, just
>> having finished my interpretation of Lascaux in eight concise
>> messages, now going over to Chauvet and other caves.
> This is a discussion group. People discuss stuff here. If you want to
> publish and develop your ideas, do it where you won't disrupt people's
> discussions.
The problem with doing that is that no one will read his stuff if he does. What he doesn't seems to grasp is that no one reads it anyway.
all is equal, all unequal
part 1
change of plan
full definition of language
Sorry for ending the series 'belief and promise'.
I couldn't find a monograph on Angles-sur-l'Anglin
that would allow an interpretation. Specialized book
stores disappear. No more books on cave art. So I let
stand the nine messages as a concise interpretation
of Lascaux.
In 1974/75 I answered the questions What is language?
art? and mathematics? Now, almost forty years later,
I found a way of combining my three separate answers
into a full definition of language, facilitated by Magdalenian
word groups that formed around a meme.
Language may be seen as a triangle the corners of which
are life and art and mathematics.
Language serves life. It is the means of getting help,
support and understanding from those we depend upon
in one way or another - and every means of getting help,
support and understanding may be called language,
on whatever level of life it occurs ... Language, in my
opinion, is a basic feature of life: together, coordinated
by language, we achieve more than all on our own.
Language may be seen as the intelligence of life
(intelligence being related to energy, as a clever way
of working saves energy - this my first scientific insight
or hunch from 1963).
Mathematics based on the formula a = a is the logic
of building and maintaining, techno-logic.
Art is the human measure in a technical world, based
on the wider logic formulated by Goethe: all is equal,
all unequal ...
> belief and promise
> part 9, claiming a second life in the beyond
> While the ceiling and walls of many a cave symbolized
> the sky, dots on a cave wall, especially red ones, and
> hand negatives claimed a second life in the beyond,
> a dot reading SAI for life, existence. The oldest painted
> element in the Altamira cave in northern Spain is a red
> dot, more than forty thousand years old. In the Brunel
> chamber of the Chauvet cave is an ideogram of six
> big red dots applied with a palm, a domino five plus
> an additional dot in elevated position, 32,000 years old.
> In 2006 one poster Holly identified the domino five with
> my PAS for everywhere in a plain, here, to the south and
> north, east and west, in all five places, Greek pas pas
> 'all, every' pente penta- 'five'. The additional dot in
> elevated position can be read as CA for sky
> O O O CA
> O
> O O PAS
> PAS CA - may the supreme leader of the Lower Rhone
> Valley, the bull (man), born again by the goddess in the sky,
> roam the heavens in his next life as he roams or roamed
> the land in this life ... The bull (man) is shown on a stalactite
> in the rear hall of the cave, next to a Venus, his left forleg
> covering her left leg, his head her womb above a large
> pubic triangle representing the Summer Triangle Deneb
> Vega Atair
> A younger version is found in another cave, a hand negative
> plus a field of red dots, clearly recognizeable a cross of
> five dots, below and above some more dots. The hand
> claims a second life in the beyond, the cross means PAS
> for everywhere in a plain, the dots below the cross mean
> AC for an expanse of land with water, and the dots above
> the cross CA for sky. The message is the same: may the
> tribal leader whose hand can be seen on this wall roam
> the heavens in his next life as he roams the land in this
> life ...
> A hand has five fingers, an Egyptian star five points.
> A black hand negative in the cave of Cosquer near
> Marseille is enforced by five horizontal red bars.
> PAS CA became Russian Paskha Italian Pasqua
> French Pâques for Easter.
> Next time: triple goddess from Angles-sur-l'Anglin
> > Sun horse and moon bull originate in the niche at the
> > rear end of the axial gallery in the Lascaux cave - winter -,
> > run along the southern wall of the gallery - spring - toward
> > the rotunda - summer - and return along the northern wall
> > of the gallery - autumn - toward the niche, where the sun
> > horse descends and gives way to the pair of opposing
> > ibices, midwinter symbol according to Marie E.P König.
> > A little father in the narrowing gallery is the horse turned
> > upside down, indicating the death of the sun horse in
> > midwinter, whereupon the sun horse of the next year
> > will be born and go on its heavenly mission in the frieze
> > of ponies, while the long cow above the ponies gave birth
> > to the bull of the young moon (sign of three elements
> > marking both the cow and the young bull in the rotunda).
> > The glorious rotunda stands for summer, midsummer,
> > life. Another passageway leads from the rotunda to
> > the nave and the chamber of felines that shows seven
> > or eight cave lions and may again involve the polarity
> > of life and death. If you turn from the passageway to
> > the right side you arrive in the apse and reach the pit
> > with a famous scene, the birdman and wounded bull
> > and bird on a pole, under them a wooly rhinoceros
> > Marie E.P König sees the rhinoceros as the goddess
> > of life - of giving life and taking life, and here she has
> > taken the life of the birdman and the bull and the bird
> > on the pole. Michael Rappenglück identified the
> > birdman with the constellation of Cygnus, the bull
> > with Lyra, and the bird on the pole with Atair. I see
> > the birdman as river map of the Guyenne, his eye
> > the region of Bordeaux
> > personifying the tribal leaders of the Guyenne, and his
> > heavenlys eye as Deneb in Cygnus, the bull as the tribal
> > leaders of the Lower Rhone Valley, his heavenly eye as
> > Vega in Lyra, and the bird on a pole as tribal leaders of
> > northern Spain, his heavenly eye as Atair in Aquila. Have
> > a closer look at the rhinocers in the pit of Lascaux: behind
> > her appear six dots, three behind her vagina, and three
> > behind her anus. The three dots behind her vagina
> > promise a new life in the sky for good tribal leaders,
> > while bad ones will be dropped - a big promise and
> > a drastic warning for the aspiring tribal leaders visiting
> > the Lascaux cave and having made the whole tour,
> > from the rotunda to the end of the axial gallery and back
> > to the rotunda, then to the passageway and nave and
> > chamber of the felines, then to the apse and pit.
> > Next time: claiming a second life in the beyond
> > > belief and promise
> > > part 7, Divine Hind or Hind Woman
> > > The Divine Hind or Hind woman CER -: I -: called life
> > > into existence, animals, also plants, and provided
> > > a second life in the beyond for worthy souls. Pronounce
> > > the consonant given as -: by touching both lips with
> > > the tip of the tongue. Her heavenly emanation was the
> > > winter constellation we know as Orion, from ORE EON,
> > > she on the beautiful ORE shore EON of the CA LAK
> > > Galaxy Milky Way, the heavenly CA lake or stream LAK.
> > > She also called moon bulls into life, thus creating time,
> > > lunar periods of 30 29 30 29 30 29 30 29 30 29 30 ...
> > > days. The moon bulls waiting to go on their heavenly
> > > mission were present in Aldebaran, the Hyads, the
> > > constellation we know as Taurus, from TOR meaning
> > > bull in motion.
