14 October 2011
Overdrawn at the Metempsychotic Bank
30 August 2011
Swallowing the Sun
rohirohimashimashIhimahimashirashiramahimahishihishihiromaromaroshiroshihimahimashimashimashimashima
haiku
How many are dead?
250 000--
that many are dead
Hiroshima a---
a a a a a a a
Hiroshima a---
One thousand summers'
winds blow as one wind that smashes
all things before it
Red dawn, golden light
blue sky yellow sun, a sound...
white white white white white
Ring around the sun--
ashes ashes ashes ashes a---
now we all fall down
Nuclear fission,
radioactivity,
heat light blast nothing
Ghost radiations
penetrate silently, kill
microscopically
White shadow, black wall,
the light so bright made a print:
the only remains
Summer heat is on.
Great nuclear fission heat--
end of the world heat
Playground equipment
black and twisted in silence
games of nothingness
Summer sun eclipsed
by light so bright, brighter than
twenty thousand suns
How many shadows?
250 000
white shadows, black walls
Summer sky riven
by sound so loud, louder than
twenty million screams
Little white bone
charred around its edges:
whose finger were you?
August Rhapsody.
Kurosawa remembered
fearful destruction
I, young boy, reading
"The Effects of Atomic
Weapons". How could they?
We thought a million
men would die while invading
but we can't be sure
Some historians
say Japan was near collapse
so why not just wait
This evil commenced
(bombing civilian targets)
before the a-bombs
The killing affects
the victims but it also
affects the killers
Nagasaki i---
i i i i i i I
Nagasaki i---
Mountains of ashes
250 000
corpses in two heaps
I walk
I walk through ashes
crunch crunch crunch crunch crunch crunch crunch
ashes pass through me
I walk through vapors
whish whish whish whish whish whish whish
vapors pass through me
I walk through xrays
zzz zzz zzz zzz zzz zzz zzz
xrays slice through me
i walk through blast wave
hwoom! hwoom! hwoom! hwoom! hwoom! hwoom! hwoom!
blast wave shatters me
I walk through great heat
sssss sssss sssss sssss sssss sssss sssss
great heat consumes me
Driving to Maine three days ago
Friday Afternoon
hot car to Maine not thinking
of Hiroshima
Friday Afternoon
hot car to Maine not thinking
of Nagasaki
Friday Afternoon
hot car to Maine not thinking
of radiation
Friday Afternoon
hot car to Maine not thinking
of destructive blast
Friday Afternoon
hot car to Maine not thinking
of bone-stripping heat
Friday Afternoon
hot car to Maine not thinking
of eye-melting light
Friday Afternoon
hot car to Maine not thinking
of so many dead
Hear the sounds
Hear the sounds of birds
There is no sound just silence
Hear sounds of no birds
Hear the sounds of boys
There is no sound just silence
Hear sounds of no boys
Hear the sounds of girls
There is no sound just silence
Hear sounds of no girls
Hear the sounds of men
There is no sound just silence
Hear sounds of no men
Hear sounds of women
there is no sound just silence
sounds of no women
Hear the sounds of frogs
There is no sound just silence
Hear sounds of no frogs
Hear the sounds of cats
There is no sound just silence
Hear sounds of no cats
Hear sounds of cattle
There is no sound just silence
Sounds of no cattle
Hear sounds of crickets
There is no sound just silence
Sounds of no crickets
Hear sounds of foxes
There is no sound just silence
Sounds of no foxes
atoms
i i i i i
i i i i i i i
i i i i I (“ee” as in “beet”-- this and other examples not to be spoken)
I I I I I
I I I I I I I
I I I I I (“i” as in “bit”)
e e e e e
e e e e e e e
e e e e e (“e” as in “bet”)
æææææ
æææææææ
æææææ (“a” as in “bat”)
a a a a a
a a a a a a a
a a a a a (“a” as in “father”)
α α α α α
α α α α α α α
α α α α α (“a” as in “pause”)
Ø Ø Ø Ø Ø
Ø Ø Ø Ø Ø Ø Ø
Ø Ø Ø Ø Ø (“o” as in “bought”)
o o o o o
o o o o o o o
o o o o o (“o” as in “boat”)
U U U U U.
