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Showing posts with label kaleidoscope. Show all posts
Showing posts with label kaleidoscope. Show all posts

Saturday, June 15, 2013

Musical Acoustics


A recipe for a violin

Chladni patterns show the geometry of the different types of vibration of violin plates. This site has an introductory explanation of modes of vibration and a library of photographs of the Chladni patterns of the bellies and backplates of two different violins (one mass-produced and one hand-made). It also has photographs of plates with regular geometries which assist in understanding the violin modes. For some related history, see Chladni's law. For some Chladni patterns on metal plates, with sound files, see Acoustics of bell plates. To make your own Chladni patters, try this site.








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Thursday, April 19, 2012

Model Building in Life

"...underwriting the form languages of ever more domains of mathematics is a set of deep patterns which not only offer access to a kind of ideality that Plato claimed to see the universe as created with in the Timaeus; more than this, the realm of Platonic forms is itself subsumed in this new set of design elements-- and their most general instances are not the regular solids, but crystallographic reflection groups. You know, those things the non-professionals call . . . kaleidoscopes! * (In the next exciting episode, we'll see how Derrida claims mathematics is the key to freeing us from 'logocentrism'-- then ask him why, then, he jettisoned the deepest structures of mathematical patterning just to make his name...)

* H. S. M. Coxeter, Regular Polytopes (New York: Dover, 1973) is the great classic text by a great creative force in this beautiful area of geometry (A polytope is an n-dimensional analog of a polygon or polyhedron. Chapter V of this book is entitled 'The Kaleidoscope'....)"


I just wanted to show you what has been physically reproduced in cultures. This in order to highlight some of the things that were part of our own make up,  so you get that what has transpired in our societies has been part of something hidden within our own selves.

As I have said before it has become something of an effort for me to cataloged knowledge on some of  the things I learn.  The ways in which to keep the information together. I am not saying everyone will do this in there own way but it seems to me that as if some judgement about our selves is hidden in the way we had gathered information about our own lives then it may have been put together like some kaleidoscope.


Online Etymology Dictionary-1817, lit. "observer of beautiful forms," coined by its inventor, Sir David Brewster (1781-1868), from Gk. kalos "beautiful" + eidos "shape" (see -oid) + -scope, on model of telescope, etc. Figurative meaning "constantly changing pattern" is first attested 1819 in Lord Byron, whose publisher had sent him one.

So to say then past accomplishments were part of the designs, what had we gained about our own lives then?  What page in the book of Mandalas can you have said that any one belonged to you? It was that way for me in that I saw the choices. These I thought I had built on my own, as some inclination of a method and way to deliver meaning into my own life. Then through exploration it seem to contain the energy of all that I had been before as to say that in this life now, that energy could unfold?




Scan of painting 19th century Tibetan Buddhist thangka painting
Maṇḍala (मण्डल) is a Sanskrit word meaning "circle." In the Buddhist and Hindu religious traditions their sacred art often takes a mandala form. The basic form of most Hindu and Buddhist mandalas is a square with four gates containing a circle with a center point. Each gate is in the shape of a T.[1][2] Mandalas often exhibit radial balance.[3]


These mandalas, concentric diagrams, have spiritual and ritual significance in both Buddhism and Hinduism.[4][5] The term is of Hindu origin and appears in the Rig Veda as the name of the sections of the work, but is also used in other Indian religions, particularly Buddhism. In the Tibetan branch of Vajrayana Buddhism, mandalas have been developed into sandpainting. They are also a key part of anuttarayoga tantra meditation practices.


In various spiritual traditions, mandalas may be employed for focusing attention of aspirants and adepts, as a spiritual teaching tool, for establishing a sacred space, and as an aid to meditation and trance induction. According to the psychologist David Fontana, its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises."[6] The psychoanalyst Carl Jung saw the mandala as "a representation of the unconscious self,"[citation needed] and believed his paintings of mandalas enabled him to identify emotional disorders and work towards wholeness in personality.[7]


In common use, mandala has become a generic term for any plan, chart or geometric pattern that represents the cosmos metaphysically or symbolically, a microcosm of the Universe from the human perspective.[citation needed]


So what does this mean then that you see indeed some subjects that are allocated toward design of to say that it may be an art of a larger universal understanding that hidden in our natures the will to provide for something schematically inherent? Our nature,  as to the way in which we see the world. The way in which we see science. What cosmic plan then to say the universe would unfold this way, or  to seek the inner structure and explanations as to the way the universe began. The way we emerged into consciousness of who you are?

