I is for Immigration: Fly drops some straight talk.


What the hell is going on? bird flu epidemic, a swine flu scare, what’s next…? Flying Pig Flew? How did hoof and mouth disease get such a name?

Maybe Cancer might become chancer over night, a tumour turns into a rumour at the dinner table, a terminal illness can now be seen as a simple term related illness at the hospital check out desk, even death can be revised optimistically to breath, at the end.

symbol structures that define you and your world – might entrap you – mentally, physically if you let them – new language provides a new path out of totalitarian states (inner and outer). Gno Word Order. Why don’t all those immigrant yeast spores fly back to the star system they came from? taking up our jobs and resources. Immigration, huh, do you think that the prefix (im) versus (em) can really help us when looking at migration of human beings?

I think that humanity should be able to traverse the globe as global citizens, citizens of earth, you dig, a nomadic-migrant humanity. I think immigration, the word, causes more than half of the problem concerning foreign migrating workers that wonder far from home, and then get portrayed by the satanic newspress, often as a straw-man, an immigrant.

From the point of view of valuing all humanity as citizens of spaceship earth – we are all migrating beings, you dig – depending on the time-map and language-metaphors used to describe any individual. So now, the immigration wing-nuts, who fan the flames of racial hatred, dogmatic communications and straight up racist lies would not be able to produce havoc surrounding immigration if they were not a part of the conspiracy to use immigration language trickery as a decoy, a straw-man argument and a political hot-dogmatic word-world-war potato to help raise the frustration, chaos and blood pressure of those on the receiving end of the warped messages and imperialist lingusitic deception. Crazy i know, but just hear me out here. OK.

C is for CUBE: CHU & Korzybski

The final cube, in case you missed it

| posted on Jun 09 2009

The little promotional stickers that advertised 51 Degrees, the solo show back in April, had a website on the reverse pointing to www.schudio.co.uk/51. Visitors to this page would have seen a few different panoramas during the show, but at the moment its the final rendition of the Cubic Experiment.

After my group show, Jibbering Art moved the cube outisde. I had to recreate the floor and the ceiling, this gave me a chance to fill up the design a bit more, going for almost complete coverage. The floor was a large piece of reverse lino that took to the Edding pens really well, and was ably laid down by Big Chris and Jon from Jibbering.

Line Steppers /

Other details were added to the upper walls and some of the ‘rear’ wall, opposite the slogan.

Line Steppers / Christy

The final effect was more than satisfactory and it continued to conceal a few secrets of its own.

See the final cube in its own FULL PAGE window, no need to download anything to see it, all you need is Flash installed (which most browsers have nowadays, if not then go here.)

The proteiform graph itself is a polyhedron of scripture.
There was a time when naif alphabetters would have written it
down the tracing of a purely deliquescent recidivist, possibly
ambidextrous, snubnosed probably and presenting a strangely
profound rainbowl in his (or her) occiput.
James Joyce, Finnegans Wake pg. 107.

http://www.vimeo.com/4372989

http://en.wikipedia.org/wiki/Logic_alphabet

“Dr. Zellweger’s background is a combination of formal education and extensive research in the fields of Psychology, Pedagogy, Semiotics and Logic. Beginning in 1949, Dr. Zellweger spent his summer at the Institute of General Semantics with Alfred Korzybski. In 1975 he spent one year at the University of Illinois, Biological Computer Laboratory, under the direction of Heinz von Foerster. — http://en.wikipedia.org/wiki/Shea_Zellweger

Logic Alphabet models by Shea Zellweger.

In 1953, while working a hotel switchboard, Shea Zellweger began a journey that would culminate in a radical new notation for formal logic, the set of relations that underlies modern computing. From a garage in Ohio, Zellweger developed a visual language he dubbed the “Logic Alphabet,” in which a group of specially designed letter-shapes are maneuvered like puzzles to reveal the geometric patterns hidden beneath the symbolic web of logic. For more than fifty years, Zellweger has been exploring the symmetries and relations inherent in these patterns, which he has made manifest in a series of delicately crafted wooden models and in thousands of pages of diagrams. In this jewel-box exhibit, the Institute For Figuring and the Museum of Jurassic Technology proudly present Dr Shea Zellweger’s Logic Alphabet models and drawings.