U U U U U U U
U U U U U (“u” as in “but”)
oo oo oo oo oo
oo oo oo oo oo oo oo
oo oo oo oo oo (“oo” as in “book”)
u u u u u
u u u u u u u
u u u u u (“u” as in “boot”)
ə ə ə ə ə
ə ə ə ə ə ə ə
ə ə ə ə ə (“a” as in “about”)
w w w w w
w w w w w w w
w w w w w
y y y y y
y y y y y y y
y y y y y
r r r r r
r r r r r r r
r r r r r
l l l l l
l l l l l l l
l l l l l
n n n n n
n n n n n n n
n n n n n
m m m m m
m m m m m m m
m m m m m
p p p p p
p p p p p p p
p p p p p
b b b b b
b b b b b b b
b b b b b
f f f f f
f f f f f f f
f f f f f
v v v v v
v v v v v v v
v v v v v
θ θ θ θ θ
θ θ θ θ θ θ θ
θ θ θ θ θ (“th” as in “thin”)
ð ð ð ð ð
ð ð ð ð ð ð ð
ð ð ð ð ð (“th” as in “those”)
s s s s s
s s s s s s s
s s s s s
z z z z z
z z z z z z z
z z z z z
§ § § § §
§ § § § § § §
§ § § § § (“sh” as in “shin”)
Ʒ Ʒ Ʒ Ʒ Ʒ
Ʒ Ʒ Ʒ Ʒ Ʒ Ʒ Ʒ
Ʒ Ʒ Ʒ Ʒ Ʒ (“zh” as in “azure”)
t t t t t
t t t t t t t
t t t t t
d d d d d
d d d d d d d
d d d d d
k k k k k
k k k k k k k
k k k k k
g g g g g
g g g g g g g
g g g g g
h h h h h
h h h h h h h
h h h h h
ŋ ŋ ŋ ŋ ŋ
ŋ ŋ ŋ ŋ ŋ ŋ ŋ
ŋ ŋ ŋ ŋ ŋ (“ng” as in “ring”)
100 letter word
naganagasagasagakisakisanakinakigakigakisanasanaganaganagasagasanasanasakigakigakinakinasakisakigan
a narrative
I was just 16 years old, but had worked for a year and a half in a clothing factory. They had taken us all out of school so we could make uniforms for the soldiers. It was hard work, and we were really happy when they let us return to school at the beginning of August. It was a beautiful day with a blue sky and yellow sun that was already beginning to be hot, even early in the morning when we walked to school We had just started our physics class, it was the second week, and I was a little bored, so I looked out the window. I saw two B-29 bombers, but I didn't worry much about it. "Only two bombers. Not much danger for us.." I looked back at my book. Suddenly there was a very bright flash of light and I felt very hot, as if I were inside an oven. All I could see was orange. A few seconds later there was a tremendous sound, as if every building in the world was falling down at once. I screwed my eyes closed, covered my ears, and jumped under my desk. Now everything was black and I couldn't see a thing; I think part of the roof had collapsed. Everyone in the classroom was very quiet. I began to crawl across the floor. In my mind I was praying to Lord Buddha. "Help me, Lord Buddha!" Never before had I prayed to him.
I finally got outside, and I saw that I had many little cuts from slivers of glass but I wasn't really hurt. I looked around and was amazed to see that every building, as far as I could see in every direction, was in ruins or badly damaged. I had thought the two bombers could have dropped just a few bombs, but this seemed to be the work of hundreds of aircraft dropping thousands of bombs over many hours. It didn't seem possible that so much destruction could come from so little. Many of the buildings were in flames.
