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.



“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



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

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