 The kaleidoscope was perfected by Sir David Brewster, a Scottish scientist, in 1816. This technological invention, whose function is literally the production of beauty, or rather its observation, was etymologically a typical aesthetic form of the nineteenth century - one bound up with disinterested contemplation. (The etymology of the word is formed from kalos (beautiful), eidos (form) and scopos (watcher) - "watcher of beautiful shapes".) The invention is enjoying a second life today - as the model for many contemporary abstract works. In Olafur Eliasson's Kaleidoscope (2001), the viewer takes the place of the pieces of glass, producing a myriad of images. In an inversion of the situation involved in the classic kaleidoscope, the watcher becomes the watched. In Jim Drain's Kaleidoscope (2003), the viewer is also plunged physically inside the myriad of abstract forms, and his image becomes a part of the environment. Spin My Wheel (2003), by Lori Hersberger, also forms a painting that is developed in space, spilling beyond the frame of the picture, its projected image constantly changing, dissolving the surrounding world with an infinite play of reflections in fragments of broken mirror. The viewer becomes one of the subjects of the piece. (Not the subject, as in Eliasson's work, but one of its subjects.)
See: The End of Perspective-Vincent Pécoil.

Would there be then some algorithmic style to the code written in your life as to have all the things you are as some pattern as to the way in which you will live your life? I ask then what would seem so strange that you might not paint a picture of it? Not encode your life in some mathematical principle as to say that life emerge for you in this way?


Although Aristotle in general had a more empirical and experimental attitude than Plato, modern science did not come into its own until Plato's Pythagorean confidence in the mathematical nature of the world returned with Kepler, Galileo, and Newton. For instance, Aristotle, relying on a theory of opposites that is now only of historical interest, rejected Plato's attempt to match the Platonic Solids with the elements -- while Plato's expectations are realized in mineralogy and crystallography, where the Platonic Solids occur naturally.Plato and Aristotle, Up and Down-Kelley L. Ross, Ph.D.



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Thursday, March 25, 2010

Mapping the Internet Brain and Consciousness

Partial map of the Internet based on the January 15, 2005 data found on opte.org. Each line is drawn between two nodes, representing two IP addresses. The length of the lines are indicative of the delay between those two nodes. This graph represents less than 30% of the Class C networks reachable by the data collection program in early 2005. Lines are color-coded according to their corresponding RFC 1918 allocation as follows:
  • Dark blue: net, ca, us
  • Green: com, org
  • Red: mil, gov, edu
  • Yellow: jp, cn, tw, au, de
  • Magenta: uk, it, pl, fr
  • Gold: br, kr, nl
  • White: unknown

I asked a couple of my work mates what they thought this picture was, and right away they thought it was some galaxy. On first look it did not seem any less likely to me either,  until that is of course you have  a read through the design construction listed underneath the picture.


What are Mind Maps?
A mind map is a diagram used to represent words, ideas, tasks, or other items linked to and arranged around a central key word or idea. Mind maps are used to generate, visualize, structure, and classify ideas, and as an aid in study, organization, problem solving, decision making, and writing.

The elements of a given mind map are arranged intuitively according to the importance of the concepts, and are classified into groupings, branches, or areas, with the goal of representing semantic or other connections between portions of information. Mind maps may also aid recall of existing memories.
By presenting ideas in a radial, graphical, non-linear manner, mind maps encourage a brainstorming approach to planning and organizational tasks. Though the branches of a mindmap represent hierarchical tree structures, their radial arrangement disrupts the prioritizing of concepts typically associated with hierarchies presented with more linear visual cues. This orientation towards brainstorming encourages users to enumerate and connect concepts without a tendency to begin within a particular conceptual framework.
The mind map can be contrasted with the similar idea of concept mapping. The former is based on radial hierarchies and tree structures denoting relationships with a central governing concept, whereas concept maps are based on connections between concepts in more diverse patterns.
This is amazing to me in context of mind mapping that is spoken too here on this site.  I thought it appropriate to title the Post above in context of how we are mapping the human brain in terms of neurological connections so as to see this comparative relation to how we might map the internet.