> > > Altamira in northern Spain was the main sanctuary of
> > > the Divine Hind. The cave is famous for the powerful
> > > bulls that inspired Picasso, many of them in rounded,
> > > compact form. However, by far the largest painted
> > > animal is a beautiful hind, three meters long, licking
> > > the horns of a small bison under her
> > > Animals in European cave art and in the rock art of
> > > southern Africa are often shown as if emerging from
> > > or disappearing into clefts and niches in the rock,
> > > anticipating Vladimir Vernadzky's famous dictum
> > > of life being the metamorphosis of rock.
> > > Back to Lascaux and the niche at the rear end of the
> > > axial gallery
> > > The horses come down and give way to a pair of
> > > opposing ibices (Latin plural) or ibexes (English plural),
> > > symbol of midwinter according to Marie E.P. König.
> > > These animals mate in winter, the males fighting for
> > > the females. Between them appears an incomplete
> > > calendar grid 3 by 3, only the bottom squares given,
> > > midwinter occurring in the middle of the central square
> > > or period of time. The curved lines of the horns and
> > > heads form an hourglass and evoke Orion, constellation
> > > of the Divine Hind Woman, invisibly present between
> > > her emblematic animals, while Taurus may be indicated
> > > by the lunar calendar ideogram next to the long cow
> > > - mother of the young moon bull in the rotunda, linked
> > > to him by the sign of three elements (GEN for the 3 days
> > > of the young moon bull). Under the long cow appear
> > > the pretty ponies - the young
On Nov 13, 10:44 am, Franz Gnaedinger <f...@bluemail.ch> wrote:
> all is equal, all unequal
> part 1
> change of plan
> full definition of language
> Sorry for ending the series 'belief and promise'.
No worries. We are quite happy with the situation. In fact, I think
you could have ended the series earlier. Where can I send an
autographed copy of my book?
On my 21st birthday, in 1970, I got a book on the
philosophy of quantum mechanics. It contained
an intriguing footnote saying that the basic equation
of mathematics p = p had not yet been examined.
In 1974/75 I found an answer. Mathematics ponders
the properties and relations of ideal objects that
fully satisfy the equation a = a meaning that an
ideal object 'a' is perfectly identical with another
or any other ideal object 'a', and that an ideal object
'a' remains unchanged forever. Not so in the real
world. An apple is an apple, yet one apple may be
read and sweet, another green and sour, and what
if the apple is eaten? Mathematical equations can be
interpreted in a technical context:
b = b = b = b = b = b = ...
If the bricks 'b' have the same consistency, form and
size, a wall is easily built
b = b
and if each brick remains the same, keeps its consistency,
form and size, does neither soak in the rain nor crack in
the summer heat, the wall will stand.
9 = 3 + 2 + 4 = 9
A machine (9) can be dismantled (3, 2, 4) and reassembled
(9), either for the purpose of repairing, or cleaning.
1 = 0.999...
A door (0.999...) and the door frame (1) must match,
or else the door is jammed, or there is a draught.
3 + 0.999... + 6 = 10 = 3 + 0.999... + 6
If you close the door (0.999...) it becomes part of the wall (10),
but then you can open the door again (3 + 0.999... + 6).
I invented numerous technical situations to a variety
of simple equations, and over the years I saw my belief
confirmed: mathematics may be regarded as the logic
of building and maintaining. It is not a lucky coincidence
that mathematical discoveries lead to technical inventions,
the other way round: mathematics, being the logic of
building and maintaining, of technics, paves the way
for technology.
> all is equal, all unequal
> part 1
> change of plan
> full definition of language
> Sorry for ending the series 'belief and promise'.
> I couldn't find a monograph on Angles-sur-l'Anglin
> that would allow an interpretation. Specialized book
> stores disappear. No more books on cave art. So I let
> stand the nine messages as a concise interpretation
> of Lascaux.
> In 1974/75 I answered the questions What is language?
> art? and mathematics? Now, almost forty years later,
> I found a way of combining my three separate answers
> into a full definition of language, facilitated by Magdalenian
> word groups that formed around a meme.
> Language may be seen as a triangle the corners of which
> are life and art and mathematics.
> Language serves life. It is the means of getting help,
> support and understanding from those we depend upon
> in one way or another - and every means of getting help,
> support and understanding may be called language,
> on whatever level of life it occurs ... Language, in my
> opinion, is a basic feature of life: together, coordinated
> by language, we achieve more than all on our own.
> Language may be seen as the intelligence of life
> (intelligence being related to energy, as a clever way
> of working saves energy - this my first scientific insight
> or hunch from 1963).
> Mathematics based on the formula a = a is the logic
> of building and maintaining, techno-logic.
> Art is the human measure in a technical world, based
> on the wider logic formulated by Goethe: all is equal,
> all unequal ...
> > belief and promise
> > part 9, claiming a second life in the beyond
> > While the ceiling and walls of many a cave symbolized
> > the sky, dots on a cave wall, especially red ones, and
> > hand negatives claimed a second life in the beyond,
> > a dot reading SAI for life, existence. The oldest painted
> > element in the Altamira cave in northern Spain is a red
> > dot, more than forty thousand years old. In the Brunel
> > chamber of the Chauvet cave is an ideogram of six
> > big red dots applied with a palm, a domino five plus
> > an additional dot in elevated position, 32,000 years old.
> > In 2006 one poster Holly identified the domino five with
> > my PAS for everywhere in a plain, here, to the south and
> > north, east and west, in all five places, Greek pas pas
> > 'all, every' pente penta- 'five'. The additional dot in
> > elevated position can be read as CA for sky
> > O O O CA
> > O
> > O O PAS
> > PAS CA - may the supreme leader of the Lower Rhone
> > Valley, the bull (man), born again by the goddess in the sky,
> > roam the heavens in his next life as he roams or roamed
> > the land in this life ... The bull (man) is shown on a stalactite
> > in the rear hall of the cave, next to a Venus, his left forleg
> > covering her left leg, his head her womb above a large
> > pubic triangle representing the Summer Triangle Deneb
> > Vega Atair
> > A younger version is found in another cave, a hand negative
> > plus a field of red dots, clearly recognizeable a cross of
> > five dots, below and above some more dots. The hand
> > claims a second life in the beyond, the cross means PAS
> > for everywhere in a plain, the dots below the cross mean
> > AC for an expanse of land with water, and the dots above
> > the cross CA for sky. The message is the same: may the
> > tribal leader whose hand can be seen on this wall roam
> > the heavens in his next life as he roams the land in this
> > life ...
> > A hand has five fingers, an Egyptian star five points.
> > A black hand negative in the cave of Cosquer near
> > Marseille is enforced by five horizontal red bars.
> > PAS CA became Russian Paskha Italian Pasqua
> > French Pâques for Easter.
> > Next time: triple goddess from Angles-sur-l'Anglin
> > > Sun horse and moon bull originate in the niche at the
> > > rear end of the axial gallery in the Lascaux cave - winter -,
> > > run along the southern wall of the gallery - spring - toward
> > > the rotunda - summer - and return along the northern wall
> > > of the gallery - autumn - toward the niche, where the sun
> > > horse descends and gives way to the pair of opposing
> > > ibices, midwinter symbol according to Marie E.P König.