My friend Takashi came out behind me, his face covered with blood, from a deep cut on his head, I tied a handkerchief around his head, and he leaned against me as we walked to the hospital. It wasn't very far, we just had to follow the tram tracks. We saw a lot of people walking away from the center of the city. Many of them were terribly burned, skin coming off their heads, clothes burned off, almost naked. Many had no hair. With some of them, I could see muscles appearing through the skin, very red. They walked with their arms raised in front of them, in a queue, like a ghostly parade, hundreds and hundreds. Others were crawling, trying to get to the river, to cool their burns with water. Some died before they got to the river, others died on the riverbank, and of those who entered the water,many drowned. Bodies floated everywhere on the surface of the river. It seemed as if everyone in Hiroshima was dying. We reached the hospital; only part of it was still standing. We got inside where we found hundreds of wounded people seeking help from the few doctors and nurses who, despite their own wounds, were able to help them. It looked like it was going to be a very long wait, so I led Takashi outside and we began to walk back in the direction of our dormitory. A rescue truck stopped and took Takashi to another hospital some distance away.
I continued by myself to the dormitory, but found only a mountain of rubble and ashes. I decided to go to the farm where my mother was staying. I walked some distance, and then found a train which stopped near her village.
The next day, I woke up with diarrhea and a high fever. I was very sick, delirious the first few days, but got over it in a week. It was caused by radiation, of course, but I was lucky that I didn't stay long in the city or I would have gotten much more exposure. People who stayed in the city to help with rescue work weren't so lucky; most of them died. A few times since then, I've gotten sick again, but I always get over it, and I'm still alive.
I don't feel angry at the Americans about the a-bomb, even though it caused a huge amount of suffering, destruction and death. Everyone who fights in a war goes crazy. They will do anything to kill their enemies. I suppose that if Japan had had one of these bombs, we would have used it, too. For me, it is better to look to the future rather than the past, but it should be a future where everyone in the world works together to abolish nuclear weapons.
100 letter word
nahigarosashikimanihagorasishikamasahogarisishakaminohagirisashakimanahigirasashikamonihigarasishako
05 June 2011
Tweeting Ulysses: Read Part Two & Wrote First Draft
☏☎☂☥☸♨❦❡❊❉✿✡✞✎✈✄◮◉☭
കൠஇணఋജאש
⁂⌂⌛⌨⌬▣▲▽❒〄♬ ☑☒✔✇❁❀✿☮✾✽✵
£§✉✖✣✰� ۩ † ‽∎
♔♕♖♗♘♙♚♛♜♝♞♟
♊♍♇♆♅♄♃♑♂♀☿☉☽☾★☄☀☼
☻☺☹☯☤☠☢☃ ☟☞☝☜☛☚✌
∞ ⊥ ↑Ⅶ
02 June 2011
Tweeting Ulysses: Unicode rebuses
In yesterday’s post I listed different tactics for saving space in tweets, and the rebus idea has been interesting me more & more. A certain amount of rebusing can be done with the conventional character set (“2 B or not 2 B…”) but since Twitter accepts Unicode, there is a big store of visual dingbat types of characters available. I have installed a little web browser tool called TwitterKeys, which provides 40 or 50 useful symbols, & have also looked at the WikiPedia article that lists many many Unicode characters http://en.wikipedia.org/wiki/List_of_Unicode_characters . I did an experimental tweet that verifies to me that I can copy & paste characters from this Wiki page or the browser tool. I think I’ll collect all the even remotely conceivably useful characters from Wikipedia, and make a document I can take them from. Presently, I am thinking of icononizing King Edward the Seventh into ED.VII♚ , using the black chess king symbol, 7 characters instead of 23.
I am eager to use symbols like these ♨ ♬♒☽☠ ➨ ✣ to show but a few, but will discipline myself to be true to the text.
01 June 2011
Tweeting Ulysses: Saving Space
While I read, I am thinking of how I’m going to make 4 to 6 tweets of my seven pages. I want to tell the story and convey the feeling, and I want to use Twitter in a creative, experimental way. My first thought, of course, is “not enough room!” A tweet has a maximum of 140 characters, so I can use at most 840. There are different ways to respond to this challenge, many quite Joycean.
Joyce likes to agglutinate words, metaphorically glue two together to form a new word. This happens sometimes in English, but usually with a hyphen… “not-uncommon” is an example. But Joyce doesn’t use hyphens. For instance, on the page I am about to read, Joyce writes “darkgreener.” This technique saves a character, either a space or a hyphen, and gives the resulting compound word a heightened, poetic quality. It reminds me of how many computer programmers, myself included, give camel-case names to variables: “numberOfRepetitions” agglutinates three words, with the second and third words written in upper case in the midst of the compound to ease reading . “Camel-case” is named because the upper-case letters in the midst of the word stand up like camel’s humps. Perhaps it should be spelled self-referentially as “camelCase”.