See:Creating a Science of the Web

The Web is the largest human information construct in history. The Web is transforming society. In order to...understand what the Web is engineer its future ensure its social benefit

...we need a new interdisciplinary field that we call Web Science.

The Web Science Research Initiative brings together academics, scientists, sociologists, entrepreneurs and decision makers from around the world. These people will create the first multidisciplinary research body to examine the World Wide Web and offer the practical solutions needed to help guide its future use and design.

As you go through the label on mind map you will discover something about mind mapping  as I have written about it that I see is inherent in the very nature of our makeup. To me this was to be revealed through the quieter times of my introspection, that one might say I was indeed asleep and dreaming.

A contemporary mandala made from a photograph of tree fungi.See:Mandala

So in a way this product of my introspection was about understanding that such structures were immortal in my view that these could be transmitted in consciousness from a time before our birth to have it exploded within our consciousness, as the life began to unfold for us.

That such parcels of thought were given in this context and formed to allow a time for thought to be expelled from the very understanding that this was somehow "a seed to germinate," the longer one thought about it's structure and content.

So too that we could as if natural consequence see that the way the subconscious mind was to organize a "load of information" so as to keep these things in the souls memory for all time. This was the idea that all life experience around us was able to form this distillate view as a function seen in any kaleidescope image, as it is fractionated down to it's simplest form .

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Monday, July 20, 2009

Kaleidoscope

By education, the divine essence of man may be unfolded, brought out, lifted into consciousness byFriedrich Fröbel


It may not be of interest to many that this pursuance of mine is a journey into understanding features of consciousness that some may not like to admit are an important part of science and theoretics "in my view." To have it as a guide for mind mapping of sorts. To what and how the universe expresses itself. How the soul can devise it's own map of expression as if toward "higg's forming mission" from a leading perspective, which then becomes integrated into the world as an object/person this represents.

G -> H -> ... -> SU(3) x SU(2) x U(1) -> SU(3) x U(1).

Physically, the effect can be interpreted as an object moving from the "false vacuum" (where = 0) to the more stable "true vacuum" (where = v). Gravitationally, it is similar to the more familiar case of moving from the hilltop to the valley. In the case of Higgs field, the transformation is accompanied with a "phase change", which endows mass to some of the particles


So where is it I place my eye( is it the physical or mental observer) as I look through the Kaleidoscope? The lens is the energy(sun) it's motivation toward a multifaceted frame work, that it can be mastered to become meaningful to the reasoning mind to say, that this pattern rests in nature, and also rests, in my own soul. So the energy highlights both examples to say that I was able to pattern this expression, so as to which so many of us do, to be what is normal in the structure of this human form to allow this soul to express itself in the object of this reality. How "fine its shape" that it does not discard the understanding of the geometry that allowed it to express itself from a soul in expression to a euclidean straight line, to become the hyperbolic generated in non-euclidean.


Online Etymology Dictionary-1817, lit. "observer of beautiful forms," coined by its inventor, Sir David Brewster (1781-1868), from Gk. kalos "beautiful" + eidos "shape" (see -oid) + -scope, on model of telescope, etc. Figurative meaning "constantly changing pattern" is first attested 1819 in Lord Byron, whose publisher had sent him one.



Known to the ancient Greeks, it was reinvented by Sir David Brewster in 1816 while conducting experiments on light polarization; Brewster patented it in 1817. His initial design was a tube with pairs of mirrors at one end, and pairs of translucent disks at the other, and beads between the two. Initially intended as a science tool, the kaleidoscope was quickly copied as a toy. Brewster believed he would make money from his popular invention; however, a fault in the wording of his patent allowed others to copy his invention.[citation needed]

In America, Charles Bush popularized the kaleidoscope. Today, these early products often sell for over $1,000. Cozy Baker collected kaleidoscopes and wrote books about a few of the artists who were making them in the 1970s through 2000. Baker is credited with energizing a renaissance in kaleidoscope-making in America. In 1999 a short lived magazine dedicated to kaleidoscopes called Kaleidoscope Review was published covering artists, collectors, dealers, events, and how-to articles. This magazine was created and edited by Brett Bensley, at that time a well known kaleidoscope artist and resource on kaleidoscope information.