The Logic Alphabet Tesseract – a four-dimensional cube. Diagrams by Warren Tschantz.

Zellweger’s work is based on a discovery that the logic on which our computers run is allied with a geometric structure whose form is a tesseract, a four-dimensional cube. Much of his research over the past half century has aimed at identifying all the subsets of this group of relations in one, two, and three dimensions. The resulting models and diagrams, often crystalline in nature, constitute a genuine research project in logic while simultaneously passing through distinct aesthetic phases,
reminiscent of Russian Constructivism, concrete poetry and Pop Art. What is most important here is that these physical models enable us manipulate logical symbols spatially – we may learn to do logic by flipping and rotating these marvelous toys.

Left: The Logical Garnet, three dimensional projection of the Logic Alphabet tesseract. Right: A cubic sub-group of the Logical Garnet.

That logic is underpinned by a spatial architecture was independently discovered at least six times in the history of mathematics, first by C.S. Pierce, one of the pioneers of the field. For Zellweger this fact is of more than purely formal significance – it is the seed of a potential pedagogical revolution. Through model play, he proposes, we may teach our infants logic in school. Like the great nineteenth century creator of the kindergarten system of education, Friedrich Froebel – himself an experienced crystallographer – Zellweger’s models call forth the latent potentiality of the mind through engagement of both the eyes and hands. This revolution would not be confined to the schoolroom, for given that logic is the foundation of computing, the alphabet might serve to re-envision the computer itself. — http://www.theiff.org/exhibits/iff-e7.html

GRAFFITI ART AND STREET ART ARE REVOLUTIONIZING ALPHABET AND COMPUTERS – WAKE UP TO THE WRITING ON THE WALL.

–STEVE FLY

ALSO SEE http://www.logic-alphabet.net/

NOW YOLK. APOLLODELPHI THEATRE sketch v1.0

CUBEDOME

NOW YOLK. APOLLODELPHI THEATRE.

(JackY Muller, Manfred Humanski and James Shermon are talking about the CUBE).

JACK MULLER: A vectorial-edged cube collapses. The cube’s corner flexibility can be frustrated only by triangulation. Each of the four corners of the cube’s six faces could be structurally stabilized with small triangular gussets, of which there would be 24, with the long edge structurals acting as powerful levers against the small triangles. The complete standard stabilization of the cube can be accomplished with a minimum of six additional members in the form of six structural struts placed diagonally, corner to comer, in each of the six square faces, with four of the cube’s eight corner vertexes so interconnected. These six, end-interconnected diagonals are the six edges of a tetrahedron. The most efficiently stabilized cubical form is accomplished with the prime structural system of Universe: the tetrahedron.”

JAMES SHERMON: A method is developed for representing any communication
system geometrically. Messages and the corresponding signals are
points in two “function spaces,” and the modulation process is a
mapping of one space into the other. Using this representation, a
number of results in communication theory are deduced concerning
expansion and compression of bandwidth and the threshold
effect. Formulas are found for the maximum rate of transmission
of binary digits over a system when the signal is perturbed by
various types of noise. Some of the properties of “ideal” systems
which transmit at this maximum rate are discussed. The equivalent
number of binary digits per second for certain information sources is calculated.

JACKY MULLER: Because of the structural integrity of the blackboard or paper on which they may be schematically pictured, the cubically profiled form can exist, but only as an experienceable, forms-suggesting picture, induced by lines deposited in chalk, or ink, or lead, accomplished by the sketching individual with only 12 of the compression- representing strut edge members interjoined by eight flexible vertex fastenings.

