Higher Magic

The digits 1-9 can be arranged into a 3 × 3 magic square in essentially one way (not counting rotations or reflections) — the so-called lo shu square:

4    3    8

9    5    1

2    7    6

As in any magic square, each row, column, and diagonal produces the same total. But surprisingly (to me), the sum of the row products also equals the sum of the column products:

4 × 3 × 8 + 9 × 5 × 1 + 2 × 7 × 6 = 96 + 45 + 84 = 225

4 × 9 × 2 + 3 × 5 × 7 + 8 × 1 × 6 = 72 + 105 + 48 = 225

Even more surprisingly, the same is true of the Fibonacci sequence, if we arrange its first nine terms into a square array in the same pattern:

 3    2   21

34    5    1

 1   13    8

3 × 2 × 21 + 34 × 5 × 1 + 1 × 13 × 8 = 126 + 170 + 104 = 400

3 × 34 × 1 + 2 × 5 × 13 + 21 × 1 × 8 = 102 + 130 + 168 = 400

It turns out that this is true of any second-order linear recursion. (The sums won’t always be squares, though.)

From Edward J. Barbeau’s Power Play, 1997.

Unquote

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There is one very valid test by which we may separate genuine, if perverse and unbalanced, originality and revolt from mere impudent innovation and bluff. The man who really thinks he has an idea will always try to explain that idea. The charlatan who has no idea will always confine himself to explaining that it is much too subtle to be explained.

— G.K. Chesterton, Daily News, December 9, 1911

Point of View

Felice Varini’s anamorphic paintings seem senseless until they’re viewed from the right perspective — the key is to find the correct viewpoint. (One clue is that it’s always 1.62 meters from the ground, the artist’s own eye level.)

“Varini catches our eye by introducing an anomalous element into our field of vision,” writes Céline Delavaux in The Museum of Illusions. “His paintings are like frameless pictures that give the illusion of a single plane in three-dimensional space. In his hands, painting works like photography: it flattens a space while revealing it.”

In a Word

colluctation
n. strife, conflict, contention

perstreperous
adj. noisy

superbiate
v. to make proud, arrogant, or haughty

supplosion
n. a stamping of the feet

New Zealand’s national rugby union team, the All Blacks, performs a haka, a traditional ancestral Māori war cry, before each international match:

Leader: Ears open! Get ready! Line up! Stand fast!
Team: Yeah!
Leader: Slap the hands against the thighs! Stomp the feet as hard as you can!
Team: As hard as we can!
Leader: You die! You die!
Team: We live! We live!
Leader: You die! You die!
Team: We live! We live!
All: Here stands the Hairy Man who can bring back the Sun so it will shine on us again! Rise now! Rise now! Take the first step! Let the sunshine in! Rise!

At the 2003 World Cup in Australia, Tonga met the haka with their own sipi tau, a traditional challenge dance:

It didn’t help, though — the All Blacks went on to win the game 91-7.

Spirits of the Departed

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A wine merchant has three sons. When he dies, he leaves them seven barrels that are full of wine, seven that are half-full, and seven that are empty. His will requires that each son receive the same number of full, half-full, and empty barrels. Can this be done?

Click for Answer

A Twist in History

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Image: Wikimedia Commons

Swiss artist Max Bill conceived the Möbius strip independently of August Möbius, who discovered it in 1858. Bill called his figure Eindeloze Kronkel (“Endless Ribbon”), after the symbol of infinity, ∞, and began to exhibit it in various sculptures in the 1930s. He recalled in a 1972 interview:

I was fascinated by a new discovery of mine, a loop with only one edge and one surface. I soon had a chance to make use of it myself. In the winter of 1935-36, I was assembling the Swiss contribution to the Milan Triennale, and there was able to set up three sculptures to characterize and accentuate the individuality of the three sections of the exhibit. One of these was the Endless Ribbon, which I thought I had invented myself. It was not long before someone congratulated me on my fresh and original reinterpretation of the Egyptian symbol of infinity and of the Möbius ribbon.

He pursued mathematical inspirations actively in his later work. He wrote, “The mystery enveloping all mathematical problems … [including] space that can stagger us by beginning on one side and ending in a completely changed aspect on the other, which somehow manages to remain that selfsame side … can yet be fraught with the greatest moment.”

Table Talk

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Image: Wikimedia Commons

When chemists at the University of California at Berkeley discovered elements 97 and 98, they named them berkelium and californium. The New Yorker suggested that the school showed “a surprising lack of public-relations foresight”: “Now it has lost forever the chance of immortalizing itself in the atomic tables with some such sequence as universitium (97), ofium (98), californium (99), berkelium (100).”

The discoverers sent back a reply: “By using these names first, we have forestalled the appalling possibility that after naming 97 and 98 ‘universitium’ and ‘ofium’, some New Yorker might follow with the discovery of 99 and 100 and apply the names ‘newium’ and ‘yorkium’.”

The magazine answered, “We are already at work in our office laboratories on ‘newium’ and ‘yorkium’. So far we just have the names.”

Podcast Episode 159: The Mozart of Mathematics

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Image: Wikimedia Commons

Mathematician Paul Erdős had no home, no job, and no hobbies. Instead, for 60 years he wandered the world, staying with each of hundreds of collaborators just long enough to finish a project, and then moving on. In this week’s episode of the Futility Closet podcast we’ll meet the “magician of Budapest,” whose restless brilliance made him the most prolific mathematician of the 20th century.

We’ll also ponder Japanese cannibalism in World War II and puzzle over a senseless stabbing.

See full show notes …

Fleeting Thoughts

https://books.google.com/books?id=8dG0-c8wQEUC&pg=PA283

A low-tech model of human cognition, from William James’ The Principles of Psychology, 1890:

If we make a solid wooden frame with the sentence written on its front, and the time-scale on one of its sides, if we spread flatly a sheet of India rubber over its top, on which rectangular co-ordinates are painted, and slide a smooth ball under the rubber in the direction from 0 to ‘yesterday,’ the bulging of the membrane along this diagonal at successive moments will symbolize the changing of the thought’s content in a way plain enough, after what has been said, to call for no more explanation. Or to express it in cerebral terms, it will show the relative intensities, at successive moments, of the several nerve-processes to which the various parts of the thought-object correspond.

He was grappling with the stream of consciousness, the notion that thought is a flowing stream rather than a distinct chain of ideas, and with the realization that studying this by introspection is ultimately futile: “The rush of thought is so headlong that it almost always brings us up at the conclusion before we can arrest it. Or if our purpose is nimble enough and we do arrest it, it ceases forthwith to be itself. … The attempt at introspective analysis in these cases is in fact like seizing a spinning top to catch the motion, or trying to turn up the gas quickly enough to see how the darkness looks.”

The Greatest

Artist Michael Kalish spent three years creating this portrait of Muhammad Ali from 1,300 punching bags.

It appeared in the L.A. Live complex in downtown Los Angeles in March 2011.