Another way to save characters is the rebus, substituting a character which sounds like a word. This is common in tweet and mobile-phone text messages. “C U later” or “Me 2.” An interesting literary usage is in Alfred Bester’s SciFi novel, The Demolished Man, where two characters have the surnames @kins and Wyg&, (“Atkins” & “Wygand”.)
Abbreviations might work. I remember SpeedWriting ads from the 50’s and 60’s: “f u cn rd ths, u cn gt a gd jb.” The “u” in this example is more of a rebus than an abbreviation. This method can produce text that is quite difficult to read, and is often rather ugly.
In Joyce’s time, people sent telegrams where we use email today,, and were motivated to keep messages short to save money. So people developed telegraphic writing, leaving out pronouns, articles, and conjunctions. Example written telegraphically—words dropped, sentence shorter. At times Joyce’s stream of consciousness writing in Ulysses resembles this. But if you write telegraphically, you shouldn’t use abbreviations or rebuses, as there won’t be enough redundancy in the message to enable the reader to reconstruct it.
Another stratagem might be to use slang expressions that are shorter than their equivalents in conventional English. I’ll be tweeting part of the Nighttown section, which is in the red-light district, so I may be referring to a prostitute now and then. “Whore” is shorter, and “ho” is really short. But I’m a little uncertain about using “ho”: it’s a black American vernacular (Ebonics)or perhaps hiphop word, and it may be too wrenching to the text. I’ll have to try it out and see how it feels.
These are the experimental tweetniques (forgive me) I have found so far coming from the need to save space. Later I’ll write about some ideas that derive from different sources.
31 May 2011
Ulysses Meets Twitter 2011
The organizer, Steve of Baltimore, has divided the book into 96 sections; I am working on section 71, in the Nighttown/Circe chapter. The tweets will flow commencing 8 AM, GMT/Dublin time (2 AM Eastern US Time), and will continue for 24 hours. Section 71 will go out between 1:30-1:45 AM GMT or 7:30-7:45 PM Eastern Time.
I first read Ulysses when I was sixteen years old, about fifty years ago. My parents had a copy of the Modern Library edition, and I borrowed Stuart Gilbert’s “James Joyce’s Ulysses: a Study” from the library. A month later, August, 1961, I finished and I felt that I had undergone a kind of initiation into modernist fiction. In the intervening years, I’ve read here and there in the book many times, but never again all the way through. I feel like I should re-read it before starting my alchemy on section 71, and started last night with Part I. What a pleasure to savor Joyce’s language, and, with fifty more years of life and experience, it seems much more rewarding than in my adolescence. The Modern Library book disintegrated, so now I am reading a beautifully printed Folio Society edition. I must make haste to read 500 more pages and get to my section so I’ll have time to write my tweets in an appropriate twitter-style. It is good that I am retired.
I’ll post on my progress from time to time until I submit my tweets to 11ysses, in a week or so.
05 March 2011
How a true-life character in “True Grit” made possible the existence of my family
The current Coen Brothers’ film of “True Grit” has generated an unusual amount of interesting web responses.
Languagelog (http://languagelog.ldc.upenn.edu/nll/?p=2873) considers whether the paucity of verb contractions in “True Grit” is not a realistic depiction of American speech of the later nineteenth century. Analysis of other literary works, including Mark Twain’s, indicates that it isn’t.
Another linguistic take on “True Grit, “ specifically on Rooster Cogburn’s incredible diction, is in a subtitled video on Collegehumor.com (http://www.collegehumor.com/video:1945368.)
Cocktail Party Physics admires the physics of “True Grit” in http://twistedphysics.typepad.com/cocktail_party_physics/2011/02/and-the-oscar-goes-to.html. The time delay between Rooster’s pulling the trigger on his rifle and the shot hitting the distant bad guy, and the effect of the recoil of Maggie’s rifle are both noted.