Craft galleries often carry a few, while others specialize in them and carry dozens of different types from different artists and craftspeople.

Kaleidoscopes are related to hyperbolic geometry.


So it is not quite as accurate as I would like to be in my quest to define what it is I am seeing and be as plain as possible. It's as if you could not know that with a current view of the First Three Minutes of Steven Weinberg, it wasn't enough in order to become much more dynamical to have our perception pushed back to the microseconds and see the universe in this new way.

The hyperbola is often encountered but rarely recognized in everyday life as the apparent shape of a circle, of which some portion is behind the viewer, as when standing inside a circle on the ground gazing horizontally, or holding a hula hoop around the body. If rays from the part of the circle behind the viewer could somehow pass through the head and thence through the lens, they would register on the retina as the second branch thereby exposing the hyperbolic structure.


So the difficulty stems in my mind from how and where I am looking from, as if I look through the Kaleidoscope to see the energy fragmented and schematic in origins, to see that it is patterned in the psychological assessment of my searching for the "fabric of consciousness" to be capable and expressive of this energy. To lead the reality forming apparatus "to exist" through such patterning as to form a hyperbolic expression from the beginnings of the ability to then become the "pattern in nature."

So, as if the momentum of the expression of this universe is a expression of, something false to the true vacuum, then how shall this be demonstrated? How shall this be demonstrated in the soul?

Thales the Father of Mathematics may have said that water was the basis of all that exists and in such continuity of expression such an expression seems fitting for the birth of language to speak to the labels we assign with such wording that it would not have implied something other then what we came into this world to express.

But with the ability to choose circumstance by attitude and endeavour, by our character to display, then what reaps the rewarding soul but to find what it rightfully choose to experience is not all happenstance but always there is the same way for review as it was to look back to the origins of our patterning before we manifested into this life?

So where is that?


See:Kaleidoscope

Monday, July 13, 2009

The kaleidoscope as a distillate condensate

A contemporary mandala made from a photograph of tree fungi.See:Mandala

On another level it meant that what Plato saw a a description of the cave experience was also an orientation of perspective internally as well recognition in the external world of at the source of the sun propelling experience as it's motivation.

Such an attempt to describe all of nature according a plan was a simple desire to identify what follows as a example of what the intent of Plato wished to express, in my point of view. This was not just an external notation of the meaning of outward manifestation but was also a recognition of the internal description of what we as souls were motivated to express in our own architectural designation of experience so as to learn and understand.

Some of the things I have learnt over the years has to do with understanding how returning to a "basic underlying structure toward the reality of subjective interpretation" was a method of some meaning when spoken of in terms of mandalas presented to the observing mind for observation while in a deep subjective state. Total involvement and then recognizing from "another perspective[who is this observer]" could explain how such expression could by designation of character was sought to signified in our adoption of form.

Laboratory display of distillation: 1: A heating device 2: Still pot 3: Still head 4: Thermometer/Boiling point temperature 5: Condenser 6: Cooling water in 7: Cooling water out 8: Distillate/receiving flask 9: Vacuum/gas inlet 10: Still receiver 11: Heat control 12: Stirrer speed control 13: Stirrer/heat plate 14: Heating (Oil/sand) bath 15: Stirring means e.g.(shown), anti-bumping granules or mechanical stirrer 16: Cooling bath.

Early types of distillation were known to the Babylonians in Mesopotamia (in what is now Iraq) from at least the 2nd millennium BC.[1] Archaeological excavations in northwest Pakistan have yielded evidence that the distillation of alcohol was known in Pakistan since 500 BC,[2] but only became common between 150 BC - 350 AD.[2] Distillation was later known to Greek alchemists from the 1st century AD,[3][4][5] and the later development of large-scale distillation apparatus occurred in response to demands for spirits.[3] According to K. B. Hoffmann the earliest mention of "destillatio per descensum" occurs in the writings of Aetius, a Greek physician from the 5th century.[6] Hypatia of Alexandria is credited with having invented an early distillation apparatus,[7] and the first clear description of early apparatus for distillation is given by Zosimos of Panopolis in the fourth century.[5] Primitive tribes of India used a method of distillation for producing Mahuda liquor. This crude and ancient method is not very effective.[8]See:Distillation


While I have sometimes alloted it to an experience of an event and memory historically describing patterned, this is a distillate of the experience that is like a "mind map" if you like, as to what explodes on the surface of observation repeated in all the coverings of lines, as experience. Who is observing?