> > > A little father in the narrowing gallery is the horse turned
> > > upside down, indicating the death of the sun horse in
> > > midwinter, whereupon the sun horse of the next year
> > > will be born and go on its heavenly mission in the frieze
> > > of ponies, while the long cow above the ponies gave birth
> > > to the bull of the young moon (sign of three elements
> > > marking both the cow and the young bull in the rotunda).
> > > The glorious rotunda stands for summer, midsummer,
> > > life. Another passageway leads from the rotunda to
> > > the nave and the chamber of felines that shows seven
> > > or eight cave lions and may again involve the polarity
> > > of life and death. If you turn from the passageway to
> > > the right side you arrive in the apse and reach the pit
> > > with a famous scene, the birdman and wounded bull
> > > and bird on a pole, under them a wooly rhinoceros
> > > Marie E.P König sees the rhinoceros as the goddess
> > > of life - of giving life and taking life, and here she has
> > > taken the life of the birdman and the bull and the bird
> > > on the pole. Michael Rappenglück identified the
> > > birdman with the constellation of Cygnus, the bull
> > > with Lyra, and the bird on the pole with Atair. I see
> > > the birdman as river map of the Guyenne, his eye
> > > the region of Bordeaux
> > > personifying the tribal leaders of the Guyenne, and his
> > > heavenlys eye as Deneb in Cygnus, the bull as the tribal
> > > leaders of the Lower Rhone Valley, his heavenly eye as
> > > Vega in Lyra, and the bird on a pole as tribal leaders of
> > > northern Spain, his heavenly eye as Atair in Aquila. Have
> > > a closer look at the rhinocers in the pit of Lascaux: behind
> > > her appear six dots, three behind her vagina, and three
> > > behind her anus. The three dots behind her vagina
> > > promise a new life in the sky for good tribal leaders,
> > > while bad ones will be dropped - a big promise and
> > > a drastic warning for the aspiring tribal leaders visiting
> > > the Lascaux cave and having made the whole tour,
> > > from the rotunda to the end of the axial gallery and back
> > > to the rotunda, then to the passageway and nave and
> > > chamber of the felines, then to the apse and pit.
> > > Next time: claiming a second life in the beyond
Our teacher of ancient Greek was a fan of Greek art
and placed pictures of sculptures in the showcase.
I remember having spent hours on a pencil drawing
from a beautiful marble head of a woman, and I fell
in love with one of the Korae of the Erechtheion on
the acropolis of Athens. Our teacher of Greek spoke
about the contrapposto: the human body appears
symmetrical, while variations in the pose, often
along a curved axis, make a sculpture more lively.
One day in 1965 we read a poem by Archilochos.
Two lines are missing, we were told; I don't remember
whether at the end or the beginning. I used the principle
of the contrapposto in order to reconstruct the missing
lines that should mirror the beginning or the end while
there should also be a difference that summarizes
what happens in the poem (or in a good movie, as I
was to find out later). My reconstruction of the missing
lines was convinving, although not in ancient Greek.
Ten years later I began reading Goethe and soon found
what I call his world formula: "Alles ist gleich, alles
ungleich (...)" in Maximen und Reflexionen, also in the
novel Wilhelm Meisters Wanderjahre, Aus Makariens
Archiv, at the end of the novel, but originally planned
for the middle: all is equal, all unequal ... I was delighted,
for this was the shortest possible way of rendering the
contrapposto, most generally, and meeting my study of
the basic mathematical equation .
In around 1980, when physicists hoped to complete the
'zoo' of elementary particles, I predicted that this won't
happen, because the really elementary particles obey
the formula e = e = e = e = e = e = e = ... that names
only the equal while leaving out the unequal. Meanwhile
I dare say that cosmology, based on an atomic world,
unavoidably encounters 'spooky' phenomena such as
entanglement and non-locality, greetings from the
other side of logic, as it were. We may well count with
further cosmological revolutions, and the last word
about the fate of the universe has not yet been said,
will never be said, actually.
Galilei called mathematics the language of nature.
God may be able to understand all of the world in
mathematical terms. Our mathematical knowledge
is and will be limited. For us, there is always a beyond
of mathematics, an unequal to the equal, and an equal
to the unequal.
> all is equal, all unequal
> part 2
> mathematics
> On my 21st birthday, in 1970, I got a book on the
> philosophy of quantum mechanics. It contained
> an intriguing footnote saying that the basic equation
> of mathematics p = p had not yet been examined.
> In 1974/75 I found an answer. Mathematics ponders
> the properties and relations of ideal objects that
> fully satisfy the equation a = a meaning that an
> ideal object 'a' is perfectly identical with another
> or any other ideal object 'a', and that an ideal object
> 'a' remains unchanged forever. Not so in the real
> world. An apple is an apple, yet one apple may be
> read and sweet, another green and sour, and what
> if the apple is eaten? Mathematical equations can be
> interpreted in a technical context:
> b = b = b = b = b = b = ...
> If the bricks 'b' have the same consistency, form and
> size, a wall is easily built
> b = b
> and if each brick remains the same, keeps its consistency,
> form and size, does neither soak in the rain nor crack in
> the summer heat, the wall will stand.
> 9 = 3 + 2 + 4 = 9
> A machine (9) can be dismantled (3, 2, 4) and reassembled
> (9), either for the purpose of repairing, or cleaning.
> 1 = 0.999...
> A door (0.999...) and the door frame (1) must match,
> or else the door is jammed, or there is a draught.
> 3 + 0.999... + 6 = 10 = 3 + 0.999... + 6
> If you close the door (0.999...) it becomes part of the wall (10),
> but then you can open the door again (3 + 0.999... + 6).
> I invented numerous technical situations to a variety
> of simple equations, and over the years I saw my belief
> confirmed: mathematics may be regarded as the logic
> of building and maintaining. It is not a lucky coincidence
> that mathematical discoveries lead to technical inventions,
> the other way round: mathematics, being the logic of
> building and maintaining, of technics, paves the way
> for technology.
> > all is equal, all unequal
> > part 1
> > change of plan
> > full definition of language
> > Sorry for ending the series 'belief and promise'.
> > I couldn't find a monograph on Angles-sur-l'Anglin
> > that would allow an interpretation. Specialized book
> > stores disappear. No more books on cave art. So I let
> > stand the nine messages as a concise interpretation
> > of Lascaux.
> > In 1974/75 I answered the questions What is language?
> > art? and mathematics? Now, almost forty years later,
> > I found a way of combining my three separate answers
> > into a full definition of language, facilitated by Magdalenian
> > word groups that formed around a meme.
> > Language may be seen as a triangle the corners of which
> > are life and art and mathematics.
> > Language serves life. It is the means of getting help,
> > support and understanding from those we depend upon
> > in one way or another - and every means of getting help,
> > support and understanding may be called language,
> > on whatever level of life it occurs ... Language, in my
> > opinion, is a basic feature of life: together, coordinated
> > by language, we achieve more than all on our own.
> > Language may be seen as the intelligence of life
> > (intelligence being related to energy, as a clever way
> > of working saves energy - this my first scientific insight
> > or hunch from 1963).