The film opened in France and in Spain a couple of weeks ago, and two different people have told me how much they liked it: J. in San Sebastian and G. in Anglet, near Biarritz. I felt obligated to tell each the following story.
“True Grit” takes place around 1885, at first in Fort Smith, Arkansas, and later in the Choctaw Nation, part of Indian territory, now in Oklahoma, the state of my birth. The film was not shot in Oklahoma, but further west in New Mexico, so you don’t see the rolling green hills of Eastern Oklahoma. In Fort Smith we see a hanging and a courtroom scene. The presiding judge at that time was Judge Isaac Parker, and he was a real person who is depicted in the film. Parker was famous as the “Hanging Judge,” because he sentenced 160 defendants to death, of whom 79 were actually hanged (according to Wikipedia.) The film showed three desperados being executed on the same gallows; Parker’s gallows could actually accommodate six.
In 1892-93, my grandfather, C S Petty, worked for Judge Parker.
Clarence S. Petty was born 11 November, 1871 in Gadsden, Alabama. In 1892 he received a degree in Business from the University of Alabama at Tuscaloosa and moved to Ft. Smith, Arkansas where he taught at the Business College for two years, studying medicine with Dr. J. C. Daly and working as a clerk some of the time in the court of Judge Parker= “the Hanging Judge.”
In 1894 he entered the Chicago Homeopathic Medical School and was graduated in May, 1897; one of the seven to graduate with honors out of a class of fifty seven. After graduation, upon the strong urging of [Oklahoma Territorial] Governor Barnes, he moved to Guthrie, Oklahoma to open his office. It is interesting to note that Governor Barnes had lost his personal physician, a homeopathic physician, and wrote his friend, Judge Parker, to ask if he knew of anyone he might interest in coming to Guthrie to open an office and also care for him….Judge Parker spoke highly of Clarence and Governor Barnes’ invitation was forthcoming.
-Germaine Petty. The Petty Family (1985), page 5
Because of my grandfather’s work for Judge Parker, he gained a very good position in Guthrie, the new capitol of the Oklahoma Territory. If this had not happened, he would not have met my grandmother…
The Parker court of 1893 was very different from that of 1885 shown in “True Grit.” In the 80’s, Parker had jurisdiction over all of Indian Territory, which covered most of what is today Oklahoma. And indeed, federal marshals did go into the Indian nations and capture criminals, many of whom had fled into what was then the last of the Wild West. A few years later, in 1889, the first of five land runs began the process of stealing land from the Indians and allowing white settlers to claim it. What later became Eastern Oklahoma remained under the control of the Cherokee and Choctaw Nations, but when Oklahoma Territory was organized out of the newly white-settled part of Western Oklahoma, a new federal court was organized to deal with both Oklahoma and Indian Territories; Parker’s domain shrank accordingly. So it is not very likely that my grandfather saw colorful federal marshals or multiple hangings.
08 February 2011
LIMINAL DESIGN
These photos show the conflict that sometimes occurs between what designers think is best and what people, acting collectively and nearly unconsciously, will redesign if they can. And then there is a surprising resolution to the conflict.
The top photo was taken 27 June, 2009. It shows a sidewalk near the Plaza of Benta Berri in Donostia (San Sebastian), in the Basque Country of Spain. Crossing the sidewalk at a diagonal is a well-defined footpath. I'll explain below why people preferred to walk this way, but the gentleman pictured evidently prefers to walk on the sidewalk; and it's not because he is going to turn to the right. I have another photo showing him turning to the left. I took this photo because I have had a long interest in this kind of collective creativity.
About four months later, the city began to rebuild the plaza, and I was amazed to see them tear up the old sidewalk and begin to lay out a new sidewalk, more or less following the redesign made by the feet of the people. The third photo, just below, shows the completed reconstruction; it was taken this month (February, 2011.)
Why was I amazed? I don't remember seeing or hearing of an example where a designer has allowed a mostly unconscious group of non-professionals to collectively lay out a path.
The reason this collective (the public) redesigned the path was to get it to lead more directly to the local fitness center, or, going in the opposite direction, to Calle Matia, the main shopping street. The clipping on below shows this clearly.