JAMES SHERMON: If noise is added to the signal in transmission, it means
that the point corresponding to the signal has been moved a
certain distance in the space proportional to the rms value of
the noise. Thus noise produces a small region of uncertainty
about each point in the space. A fixed distortion in the
channel corresponds to a warping of the space, so that each
point is moved, but in a definite fixed way.

JACKY MULLER: The accomplishment of experienceable, structurally stabilized cubes with a minimum of nonredundant structural components will always and only consist of one equiangled and equiedged “regular” tetrahedron on each of whose four faces are congruently superimposed asymmetrical tetrahedra, one of whose four triangular faces is equiangled and therefore congruently superimposable on each of the four faces of the regular tetrahedron; while the four asymmetrical superimposed tetrahedra’s other three triangular__and outwardly exposed__faces are all similar isosceles triangles, each with two 45-degree-angle corners and one corner of 90 degrees. Wherefore, around each of the outermost exposed corners of the asymmetrical tetrahedra, we also find three 90-degree angles which account for four of the cube’s eight corners; while the other four 90-degree surrounded corners of the cube consist of pairs of 45-degree corners of the four asymmetric tetrahedra that were superimposed upon the central regular tetrahedron to form the stabilized cube.

ICOSAHEDRON:

JAMES SHERMON: We now consider the function of the transmitter from
this geometrical standpoint. The input to the transmitter is
a message; that is, one point in the message space. Its output
is a signal—one point in the signal space. Whatever form
of encoding or modulation is performed, the transmitter
must establish some correspondence between the points in
the two spaces. Every point in the message space must
correspond to a point in the signal space, and no two
messages can correspond to the same signal. If they did,
there would be no way to determine at the receiver which
of the two messages was intended. The geometrical name
for such a correspondence is a mapping. The transmitter
maps the message space into the signal space.

JACKY MULLER: In short, structurally stabilized (and otherwise unstable) cubes are always and only the most simply compact aggregation of one symmetrical and four asymmetrical tetrahedra. Likewise considered, a dodecahedron may not be a cognizable entity-integrity, or be rememberable or recognizable as a regenerative entity, unless it is omnistabilized by omnitriangulation of its systematic subdivision of all Universe into either and both insideness and outsideness, with a small remainder of Universe to be discretely invested into the system-entity’s structural integrity. No energy action in Universe would bring about a blackboard-suggested pentagonal necklace, let alone 12 pentagons collected edge to edge to superficially outline a dodecahedron. The dodecahedron is a demonstrable entity only when its 12 pentagonal faces are subdivided into five triangles, each of which is formed by introducing into each pentagon five struts radiating unitedly from the pentagons’ centers to their five comer vertexes, of which vertexes the dodecahedron has 20 in all, to whose number when structurally stabilized must be added the 12 new pentagonal center vertexes. This gives the minimally, nonredundantly structural dodecahedron 32 vertexes, 60 faces, and 90 strut lines. In the same way, a structural cube has 12 triangular vertexes, 8 faces, and 18 linear struts.

JAMES SHERMON: This type of mapping, due to the mathematician Cantor,
can easily be extended as far as we wish in the direction of
reducing dimensionality. A space of n‘ dimensions can be
mapped in a one-to-one way into a space of one dimension.
Physically, this means that the frequency-time product can
be reduced as far as we wish when there is no noise, with
exact recovery of the original messages.

JACKY MULLER: The vector equilibrium may not be referred to as a stabilized structure except when six struts are inserted as diagonal triangulators in its six square faces, wherefore the topological description of the vector equilibrium always must be 12 vertexes, 20 (triangular) faces, and 30 linear struts, which is also the topological description of the icosahedron, which is exactly what the six triangulating diagonals that have hypotenusal diagonal vectors longer than the square edge vectors bring about when their greater force shrinks them to equilength with the other 24 edge struts. This interlinkage transforms the vector equilibrium’s complex symmetry of six squares and eight equiangled triangles into the simplex symmetry of the icosahedron.