> > Mathematics based on the formula a = a is the logic
> > of building and maintaining, techno-logic.
> > Art is the human measure in a technical world, based
> > on the wider logic formulated by Goethe: all is equal,
> > all unequal ...
> > > belief and promise
> > > part 9, claiming a second life in the beyond
> > > While the ceiling and walls of many a cave symbolized
> > > the sky, dots on a cave wall, especially red ones, and
> > > hand negatives claimed a second life in the beyond,
> > > a dot reading SAI for life, existence. The oldest painted
> > > element in the Altamira cave in northern Spain is a red
> > > dot, more than forty thousand years old. In the Brunel
> > > chamber of the Chauvet cave is an ideogram of six
> > > big red dots applied with a palm, a domino five plus
> > > an additional dot in elevated position, 32,000 years old.
> > > In 2006 one poster Holly identified the domino five with
> > > my PAS for everywhere in a plain, here, to the south and
> > > north, east and west, in all five places, Greek pas pas
> > > 'all, every' pente penta- 'five'. The additional dot in
> > > elevated position can be read as CA for sky
> > > O O O CA
> > > O
> > > O O PAS
> > > PAS CA - may the supreme leader of the Lower Rhone
> > > Valley, the bull (man), born again by the goddess in the sky,
> > > roam the heavens in his next life as he roams or roamed
> > > the land in this life ... The bull (man) is shown on a stalactite
> > > in the rear hall of the cave, next to a Venus, his left forleg
> > > covering her left leg, his head her womb above a large
> > > pubic triangle representing the Summer Triangle Deneb
> > > Vega Atair
> > > A younger version is found in another cave, a hand negative
> > > plus a field of red dots, clearly recognizeable a cross of
> > > five dots, below and above some more dots. The hand
> > > claims a second life in the beyond, the cross means PAS
> > > for everywhere in a plain, the dots below the cross mean
> > > AC for an expanse of land with water, and the dots above
> > > the cross CA for sky. The message is the same: may the
> > > tribal leader whose hand can be seen on this wall roam
> > > the heavens in his next life as he roams the land in this
> > > life ...
> > > A hand has five fingers, an Egyptian star five points.
> > > A black hand negative in the cave of Cosquer near
> > > Marseille is enforced by five horizontal red bars.
> > > PAS CA became Russian Paskha Italian Pasqua
> > > French Pâques for Easter.
> > > Next time: triple goddess from Angles-sur-l'Anglin
> all is equal, all unequal
> part 3
> contrapposto
> Our teacher of ancient Greek was a fan of Greek art
> and placed pictures of sculptures in the showcase.
> I remember having spent hours on a pencil drawing
> from a beautiful marble head of a woman, and I fell
> in love with one of the Korae of the Erechtheion on
> the acropolis of Athens. Our teacher of Greek spoke
> about the contrapposto: the human body appears
> symmetrical, while variations in the pose, often
> along a curved axis, make a sculpture more lively.
> One day in 1965 we read a poem by Archilochos.
> Two lines are missing, we were told; I don't remember
> whether at the end or the beginning. I used the principle
> of the contrapposto in order to reconstruct the missing
> lines that should mirror the beginning or the end while
> there should also be a difference that summarizes
> what happens in the poem (or in a good movie, as I
> was to find out later). My reconstruction of the missing
> lines was convinving, although not in ancient Greek.
> Ten years later I began reading Goethe and soon found
> what I call his world formula: "Alles ist gleich, alles
> ungleich (...)" in Maximen und Reflexionen, also in the
> novel Wilhelm Meisters Wanderjahre, Aus Makariens
> Archiv, at the end of the novel, but originally planned
> for the middle: all is equal, all unequal ... I was delighted,
> for this was the shortest possible way of rendering the
> contrapposto, most generally, and meeting my study of
> the basic mathematical equation .
> In around 1980, when physicists hoped to complete the
> 'zoo' of elementary particles, I predicted that this won't
> happen, because the really elementary particles obey
> the formula e = e = e = e = e = e = e = ... that names
> only the equal while leaving out the unequal. Meanwhile
> I dare say that cosmology, based on an atomic world,
> unavoidably encounters 'spooky' phenomena such as
> entanglement and non-locality, greetings from the
> other side of logic, as it were. We may well count with
> further cosmological revolutions, and the last word
> about the fate of the universe has not yet been said,
> will never be said, actually.
> Galilei called mathematics the language of nature.
> God may be able to understand all of the world in
> mathematical terms. Our mathematical knowledge
> is and will be limited. For us, there is always a beyond
> of mathematics, an unequal to the equal, and an equal
> to the unequal.
>> all is equal, all unequal
>> part 2
>> mathematics
>> On my 21st birthday, in 1970, I got a book on the
>> philosophy of quantum mechanics. It contained
>> an intriguing footnote saying that the basic equation
>> of mathematics p = p had not yet been examined.
>> In 1974/75 I found an answer. Mathematics ponders
>> the properties and relations of ideal objects that
>> fully satisfy the equation a = a meaning that an
>> ideal object 'a' is perfectly identical with another
>> or any other ideal object 'a', and that an ideal object
>> 'a' remains unchanged forever. Not so in the real
>> world. An apple is an apple, yet one apple may be
>> read and sweet, another green and sour, and what
>> if the apple is eaten? Mathematical equations can be
>> interpreted in a technical context:
>> b = b = b = b = b = b = ...
>> If the bricks 'b' have the same consistency, form and
>> size, a wall is easily built
>> b = b
>> and if each brick remains the same, keeps its consistency,
>> form and size, does neither soak in the rain nor crack in
>> the summer heat, the wall will stand.
>> 9 = 3 + 2 + 4 = 9
>> A machine (9) can be dismantled (3, 2, 4) and reassembled
>> (9), either for the purpose of repairing, or cleaning.
>> 1 = 0.999...
>> A door (0.999...) and the door frame (1) must match,
>> or else the door is jammed, or there is a draught.
>> 3 + 0.999... + 6 = 10 = 3 + 0.999... + 6
>> If you close the door (0.999...) it becomes part of the wall (10),
>> but then you can open the door again (3 + 0.999... + 6).
>> I invented numerous technical situations to a variety
>> of simple equations, and over the years I saw my belief
>> confirmed: mathematics may be regarded as the logic
>> of building and maintaining. It is not a lucky coincidence
>> that mathematical discoveries lead to technical inventions,
>> the other way round: mathematics, being the logic of
>> building and maintaining, of technics, paves the way
>> for technology.
>> > all is equal, all unequal
>> > part 1
>> > change of plan
>> > full definition of language
>> > Sorry for ending the series 'belief and promise'.
>> > I couldn't find a monograph on Angles-sur-l'Anglin
>> > that would allow an interpretation. Specialized book
>> > stores disappear. No more books on cave art. So I let
>> > stand the nine messages as a concise interpretation
>> > of Lascaux.
>> > In 1974/75 I answered the questions What is language?