Why I held for so long to those lines which describe Euclid's postulates as an experience further extrapolated to become a toposense of experience in movement. Much as, "grokking" the world, is to consume and digest to describe it's historical lineage as a movement of sorts, to describe life in this way.

Olafur Eliasson
Installation view of Kaleidoscope (2001) at ZKM, Karlsruhe © Courtesy Greene Naftali Gallery, New York © the artist Metal, mirror foil, foam core, tape


The kaleidoscope was perfected by Sir David Brewster, a Scottish scientist, in 1816. This technological invention, whose function is literally the production of beauty, or rather its observation, was etymologically a typical aesthetic form of the nineteenth century - one bound up with disinterested contemplation. (The etymology of the word is formed from kalos (beautiful), eidos (form) and scopos (watcher) - "watcher of beautiful shapes".) The invention is enjoying a second life today - as the model for many contemporary abstract works. In Olafur Eliasson's Kaleidoscope (2001), the viewer takes the place of the pieces of glass, producing a myriad of images. In an inversion of the situation involved in the classic kaleidoscope, the watcher becomes the watched. In Jim Drain's Kaleidoscope (2003), the viewer is also plunged physically inside the myriad of abstract forms, and his image becomes a part of the environment. Spin My Wheel (2003), by Lori Hersberger, also forms a painting that is developed in space, spilling beyond the frame of the picture, its projected image constantly changing, dissolving the surrounding world with an infinite play of reflections in fragments of broken mirror. The viewer becomes one of the subjects of the piece. (Not the subject, as in Eliasson's work, but one of its subjects.)
See: The End of Perspective-Vincent Pécoil.


While subjectively living the experience it may seem that nothing more can be of use as one describes that experience is and amounts too. So it's conclusiveness helps to steer the mind to events as an outcome of and a direction set in life.

So the basic pattern is never separate from while from another point of view such polytopes construction would have appear in lines distinct of itself to point out that a motive force is further enshrined in the outward expressiveness of this movement toward the real world manifestation as an object of experience. Cosmologically real for the soul in an outward expressiveness held in the body form.

This is not a "ego centric orientation," but a recognition of the energy as it is propelled outward by the soul's desire to be part of the reality and experience this world affords us.

Wednesday, April 30, 2008

Kaleidoscopic Pattern Metaphorically Used

The largeness of this apolytope looses the distinction of it's lines when it is displayed to largely?Garrett Lisi may have pinpointed aspect of this flower as he points to the petals? I had to look for how he descriptively displayed the pattern of those petals, as he choose to represent this expression as a "modality in perception."

"...underwriting the form languages of ever more domains of mathematics is a set of deep patterns which not only offer access to a kind of ideality that Plato claimed to see the universe as created with in the Timaeus; more than this, the realm of Platonic forms is itself subsumed in this new set of design elements-- and their most general instances are not the regular solids, but crystallographic reflection groups. You know, those things the non-professionals call . . . kaleidoscopes! * (In the next exciting episode, we'll see how Derrida claims mathematics is the key to freeing us from 'logocentrism'-- then ask him why, then, he jettisoned the deepest structures of mathematical patterning just to make his name...)

* H. S. M. Coxeter, Regular Polytopes (New York: Dover, 1973) is the great classic text by a great creative force in this beautiful area of geometry (A polytope is an n-dimensional analog of a polygon or polyhedron. Chapter V of this book is entitled 'The Kaleidoscope'....)"


I left a remark at Clifford's blog in relation to the flower, because it is very symbolic to me about what can emerge within context of our own consciousness. That it could encompass my whole life. I would not present this perspective if I did not realize there was a functioning pattern within myself that I identified through study of my own nature.

