Ups and Downs

https://commons.wikimedia.org/wiki/File:Anecdotes,_poetry,_and_incidents_of_the_war_-_North_and_South_-_1860-1865_(1866)_(14759540261).jpg

Here’s how the Union enciphered its messages during the Civil War. Abraham Lincoln sent this dispatch on June 1, 1863:

GUARD ADAM THEM THEY AT WAYLAND BROWN FOR KISSING VENUS CORRESPONDENTS AT NEPTUNE ARE OFF NELLY TURNING UP CAN GET WHY DETAINED TRIBUNE AND TIMES RICHARDSON THE ARE ASCERTAIN AND YOU FILLS BELLY THIS IF DETAINED PLEASE ODOR OF LUDLOW COMMISSIONER

The first word, GUARD, indicates the size of a containing rectangle and the paths on which the words must be laid out to decipher the message. In this case, they’ll go up the first column, down the second, up the fifth, down the fourth, and up the third. Also, just to confuse the Confederates, every eighth word after GUARD is a null and should be discarded. So we get:

FOR     VENUS          LUDLOW   RICHARDSON AND
BROWN   CORRESPONDENTS OF       THE        TRIBUNE
WAYLAND AT             ODOR     ARE        DETAINED
AT      NEPTUNE        PLEASE   ASCERTAIN  WHY
THEY    ARE            DETAINED AND        GET
THEM    OFF            IF       YOU        CAN
ADAM    NELLY          THIS     FILLS      UP

The last steps are to remove THIS FILLS UP, which is only there to fill out the block, and to replace a few code words:

VENUS = colonel
WAYLAND = captured
ODOR = Vicksburg
NEPTUNE = Richmond
ADAM = President of the United States
NELLY = 4:30 p.m.

That gives us the final message:

For Colonel Ludlow,

Richardson and Brown, correspondents of the Tribune, captured at Vicksburg, are detained at Richmond. Please ascertain why they are detained and get them off if you can.

The President, 4:30 p.m.

This system was such a valuable source of breaking news that Lincoln often visited the military telegraph office in the War Department, next to the White House, and would chat with the operators there. One of them, David Homer Bates, who was only 18 when the war started, remembered, “Outside the members of his cabinet and his private secretaries, none were brought into closer or more confidential relations with Lincoln than the cipher-operators, … for during the Civil War the President spent more of his waking hours in the War Department telegraph office than in any other place, except the White House. … His tall, homely form could be seen crossing the well-shaded lawn between the White House and the War Department day after day with unvaried regularity.”

(From David Kahn, The Codebreakers, 1996.)

Foreign Relations

https://pixabay.com/en/pyrenees-lleida-spain-1391833/

“Such a question as, Why does everything in Spain look Spanish? is one of those apparently idiotic questions that opens up quite unexpected areas of vision.” — Northrop Frye, “Spirit and Symbol,” Words With Power, 2008

Seeing and Saying

https://pixabay.com/en/microphone-i-am-a-student-radio-1562354/

New York radio station WQXR used to inflict this pronunciation test on prospective announcers — try reading it aloud:

The old man with the flaccid face and dour expression grimaced when asked if he were conversant with zoology, mineralogy, or the culinary arts. ‘Not to be secretive,’ he said, ‘I may tell you that I’d given precedence to the study of genealogy. But since my father’s demise, it has been my vagary to remain incognito because of an inexplicable, lamentable, and irreparable family schism. It resulted from a heinous crime, committed at our domicile by an impious scoundrel. To err is human … but this affair was so grievous that only my inherent acumen and consummate tact saved me.’

It’s a minefield. In Another Almanac of Words at Play, Willard R. Espy lists the pronunciations that were considered correct:

flaccid     FLACK-sid         inexplicable      in-EX-plic-able
dour        DOO-er            lamentable        LAM-entable
grimaced    gri-MACED         irreparable       ear-REP-arable
conversant  KON-ver-sant      schism            SIZ-m
zoology     zoh-OL-o-ji       heinous           HAY-nus
mineralogy  miner-AL-o-ji     domicile          DOMM-i-sil
culinary    KEW-li-ner-y      impious           IM-pee-yus
secretive   see-KEE-tiv       err               ur
precedence  pre-SEED-ens      grievous          GREEV-us
genealogy   jan-e-AL-o-ji     inherent          in-HERE-ent
demise      de-MIZE           acumen            a-KEW-men
vagary      va-GAIR-y         consummate (adj.) kon-SUMM-it
incognito   in-KOG-ni-toe

Getting 20 of the 25 “stumpers” right was considered excellent. But that was 40 years ago, and even at the time Espy found 21 dictionary listings that accepted different pronunciations. “So not to worry when you don’t sound like WQXR,” he wrote. “One man’s AB-do-men is another man’s ab-DOUGH-men.”