>> > art? and mathematics? Now, almost forty years later,
>> > I found a way of combining my three separate answers
>> > into a full definition of language, facilitated by Magdalenian
>> > word groups that formed around a meme.
>> > Language may be seen as a triangle the corners of which
>> > are life and art and mathematics.
>> > Language serves life. It is the means of getting help,
>> > support and understanding from those we depend upon
>> > in one way or another - and every means of getting help,
>> > support and understanding may be called language,
>> > on whatever level of life it occurs ... Language, in my
>> > opinion, is a basic feature of life: together, coordinated
>> > by language, we achieve more than all on our own.
>> > Language may be seen as the intelligence of life
>> > (intelligence being related to energy, as a clever way
>> > of working saves energy - this my first scientific insight
>> > or hunch from 1963).
>> > Mathematics based on the formula a = a is the logic
>> > of building and maintaining, techno-logic.
>> > Art is the human measure in a technical world, based
>> > on the wider logic formulated by Goethe: all is equal,
>> > all unequal ...
>> > > belief and promise
>> > > part 9, claiming a second life in the beyond
>> > > While the ceiling and walls of many a cave symbolized
>> > > the sky, dots on a cave wall, especially red ones, and
>> > > hand negatives claimed a second life in the beyond,
>> > > a dot reading SAI for life, existence. The oldest painted
>> > > element in the Altamira cave in northern Spain is a red
>> > > dot, more than forty thousand years old. In the Brunel
>> > > chamber of the Chauvet cave is an ideogram of six
>> > > big red dots applied with a palm, a domino five plus
>> > > an additional dot in elevated position, 32,000 years old.
>> > > In 2006 one poster Holly identified the domino five with
>> > > my PAS for everywhere in a plain, here, to the south and
>> > > north, east and west, in all five places, Greek pas pas
>> > > 'all, every' pente penta- 'five'. The additional dot in
>> > > elevated position can be read as CA for sky
>> > > O O O CA
>> > > O
>> > > O O PAS
>> > > PAS CA - may the supreme leader of the Lower Rhone
>> > > Valley, the bull (man), born again by the goddess in the sky,
>> > > roam the heavens in his next life as he roams or roamed
>> > > the land in this life ... The bull (man) is shown on a stalactite
>> > > in the rear hall of the cave, next to a Venus, his left forleg
>> > > covering her left leg, his head her womb above a large
>> > > pubic triangle representing the Summer Triangle Deneb
>> > > Vega Atair
>> > > A younger version is found in another cave, a hand negative
>> > > plus a field of red dots, clearly recognizeable a cross of
>> > > five dots, below and above some more dots. The hand
>> > > claims a second life in the beyond, the cross means PAS
>> > > for everywhere in a plain, the dots below the cross mean
>> > > AC for an expanse of land with water, and the dots above
>> > > the cross CA for sky. The message is the same: may the
>> > > tribal leader whose hand can be seen on this wall roam
>> > > the heavens in his next life as he roams the land in this
>> > > life ...
>> > > A hand has five fingers, an Egyptian star five points.
>> > > A black hand negative in the cave of Cosquer near
>> > > Marseille is enforced by five horizontal red bars.
>> > > PAS CA became Russian Paskha Italian Pasqua
>> > > French Pâques for Easter.
>> > > Next time: triple goddess from Angles-sur-l'Anglin
all is equal, all unequal
part
completing each other
Is mathematics language, a language, a form
of language? This old question found an answer.
Mathematics may be regarded as a corner in the
triangular definition of language (as given in part 1).
Also computer code is language, close to the
mathematical corner, connecting people and their
computers, machines being extensions of body
and mind:
people - machines - code - machines - people
Art is another corner of the language triangle.
Song and dance, music, literature and painting
- all sorts of visual and auditory and other sensual
messages - are forms of language.
Goethe, in his Diary of the Italian Journey, mentions
an 'ever turning key' which I identified as his formula
'all is equal, all unequal' that he applied in his studies
of the metamorphoses of plants and animals, and
of visual art. In a later essay he wrote a wonderful
passage on symmety and symmetry breaking:
Alles, was uns daher als Zierde ansprechen soll,
muss gegliedert sein, und zwar im höheren Sinne,
dass es aus Teilen bestehe, die sich wechselsweise
aufeinander beziehen. Hiezu wird erfordert, dass es
eine Mitte habe, ein Oben und Unten, ein Hüben
und Drüben, woraus zuerst Symmetrie entsteht,
welche, wenn sie dem Verstande völlig fasslich bleibt,
die Zierde auf der geringsten Stufe genannt werden kann.
Je mannigfaltiger dann aber die Glieder werden, und je
mehr jene anfängliche Symmetrie, verflochten, versteckt,
in Gegensätzen abgewechselt, als ein offenbares
Geheimnis vor unsern Augen steht, desto angenehmer
wird die Zierde sein, und ganz vollkommen, wenn wir
an jene ersten Grundlagen dabei nicht mehr denken,
sondern als von einem Willkürlichen und Zufälligen
überrascht werden.
I won't dare translate these lines, but render them
in my own words, along the use I made of them in
interpreting several paintings (turning the key, playing
the game of equal unequal). Mathematical symmetry
based on the equation a = a requires a center,
a left and right, an above and below that mirror each
other. This mathematical symmetry is decorative on
the lowest level. Higher levels are obtained by varying
the sides, and the above and below. The more variations
come together, hiding the initial symmetry, the more
pleasing the picture will be ... I may add the element
of completion: all is equal, all unequal, in such a way
that the sides and elements complete each other
and form an entirety, at least in a great work of art.
And this organization - the arrangement and functioning
of the parts within the whole, on the most abstract level -
is what we call soul in a living being, a term as real
as information on the mathematical side.
Allow me one more prediction. If John Archibald Wheeler
was right and all of physics will one day be rendered in
terms of information, the concept of the soul will emerge
as a physical category and organization principle, useful
in arranging information. Compiling vast masses of data
will become a serious problem. Studying art will help
solve that problem.
> all is equal, all unequal
> part 3
> contrapposto
> Our teacher of ancient Greek was a fan of Greek art
> and placed pictures of sculptures in the showcase.
> I remember having spent hours on a pencil drawing
> from a beautiful marble head of a woman, and I fell
> in love with one of the Korae of the Erechtheion on
> the acropolis of Athens. Our teacher of Greek spoke
> about the contrapposto: the human body appears
> symmetrical, while variations in the pose, often
> along a curved axis, make a sculpture more lively.
> One day in 1965 we read a poem by Archilochos.
> Two lines are missing, we were told; I don't remember
> whether at the end or the beginning. I used the principle
> of the contrapposto in order to reconstruct the missing
> lines that should mirror the beginning or the end while
> there should also be a difference that summarizes
> what happens in the poem (or in a good movie, as I
> was to find out later). My reconstruction of the missing
> lines was convinving, although not in ancient Greek.
> Ten years later I began reading Goethe and soon found
> what I call his world formula: "Alles ist gleich, alles
> ungleich (...)" in Maximen und Reflexionen, also in the
> novel Wilhelm Meisters Wanderjahre, Aus Makariens
> Archiv, at the end of the novel, but originally planned
> for the middle: all is equal, all unequal ... I was delighted,
> for this was the shortest possible way of rendering the
> contrapposto, most generally, and meeting my study of
> the basic mathematical equation .