BEHOLDING beauty with the eye of the mind, he will be enabled to bring forth, not images of beauty, but realities, for he has hold not of an image but of a reality, and bringing forth and nourishing true virtue to become the friend of God and be immortal, if mortal man may. Would that be an ignoble life? PLATO
See:Beauty and Asymmetry

This pattern becomes reflective of how one can assign one's belief's to the world, and this is how I see this as an aspect in each of us. How this pattern is the reflection of what exists as a very bright light at our centres. This to me is the energy force and momentum that moves our lives to the expressions that we do, while it also reveals the aspect of the life, and the expressions which are shadows of the very reflection of that light.


A kaleidoscopic pattern made using a simple toy kaleidoscope tube.

The kaleidoscopic pattern metaphorically used as an expression of all life for me then? Now, there are other images besides flowers that also occupy my mind I perceive as holding an expressive tendency of the energy expression as a pattern of being.



See: here Also see:Iris recognition

Now sure I could be pegged as some one who delves on the fringes of what is the shadows of things, and while being perceived as such, is somehow ineligible to be part of this commentary on the energy of expression, as a pattern in one's life? Yet I do not believe that any of us can be said not to have this privilege, because I see it is an integrate part of our persons and our characters.

Yes, you can look at the whole person, and the matters that describe the reality, but it is much more that energy can explode into this reality that exists, and it all came from some centre?

Yes it's true I believe that the tunnel to the light, is a perceived way in which the soul in expression manifests itself into the world we called waking reality. It provides new meaning for, "light at the end of the tunnel" and how far an introspective view shall you take this to mean, we have come to a clearer perception of the reality of the situation in your life? But yes, we sleep and life consolidates too.

It would not to be to far off the mark that the seed and it's growth could mean much more as we reread the quote I give of Plato's, that has become the food for thought about life as an "expression of being." Let's look at again now in context of this post?


"AND we should consider that God gave the sovereign part of the human soul to be the divinity of each one, being that part which, as we say, dwells at the top of the body, inasmuch as we are a plant not of an earthly but of a heavenly growth, raises us from earth to our kindred who are in heaven. And in this we say truly; for the divine power suspended the head and root of us from that place where the generation of the soul first began, and thus made the whole body upright. When a man is always occupied with the cravings of desire and ambition, and is eagerly striving to satisfy them, all his thoughts must be mortal, and, as far as it is possible altogether to become such, he must be mortal every whit, because he has cherished his mortal part. But he who has been earnest in the love of knowledge and of true wisdom, and has exercised his intellect more than any other part of him, must have thoughts immortal and divine, if he attain truth, and in so far as human nature is capable of sharing in immortality, he must altogether be immortal; and since he is ever cherishing the divine power, and has the divinity within him in perfect order, he will be perfectly happy. Now there is only one way of taking care of things, and this is to give to each the food and motion which are natural to it. And the motions which are naturally akin to the divine principle within us are the thoughts and revolutions of the universe. These each man should follow, and correct the courses of the head which were corrupted at our birth, and by learning the harmonies and revolutions of the universe, should assimilate the thinking being to the thought, renewing his original nature, and having assimilated them should attain to that perfect life which the gods have set before mankind, both for the present and the future."

Plato from Timaeus, 90a-d, translated by B. Jowett


What use any author if he cannot point out the "depth of thought" that one can go into by leaving a "tidbit of information" so that one can be motivated to look at the whole picture and not just, "part of a mystery?" An assumption is made of the person, and from it the world views settles accordingly. Life becomes easy wrapped then to this meaning and we soon learn, where each of us has left "the synergy of the situation they are in," and realized, the counterpart is and will always hold a greater meaning. That we share this aspect of nature we have come to perceive.

Crab apple blossom We planted this in memory of a grandchild called Summer, who passed after being born. It was a way to remember, that life is "spring's eternal." Unfortunately, we had to leave it behind as we moved on, yet, is holds greater meaning now that we remember her, as we look at the blossoms.

If one is intuitive enough they can read deeper into this then they could have before? See beyond their nose?:)

The pathway of expression is an indelible feature then in my mind that it can follow an expression, and what was the origination of this motivation? If it is life as we know it, and it can impel a whole universe, why cannot this energy be impelled by some motivation from within you? All life?

See: Rankin Eyescapes