Going on noon. I have read the next three chapters (to page 177) in Fritsch’s An Equation that Changed the World and it mostly lost me because of the mathematical formulas. I spent the time in solitude searching for islands of grammar I could relate to enough to gather an understanding, whether it was correct understanding I do not know. What I did find was this, first a statement by Haller: “Solving a tough problem is better than listening to a lecture, even a lecture by Einstein.” This is the crux of a true scientist. I love it. The reason I love them, and that includes engineers too. To solve a problem. Awesome!
And, a quote on page 175 by Newton:
“ . . . we have particles, namely protons, light particles, that by definition move through space at the speed of light. They have energy but no mass.”
To me, thoughts also may also provide energy (in a different sense of course) and a thought if written not spoken is two dimension in framework. A thought, however, may be one dimensional. Well, is it possible for a thought to be one dimensional? The thought or concept popping in the mind out of the blue, so to speak. The humor, the reason for the mostly blue covers to my books. For the reader the books are out of the blue too, in a more three dimensional sense and they have mass, two dimensions massed on paper. Perhaps ‘reading’ (expending the energy, the focus in reading) is one dimensional too. Not in the physics sense, but in the sense of Amorella’s perspective.
How does the ancient saying go, “1 Corinthians 13:12 (KJV) For now we see through a glass darkly.” (Wikipedia)
We see partly through the mirror. And, Plato’s Allegory of the Cave comes immediately to mind. Certainly it is a part of the story as it is reference in the books. I think the character Blake Williams makes reference to it based on an experiment I did in class while teaching at Escola Graduada de Sao Paulo. I was focused on the concept of the allegory not on the politics.
Freshman class and I used an overhead projector to put a rectangle shade on the board. The students could not see what I placed, only the shadow of it. They made their guesses and what I found was that those that guessed in was a darkened window tended to side together. Some thought it was a door and they sided together. One enterprising and creative fellow said, “It is a coffin being lowered into the ground.” Inference, he was at the bottom of the gravesite watching it being lowered from above. Most everyone was amazed and shortly most all could see it. Truly, it was a coffin being lowered into the ground.
In reality it was a small matchbox (holding wooden strike matches) approximately two by three inches. No one had the shadow right. And, beyond that, no one realized there was a penny sitting on top of the matchbox. Human nature, my own included, sees what it desires to see and once reinforced by others it becomes a truth which one can plainly recognize in this simple experiment. I wonder that much of the world is like this, then I wonder, how did our species survive until present day? I have been wondering it ever since (that was sometime between 1970-1972).
Time for a break, old man. Indeed, it was a fun experiment for you, and you tried it on other classes through the years, but freshman were more fun because they just blurted out what they thought. Older students, seniors, had some natural hesitation, most because they were concerned on what others would think of their conceptual image of the rectangular shadow on the wall. Post. – Amorella.
Mid-afternoon and you just finished a late lunch at Panera/Chipotle. Carol is in Kroger’s on Tylersville and when home you are going to re-watch Masterpiece Theatre as she went to bed last night and you stayed up. You are both hooked and hope the second season in England carries over to the States. – Let’s work on the third scene in chapter seven.
I forget what it is supposed to be about, Amorella. Wait. Is Mario supposed to be meeting with Mother, and then Sophia and Kassandra are going to meet with Mother?
Go back and check your notes, boy. – Amorella.
You have a start on the scene, let’s include it here then post.
Scene 3
Early enough and Mario found himself in Mother’s chambers once again. This time he felt it was more important. Mother, appearing not a day over thirty wore a long royal blue dressing gown with white sash. “Please sit,” she said in a grandmotherly tone.
The tone of her voice rattled his mind. She did not say his name either. Suddenly he felt as if he were ten years old and was about to receive a reprimand for breaking a favorite clay pot. The voice was that of my grandmother not Mother. Unconsciously he sat as told and assumed the body language of the ten year old boy he had once been. His knees were bent straight forward military-like and his hands were clasped, coupled like one might find cars coupled in a railroad train. He sat surprised at the ridged cold racing through his fingers.
Mother sat distinctively on a chair a short distance away. Physical-like distance can matter in communication even among the Dead. Knowingly she had her chair set a foot too far from Mario’s. A mother’s eye contact cannot readily be misunderstood by any child aware of present danger.
***
While you have spent the afternoon with Carol and not worked on much you did clean up what you have of this third scene a bit.
Details are important. I am working on Mother’s descriptive dress, but I have no idea how this would appear to a female reader. I don’t know how to describe how a dress hangs as the right shoulder is supposed to be free. Here is my research.
Peplos
Another garment worn by the Doric women was the peplos. It was also worn in the fifth century B.C.E. Kohler says, "[The peplos] has a piece of woolen material, about 3 meters wide and of a length equal to the height of the wearer, and was folded at the upper extremity to form first a narrow and then a wider shawl or plaid. The material was brought through beneath the left arm and fastened with tapes on the right shoulder to leave a board peak in front and behind." (100).
Common Material Patterns of the Peplos
• checks
• wavy lines
• stripes
• flowered designs
The peplos was tubular in shape, and the upper edge was turned down at the waist. The peplos was put over the head and was made to fit closely at the shoulder with fasteners. The arms were left bare. It was held at the waist with a girdle. The lower edge was finished with a braid. The peplos was open at the right side and hung in folds from the shoulder. In time, the shawl, or plaid, was so wide that it reached to the hip. It was tied with tapes on both shoulders.
***
Scene 3
Early enough and Mario found himself in Mother’s chambers once again. This time he felt it was more important. Mother, appearing not a day over thirty wore a long casual green Doric peplos, a folded material with its length her height with a white shawl, giving it a more formal look. “Please sit,” she said in a grandmotherly tone.
The tone of her voice rattled his mind. She did not say his name either. Suddenly he felt as if he were ten years old and was about to receive a reprimand for breaking a favorite clay pot. The voice was that of my grandmother not Mother. Unconsciously he sat as told and assumed the body language of the ten year old boy he had once been. His knees were bent straight forward military-like and his hands were clasped, coupled like one might find cars coupled in a railroad train. He sat surprised at the ridged cold racing through his fingers.
Mother sat distinctively on a chair a short distance away. Physical-like distance can matter in communication even among the Dead. Knowingly she had her chair set a foot too far from Mario’s. A mother’s eye contact cannot readily be misunderstood by any child whose mind appears to have been read by Mother.
***
No more for tonight, boy. Post. Amorella.
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