> In around 1980, when physicists hoped to complete the
> 'zoo' of elementary particles, I predicted that this won't
> happen, because the really elementary particles obey
> the formula e = e = e = e = e = e = e = ... that names
> only the equal while leaving out the unequal. Meanwhile
> I dare say that cosmology, based on an atomic world,
> unavoidably encounters 'spooky' phenomena such as
> entanglement and non-locality, greetings from the
> other side of logic, as it were. We may well count with
> further cosmological revolutions, and the last word
> about the fate of the universe has not yet been said,
> will never be said, actually.
> Galilei called mathematics the language of nature.
> God may be able to understand all of the world in
> mathematical terms. Our mathematical knowledge
> is and will be limited. For us, there is always a beyond
> of mathematics, an unequal to the equal, and an equal
> to the unequal.
> > all is equal, all unequal
> > part 2
> > mathematics
> > On my 21st birthday, in 1970, I got a book on the
> > philosophy of quantum mechanics. It contained
> > an intriguing footnote saying that the basic equation
> > of mathematics p = p had not yet been examined.
> > In 1974/75 I found an answer. Mathematics ponders
> > the properties and relations of ideal objects that
> > fully satisfy the equation a = a meaning that an
> > ideal object 'a' is perfectly identical with another
> > or any other ideal object 'a', and that an ideal object
> > 'a' remains unchanged forever. Not so in the real
> > world. An apple is an apple, yet one apple may be
> > read and sweet, another green and sour, and what
> > if the apple is eaten? Mathematical equations can be
> > interpreted in a technical context:
> > b = b = b = b = b = b = ...
> > If the bricks 'b' have the same consistency, form and
> > size, a wall is easily built
> > b = b
> > and if each brick remains the same, keeps its consistency,
> > form and size, does neither soak in the rain nor crack in
> > the summer heat, the wall will stand.
> > 9 = 3 + 2 + 4 = 9
> > A machine (9) can be dismantled (3, 2, 4) and reassembled
> > (9), either for the purpose of repairing, or cleaning.
> > 1 = 0.999...
> > A door (0.999...) and the door frame (1) must match,
> > or else the door is jammed, or there is a draught.
> > 3 + 0.999... + 6 = 10 = 3 + 0.999... + 6
> > If you close the door (0.999...) it becomes part of the wall (10),
> > but then you can open the door again (3 + 0.999... + 6).
> > I invented numerous technical situations to a variety
> > of simple equations, and over the years I saw my belief
> > confirmed: mathematics may be regarded as the logic
> > of building and maintaining. It is not a lucky coincidence
> > that mathematical discoveries lead to technical inventions,
> > the other way round: mathematics, being the logic of
> > building and maintaining, of technics, paves the way
> > for technology.
> > > all is equal, all unequal
> > > part 1
> > > change of plan
> > > full definition of language
> > > Sorry for ending the series 'belief and promise'.
> > > I couldn't find a monograph on Angles-sur-l'Anglin
> > > that would allow an interpretation. Specialized book
> > > stores disappear. No more books on cave art. So I let
> > > stand the nine messages as a concise interpretation
> > > of Lascaux.
> > > In 1974/75 I answered the questions What is language?
> > > art? and mathematics? Now, almost forty years later,
> > > I found a way of combining my three separate answers
> > > into a full definition of language, facilitated by Magdalenian
> > > word groups that formed around a meme.
> > > Language may be seen as a triangle the corners of which
> > > are life and art and mathematics.
> > > Language serves life. It is the means of getting help,
> > > support and understanding from those we depend upon
> > > in one way or another - and every means of getting help,
> > > support and understanding may be called language,
> > > on whatever level of life it occurs ... Language, in my
> > > opinion, is a basic feature of life: together, coordinated
> > > by language, we achieve more than all on our own.
> > > Language may be seen as the intelligence of life
> > > (intelligence being related to energy, as a clever way
> > > of working saves energy - this my first scientific insight
> > > or hunch from 1963).
> > > Mathematics based on the formula a = a is the logic
> > > of building and maintaining, techno-logic.
> > > Art is the human measure in a technical world, based
> > > on the wider logic formulated by Goethe: all is equal,
> > > all unequal ...
> On Nov 17, 10:39 pm, The General of the Faceless Anti-Franz Shadow
> Army <craoibhi...@gmail.com> wrote:
>> On Nov 17, 7:08 am, "pauljk" <paul.kr...@xtra.co.nz> wrote:
>> > The following has as much gravitas and relevancy as a story line in a porno.
>> > pjk
>> Don't insult porn makers by comparing them to Franz. Porn is a
>> respectable line of work, at least more respectable than whatever
>> Franz is up to.
> But they don't bother with story lines any more.
That's it, it wasn't my intention to cast aspersions on the art of
a good porno, only on the artifice of its story line. :-)
pjk
Years ago I derived Greek psychae 'soul' from SAI
meaning life, existence, with a labial prefix, p, pSAI.
What may the second word of the compound have
been? I plead for KOD meaning tent, hut, SAI KOD
pSAI KOD pSychae, life / existence within a tent
or hut. Among the many derivatives of KOD, for
example English hut and cottage, German Hütte
and Kate 'hut', is German Haut 'skin'; the soul is
then also the life within the skin confining our body.
Gothic had saiwala and Old English sawl sawol
for soul, from SAI POL, life existence SAI within
a fortified settlement POL, which reminds me of
a Dylan line in a song from New Morning
this concrete world full of souls
POL is also present in English people and folk
(Dylan a folk singer who made it in New York).
POL PLO names a fortified settlement POL
(Greek polis) made in the wattle-and-daub
technique PLO (Greek plokos 'wickerwork'),
then also the people inhabiting such a settlement,
Old Latin poplo Latin populus Italian popolo French
peuple English people. Latin populus 'poplar tree'
(with long o) refers to the quickly growing vertical
and straight branches of Populus niger that served
as vertical elements in the wattle-and-daub technique
(while flexible willow twigs were used for the horizontal
elements). POL DOK names a woodhenge, a fortified
settlement POL made of poles and beams and rafters
DOK (Greek dokos of the same meanings), then
also the people living in woodhenges, wherefrom
German folk English folk.
The compounds accounting for psychae and soul,
people and folk, testify to my insight from 1974/75
saying that human made things gave rise to words.
You learn to know people if you are confined for
some time in a confined space like for example
a snowed-in mountain hut. Having roamed the land
for millions of years, then confining themselves to
tents and huts and settlements must have been
soul revealing to the early Dylans and Freuds.
> all is equal, all unequal
> part
> completing each other
> Is mathematics language, a language, a form
> of language? This old question found an answer.
> Mathematics may be regarded as a corner in the
> triangular definition of language (as given in part 1).
> Also computer code is language, close to the
> mathematical corner, connecting people and their
> computers, machines being extensions of body
> and mind:
> people - machines - code - machines - people
> Art is another corner of the language triangle.
