hypersurface

The Public Domain Review invites to delve into the fourth dimension with a spectacular gallery of diagrams that anticipate the concept of spacetime and non-Euclidean geometries by British mathematician and science-fiction author Charles Howard Hinton—who first coined the term tesseract (from the Greek τέσσερεις ακτίνες for the four rays that bridge the gap from the edges to the outer vertices) to describe the projection of a cube through a higher facet. As six square faces “net” into a cube, a tesseract—to be depicted in a two dimensional, flat environment—with its twenty-four faces rather defies experience and visualisation and unlike a sphere, cube or pyramid that’s only presented in one way (or perhaps two, rotated—folded or unfolded and face-on), and can be represented in a number of alternate ways (animation helps, and as with any process, some assembly-required) including the iconic cruciform study of Salvador Dalí or the hypercube of La Défense in Paris—a post-modern interpretation of the Arc de Triomphe.

überall or computer says no

A fascinating feature article by Frank Pasquale, writing for Æon magazine, called the Digital Star Chamber is an excellent articulation of some of the fears that harboured when comes the faith we’ve vested in the unaccountable algorithms and the predictive models that produce. The story is told through the lens of the new class of instaserfs who’ve entered into a contractual relationship, albeit voluntarily, that’s very much of balance and crushing for the entrepreneurial spirit.
Not only is the potential for mischaracterisation tremendous, not without human bias and prejudice but subject to the same slant as racial profiling and stereotyping despite being computer generated—the collected demographics and dossiers of markets have real world consequences beyond targeted advertisements, like the ability to get a loan or not due to the deportment of one’s neighbours or predictive purchasing habits, allowed on an aeroplane or into a foreign country, with whom one is mated, what kind of medical treatment that one receives, or even how one’s own shingle, enterprise, is framed. Such judgements were always there is formulae that companies employ for determining a good or bad risk, but now even the criteria themselves are obscured and there is no chance for appeal. Of course, in a broad sense algorithms must provide a a functional gauge and reliable measure, despite our instinct to style ourselves other than average, otherwise there would be no longevity to such routines and recipes and they are forever being manipulated in mysterious ways. It is nothing new or novel to compartmentalise individual behaviour for study, nor unfortunately is it a new development to blindly trust the results insofar as they are mechanical and supposedly non-judgemental.  Our reliance and deference, however, becomes very perilous considering how exposed we have allowed ourselves to become transparent and vulnerable as opposed to the voyeuristic and inscrutable number-crunching systems that stalk our every real and assumed step.  What do you think?  How ought such prowling agents be held to account?

5x5

to boldly go: Nichelle Nichols’ Star Trek workout

cartel: film camera company squashed a digital camera design forty years ago

remains of the day: durable vegetal leather reclaimed from market day leftovers, via Nag on the Lake

◊: the UK is road-testing a special lane that recharges electric automobiles as they go

retrofile: 1970s gallery of stock photography shows how little we’ve progressed in marketing sophistication 

samapātti or avatar

Partially motivated out of neglecting to graciously receive the Dalai Lama when he came to me and missing a yoga session in succession but mostly out of a curiosity for reverence, I took a detour north during the weekly commute to return to Limburg and attend a meditation session with Mutter Meera, an incarnation of the Hindu mother goddess, Shakti, in her home below Schloß Schaumburg in the village of Balduinstein.
Careful not to misrepresent a divinity (though there’s certainly much to be gained by that industry) and there was certainly no pressure to make a donation or elaborate self-promotion, despite a quick study, I was not sure what to expect or what was expected in terms of protocol. After I had arrived, finding the hall pretty full already—a bigger audience than I had thought, one of the ushers asked me if this was my first time and sat me nearly directly in front of the presentation place. I was not the first to approach Mutter Meera, so I watched and had some idea of how to deport myself. Unshod, row by row, we inched from the back of the hall when called up to the dais, and prostrate, the avatar placed her hands on our heads and recalibrated our chakras then looked us in the eyes for an instant. I sort of felt like when I had queued up at the Vatican to touch the feet of Saint Peter and kind of rushed myself through it, cognizant of those behind me, sort of fearful that I would start laughing hysterically or manage to spill the contents of my pockets as I arose and couldn’t really immerse myself in the experience—regrettably.
Something sank in, however—not an immediate bolt that made me feel that I suddenly had my head on right, but rather as I returned to my seat and held that gaze in my mind and got to watch the rest of the audience—mostly veterans, I thought, with all their anticipations and expectations to unburden go through the same ritual up close. Some had worn holey socks, like I worried about, some betrayed a little smirk afterwards, and others I believe were a little starry-eyed just afterwards from the head-rush of having crawled across the floor, but judgment was somehow absented in the quiet procession, which is no mean task. The darshan (blessing) of silence and at minimum the opportunity for reflection that admitted no trappings of showmanship was something I am glad that I sought out (despite and because of the nasty weather that precluded routine investigation of the nice surroundings) this shared experience and hopefully have some positive energy to impart.

sampler or some pig

My mother shared with me this striking photo- graph of a rather inti- midating spider she spied in her garden. I’d seen such a big spider, called an argiope (silver- faced and named after a water nymph), once before, for whom a humming-bird or minnow wouldn’t be out of its weight-class (predators take on weird, liminal proportions when they’ll take on something bigger than a fly and especially with its doubled-up pouncing stance that announces it’s beyond the arthropods and in fact quadrupedal) but the web its weaved is particularly striking. I wonder whether the distinct zig-zag pattern, the signature I learnt of a male of the species, represents a kind of stitching sampler (and may well come to spell out something, like Charlotte’s Web, or suitable for framing or a throw-pillow), a repair to damage caused by some bumbling giant, or reinforcement executed with foresight. Any answer is pretty remarkable.

5x5

ready for my close-up: a look at the directorial epic flop about a woman scorned, Madame Satan

worth 1000: iconic emojis that art history students would appreciate and we could all employ

neon-natal: an old street lamp flashes in silent celebration each time a baby is born in Ghent

seat-cushion becomes a floatation device: Victorian life-preserver and personal entertainment centre

patience: the real reason behind the inclusion of the classic games-bundle was to teach dexterity