The redesigned path is near the center of the clipping. The gray rectangle in the lower left of the clipping is the building housing the local swimming pool and fitness complex. The new path lines up with the sidewalk, just to the left of the smaller green triangle, leading to the entrance of the building, at the bottom of the clipping. To the left of the fitness center one can see the corner of a large set of concrete playing fields. Going in the other direction, the redesigned sidewalk flows into the sidewalk heading toward the trees of the plaza, and, beyond that, the shops. This clipping was grabbed today, even though the concrete sidewalk was torn up sixteen months ago. Google often has a significant lag in updating their maps, and, particularly their satellite images.
It appears that as people approached the sidewalk, they saw their destination and began walking toward it before they reached the concrete. People like to save steps. The concrete sidewalk was at a right angle to the other sidewalks, and in general, people prefer to turn gradually rather than quickly. They may be inhibited from walking on the grass, but once a few people have pioneered this route, the grass becomes obliterated, and the inhibitions drop away. Depending on the terrain, the shape of the path will be influenced by people's preferences not to step too high, wade through plants, or get wet. Depending on the time of year, the path may stay in the sun or in the shade.
I often observe my mind while walking, and most of the time, it seems to function completely automatically; I don't need to think or make any decisions. But when I am approaching a destination and see it, I feel a kind of pull, not literally of course, but as if some hidden part of me is trying to turn my body toward the goal. Once I've left the orthodox path, I find it more comfortable to walk where others have walked before; if my foot is about to leave the collective path, I feel a little anxiety that is eased by keeping to it. At any time, I could start walking in any direction, but it's easier to follow the impulses that seem to float up from the interior darkness. These are transient experiences, scarcely noticed and immediately forgotten.
People decide how to walk in a partly conscious manner. Part of each decision is made unconsciously, by mental processes that deal with the mechanics of walking, measuring distances and heights, looking out for obstacles, and so forth. The rest of each decision is made consciously, by a liminal consciousness that receives information from the unconscious processes, in the form of feelings, emotions, or the kinesthetic equivalents of images; these are weighed and quickly a decision is made of where to step. By liminal consciousness, I mean consciousness right at the threshold of the unconscious, able to receive the output of the unconscious processes but otherwise ignorant of their natures or even their existence. Because of its liminality, this kind of decision-making is forgotten almost as soon as it happens, unless a person makes a special effort to observe it. The kinesthetic equivalents of images are anticipations of where the feet might go, how balance would be affected, how much the leg would need to be lifted to go a particular way, as well as other concerns of the unconscious processes responsible for moving the body. The feelings, emotions, and kinesthetic images, which constitute the data from the unconscious processes are fleeting, occupying part of the attention for a fraction of a second before being replaced by the next set of data. When a person, walking, is also carrying on an interior monologue (perhaps constructing the narrative of his or her life) the experience of attending to the unconsciously derived data and weighing the possibilities of where to walk, is lost in the background.
The conflict between the professional designer and the public is illustrated in an apocryphal story about Dwight D. Eisenhower, while he was president of Columbia University; he headed Columbia after World War II, before he was elected president of the US in 1952. He was approached by the head of Buildings and Grounds with a vexing problem. The students weren’t respecting the sidewalks, and were instead wearing their own paths in the grass. Couldn't the retired general order them to walk on the sidewalks? Ike, instead, is said to have suggested that they rebuild the sidewalks to follow the paths the students obviously preferred to walk. I always liked this story, because it demonstrated a flexible, pragmatic attitude in Ike, that you don't see in many Republicans today. Alas, there is no evidence for this story. It's an urban legend, one of many such stories, each set at a different university, sometimes with a variation: they built a new campus, but waited a year to construct the sidewalks so they could see what the students tramped in the snow.
There is another legend that the twisted, irrational streets of downtown Boston follow cow paths. In fact, early Boston consisted of scattered farms, and, as people walked from house to house, they avoided obstacles-- ponds, marshes, masses of thorns, trees-- that no longer exist today.
I am happy to see this design (or anti-design) idea applied in my neighborhood. Is it part of a new sensibility that younger designers are cultivating, one that might make our cities more livable?