> Song and dance, music, literature and painting
> - all sorts of visual and auditory and other sensual
> messages - are forms of language.
> Goethe, in his Diary of the Italian Journey, mentions
> an 'ever turning key' which I identified as his formula
> 'all is equal, all unequal' that he applied in his studies
> of the metamorphoses of plants and animals, and
> of visual art. In a later essay he wrote a wonderful
> passage on symmety and symmetry breaking:
> Alles, was uns daher als Zierde ansprechen soll,
> muss gegliedert sein, und zwar im höheren Sinne,
> dass es aus Teilen bestehe, die sich wechselsweise
> aufeinander beziehen. Hiezu wird erfordert, dass es
> eine Mitte habe, ein Oben und Unten, ein Hüben
> und Drüben, woraus zuerst Symmetrie entsteht,
> welche, wenn sie dem Verstande völlig fasslich bleibt,
> die Zierde auf der geringsten Stufe genannt werden kann.
> Je mannigfaltiger dann aber die Glieder werden, und je
> mehr jene anfängliche Symmetrie, verflochten, versteckt,
> in Gegensätzen abgewechselt, als ein offenbares
> Geheimnis vor unsern Augen steht, desto angenehmer
> wird die Zierde sein, und ganz vollkommen, wenn wir
> an jene ersten Grundlagen dabei nicht mehr denken,
> sondern als von einem Willkürlichen und Zufälligen
> überrascht werden.
> I won't dare translate these lines, but render them
> in my own words, along the use I made of them in
> interpreting several paintings (turning the key, playing
> the game of equal unequal). Mathematical symmetry
> based on the equation a = a requires a center,
> a left and right, an above and below that mirror each
> other. This mathematical symmetry is decorative on
> the lowest level. Higher levels are obtained by varying
> the sides, and the above and below. The more variations
> come together, hiding the initial symmetry, the more
> pleasing the picture will be ... I may add the element
> of completion: all is equal, all unequal, in such a way
> that the sides and elements complete each other
> and form an entirety, at least in a great work of art.
> And this organization - the arrangement and functioning
> of the parts within the whole, on the most abstract level -
> is what we call soul in a living being, a term as real
> as information on the mathematical side.
> Allow me one more prediction. If John Archibald Wheeler
> was right and all of physics will one day be rendered in
> terms of information, the concept of the soul will emerge
> as a physical category and organization principle, useful
> in arranging information. Compiling vast masses of data
> will become a serious problem. Studying art will help
> solve that problem.
> > all is equal, all unequal
> > part 3
> > contrapposto
> > Our teacher of ancient Greek was a fan of Greek art
> > and placed pictures of sculptures in the showcase.
> > I remember having spent hours on a pencil drawing
> > from a beautiful marble head of a woman, and I fell
> > in love with one of the Korae of the Erechtheion on
> > the acropolis of Athens. Our teacher of Greek spoke
> > about the contrapposto: the human body appears
> > symmetrical, while variations in the pose, often
> > along a curved axis, make a sculpture more lively.
> > One day in 1965 we read a poem by Archilochos.
> > Two lines are missing, we were told; I don't remember
> > whether at the end or the beginning. I used the principle
> > of the contrapposto in order to reconstruct the missing
> > lines that should mirror the beginning or the end while
> > there should also be a difference that summarizes
> > what happens in the poem (or in a good movie, as I
> > was to find out later). My reconstruction of the missing
> > lines was convinving, although not in ancient Greek.
> > Ten years later I began reading Goethe and soon found
> > what I call his world formula: "Alles ist gleich, alles
> > ungleich (...)" in Maximen und Reflexionen, also in the
> > novel Wilhelm Meisters Wanderjahre, Aus Makariens
> > Archiv, at the end of the novel, but originally planned
> > for the middle: all is equal, all unequal ... I was delighted,
> > for this was the shortest possible way of rendering the
> > contrapposto, most generally, and meeting my study of
> > the basic mathematical equation .
> > In around 1980, when physicists hoped to complete the
> > 'zoo' of elementary particles, I predicted that this won't
> > happen, because the really elementary particles obey
> > the formula e = e = e = e = e = e = e = ... that names
> > only the equal while leaving out the unequal. Meanwhile
> > I dare say that cosmology, based on an atomic world,
> > unavoidably encounters 'spooky' phenomena such as
> > entanglement and non-locality, greetings from the
> > other side of logic, as it were. We may well count with
> > further cosmological revolutions, and the last word
> > about the fate of the universe has not yet been said,
> > will never be said, actually.
> > Galilei called mathematics the language of nature.
> > God may be able to understand all of the world in
> > mathematical terms. Our mathematical knowledge
> > is and will be limited. For us, there is always a beyond
> > of mathematics, an unequal to the equal, and an equal
> > to the unequal.
> > > all is equal, all unequal
> > > part 2
> > > mathematics
> > > On my 21st birthday, in 1970, I got a book on the
> > > philosophy of quantum mechanics. It contained
> > > an intriguing footnote saying that the basic equation
> > > of mathematics p = p had not yet been examined.
> > > In 1974/75 I found an answer. Mathematics ponders
> > > the properties and relations of ideal objects that
> > > fully satisfy the equation a = a meaning that an
> > > ideal object 'a' is perfectly identical with another
> > > or any other ideal object 'a', and that an ideal object
> > > 'a' remains unchanged forever. Not so in the real
> > > world. An apple is an apple, yet one apple may be
> > > read and sweet, another green and sour, and what
> > > if the apple is eaten? Mathematical equations can be
> > > interpreted in a technical context:
> > > b = b = b = b = b = b = ...
> > > If the bricks 'b' have the same consistency, form and
> > > size, a wall is easily built
> > > b = b
> > > and if each brick remains the same, keeps its consistency,
> > > form and size, does neither soak in the rain nor crack in
> > > the summer heat, the wall will stand.
> > > 9 = 3 + 2 + 4 = 9
> > > A machine (9) can be dismantled (3, 2, 4) and reassembled
> > > (9), either for the purpose of repairing, or cleaning.
> > > 1 = 0.999...
> > > A door (0.999...) and the door frame (1) must match,
> > > or else the door is jammed, or there is a draught.
> > > 3 + 0.999... + 6 = 10 = 3 + 0.999... + 6
> > > If you close the door (0.999...) it becomes part of the wall (10),
> > > but then you can open the door again (3 + 0.999... + 6).
> > > I invented numerous technical situations to a variety
> > > of simple equations, and over the years I saw my
If only sci.lang had a soul. It could form if the basic
rules of a scientific discussion were observed.
Here again. Everybody who got something hopefully
interesting to say about language is welcome.
Only scientific arguments count. If you are not happy
with the messages of someone else, focus on the
claim you find most silly. Just complaining won't help,
offer something better. - Simple rules, hard to follow,
especially for the agents of entropy.
> Years ago I derived Greek psychae 'soul' from SAI
> meaning life, existence, with a labial prefix, p, pSAI.
> What may the second word of the compound have
> been? I plead for KOD meaning tent, hut, SAI KOD
> pSAI KOD pSychae, life / existence within a tent
> or hut. Among the many derivatives of KOD, for
> example English hut and cottage, German Hütte
> and Kate 'hut', is German Haut 'skin'; the soul is
> then also the life within the skin confining our body.
> Gothic had saiwala and Old English sawl sawol
> for soul, from SAI POL, life existence SAI within
> a fortified settlement POL, which reminds me of
> a Dylan line in a song from New Morning
> this concrete world full of souls
> POL is also present in English people and folk
> (Dylan a folk singer who made it in New York).
> POL PLO names a fortified settlement POL
> (Greek polis) made in the wattle-and-daub
> technique PLO (Greek plokos 'wickerwork'),
> then also the people inhabiting such a settlement,
> Old Latin poplo Latin populus Italian popolo French
> peuple English people. Latin populus 'poplar tree'
> (with long o) refers to the quickly growing vertical
> and straight branches of Populus niger that served
> as vertical elements in the wattle-and-daub technique
> (while flexible willow twigs were used for the horizontal
> elements). POL DOK names a woodhenge, a fortified
> settlement POL made of poles and beams and rafters
> DOK (Greek dokos of the same meanings), then
> also the people living in woodhenges, wherefrom
> German folk English folk.
> The compounds accounting for psychae and soul,
> people and folk, testify to my insight from 1974/75
> saying that human made things gave rise to words.
> You learn to know people if you are confined for
> some time in a confined space like for example
> a snowed-in mountain hut. Having roamed the land
> for millions of years, then confining themselves to
> tents and huts and settlements must have been
> soul revealing to the early Dylans and Freuds.
> > all is equal, all unequal
> > part
> > completing each other
> > Is mathematics language, a language, a form
> > of language? This old question found an answer.
> > Mathematics may be regarded as a corner in the
> > triangular definition of language (as given in part 1).
> > Also computer code is language, close to the
> > mathematical corner, connecting people and their
> > computers, machines being extensions of body
> > and mind:
> > people - machines - code - machines - people
> > Art is another corner of the language triangle.
> > Song and dance, music, literature and painting
> > - all sorts of visual and auditory and other sensual
> > messages - are forms of language.
> > Goethe, in his Diary of the Italian Journey, mentions
> > an 'ever turning key' which I identified as his formula
> > 'all is equal, all unequal' that he applied in his studies
> > of the metamorphoses of plants and animals, and
> > of visual art. In a later essay he wrote a wonderful
> > passage on symmety and symmetry breaking:
> > Alles, was uns daher als Zierde ansprechen soll,
> > muss gegliedert sein, und zwar im höheren Sinne,
> > dass es aus Teilen bestehe, die sich wechselsweise
> > aufeinander beziehen. Hiezu wird erfordert, dass es
> > eine Mitte habe, ein Oben und Unten, ein Hüben
> > und Drüben, woraus zuerst Symmetrie entsteht,
> > welche, wenn sie dem Verstande völlig fasslich bleibt,
> > die Zierde auf der geringsten Stufe genannt werden kann.
> > Je mannigfaltiger dann aber die Glieder werden, und je
> > mehr jene anfängliche Symmetrie, verflochten, versteckt,
> > in Gegensätzen abgewechselt, als ein offenbares
> > Geheimnis vor unsern Augen steht, desto angenehmer
> > wird die Zierde sein, und ganz vollkommen, wenn wir
> > an jene ersten Grundlagen dabei nicht mehr denken,
> > sondern als von einem Willkürlichen und Zufälligen
> > überrascht werden.
> > I won't dare translate these lines, but render them
> > in my own words, along the use I made of them in
> > interpreting several paintings (turning the key, playing
> > the game of equal unequal). Mathematical symmetry
> > based on the equation a = a requires a center,
> > a left and right, an above and below that mirror each
> > other. This mathematical symmetry is decorative on
> > the lowest level. Higher levels are obtained by varying
> > the sides, and the above and below. The more variations
> > come together, hiding the initial symmetry, the more
> > pleasing the picture will be ... I may add the element
> > of completion: all is equal, all unequal, in such a way
> > that the sides and elements complete each other
> > and form an entirety, at least in a great work of art.
> > And this organization - the arrangement and functioning
> > of the parts within the whole, on the most abstract level -
> > is what we call soul in a living being, a term as real
> > as information on the mathematical side.
> > Allow me one more prediction. If John Archibald Wheeler
> > was right and all of physics will one day be rendered in
> > terms of information, the concept of the soul will emerge
> > as a physical category and organization principle, useful
> > in arranging information. Compiling vast masses of data
> > will become a serious problem. Studying art will help
> > solve that problem.
> > > all is equal, all unequal
> > > part 3
> > > contrapposto
> > > Our teacher of ancient Greek was a fan of Greek art
> > > and placed pictures of sculptures in the showcase.
> > > I remember having spent hours on a pencil drawing
> > > from a beautiful marble head of a woman, and I fell
> > > in love with one of the Korae of the Erechtheion on
> > > the acropolis of Athens. Our teacher of Greek spoke
> > > about the contrapposto: the human body appears
> > > symmetrical, while variations in the pose, often
> > > along a curved axis, make a sculpture more lively.
> > > One day in 1965 we read a poem by Archilochos.
> > > Two lines are missing, we were told; I don't remember
> > > whether at the end or the beginning. I used the principle
> > > of the contrapposto in order to reconstruct the missing
> > > lines that should mirror the beginning or the end while
> > > there should also be a difference that summarizes
> > > what happens in the poem (or in a good movie, as I
> > > was to find out later). My reconstruction of the missing
> > > lines was convinving, although not in ancient Greek.
> > > Ten years later I began reading Goethe and soon found
> > > what I call his world formula: "Alles ist gleich, alles
> > > ungleich (...)" in Maximen und Reflexionen, also in the
> > > novel Wilhelm Meisters Wanderjahre, Aus Makariens
> > > Archiv, at the end of the novel, but originally planned
> > > for the middle: all is equal, all unequal ... I was delighted,
> > > for this was the shortest possible way of rendering the
> > > contrapposto, most generally, and meeting my study of
> > > the basic mathematical equation .
> > > In around 1980, when physicists hoped to complete the
> > > 'zoo' of elementary particles, I predicted that this won't
> > > happen, because the really elementary particles obey
> > > the formula e = e = e = e = e = e = e = ... that names
> > > only the equal while leaving out the unequal. Meanwhile
> > > I dare say that cosmology, based on an atomic world,
> > > unavoidably encounters 'spooky' phenomena such as
> > > entanglement and non-locality, greetings from the
> > > other side of logic, as it were. We may well count with
> > > further cosmological revolutions, and the last word
> > > about the fate of the universe has not yet been said,
> > > will never be said, actually.
> > > Galilei called mathematics the language of nature.
> > > God may be able to understand all of the world in
> > > mathematical terms. Our mathematical knowledge
> > > is and will be limited. For us, there is always a beyond
> > > of mathematics, an unequal to the equal, and an equal
> > > to the unequal.