Hope and Change

https://commons.wikimedia.org/wiki/File:Canada_$0.05_1945.jpg

Canada’s “victory nickel,” struck from 1943 to 1945, included a special message to stimulate the war effort: Engraved around the rim were the words WE WIN WHEN WE WORK WILLINGLY in Morse Code.

The coin was reissued in 2005 to commemorate the 60th anniversary of V-E Day.

Climbing Chains

Princeton mathematician John Horton Conway investigated this curious permutation:

3n ↔ 2n

3n ± 1 ↔ 4n ± 1

It’s a simple set of rules for creating a sequence of numbers. In the words of University of Calgary mathematician Richard Guy, “Forwards: if it divides by 3, take off a third; if it doesn’t, add a third (to the nearest whole number). Backwards: if it’s even, add 50%; if it’s odd, take off a quarter.”

If we start with 1, we get a string of 1s: 1, 1, 1, 1, 1, …

If we start with 2 or 3 we get an alternating sequence: 2, 3, 2, 3, 2, 3, …

If we start with 4 we get a longer cycle that repeats: 4, 5, 7, 9, 6, 4, 5, 7, 9, 6, …

And if we start with 44 we get an even longer repeating cycle: 44, 59, 79, 105, 70, 93, 62, 83, 111, 74, 99, 66, 44, …

But, curiously, these four are the only loops that anyone has found — start with any other number and it appears you can build the sequence indefinitely in either direction without re-encountering the original number. Try starting with 8:

…, 72, 48, 32, 43, 57, 38, 51, 34, 45, 30, 20, 27, 18, 12, 8, 11, 15, 10, 13, 17, 23, 31, 41, 55, 73, 97, …

Paradoxically, the sequence climbs in both directions: Going forward we multiply by 2/3 a third of the time and by roughly 4/3 two-thirds of the time, so on average in three steps we’re multiplying by 32/27. Going backward we multiply by 3/2 half the time and by roughly 3/4 half the time, so on average in two steps we’re multiplying by 9/8. And every even number is preceded by a multiple of three — half the numbers are multiples of three!

What happens to these chains? Will the sequence above ever encounter another 8 and close up to form a loop? What about the sequences based on 14, 40, 64, 80, 82 … ? “Again,” writes Guy, “there are many more questions than answers.”

(Richard K. Guy, “What’s Left?”, Math Horizons 5:4 [April 1998], 5-7; and Richard K. Guy, Unsolved Problems in Number Theory, 2004.)

For Short

Telegraph companies generally charged by the length of a message, so enterprising customers started using codes in place of common phrases. Here are some sample codes, from the ABC Universal Commercial Electric Telegraphic Code of 1901:

Nalezing – Do only what is absolutely necessary
Nalime – Will only do what is absolutely necessary
Nallary – It is not absolutely necessary, but it would be an advantage
Naloopen – It is not absolutely necessary, but well worth the outlay

If you and I both have a copy of the code book, then I can send you the word Nallary in place of the phrase “It is not absolutely necessary, but it would be an advantage” — a savings of 10 words or 51 characters without any loss of information.

Most of these code books are pretty hard-headed (here’s another), but there’s a wonderful exception — Sullivan & Considine’s Theatrical Cipher Code of 1905, “Adapted Especially to the Use of Everyone Connected in Any Way With the Theatrical Business”:

Filacer – An opera company
Filament – Are they willing to appear in tights
Filander – Are you willing to appear in tights
Filar – Ballet girls
Filaria – Burlesque opera
Filature – Burlesque opera company
File – Burlesque people
Filefish – Chorus girl
Filial – Chorus girls
Filially – Chorus girls who are
Filiation – Chorus girls who are shapely and good looking
Filibuster – Chorus girls who are shapely, good looking, and can sing
Filicoid – Chorus girls who can sing
Filiform – Chorus man
Filigree – Chorus men
Filing – Chorus men who can sing
Fillet – Chorus people
Fillip – Chorus people who can sing
Filly – Comic opera
Film – Comic opera company
Filler – Comic opera people
Filtering – Desirable chorus girl

It’s in the public domain, but I haven’t been able to find the full text online — I’m getting this from Craig Bauer’s (excellent) Secret History: The Story of Cryptology. I’ll update this post if I manage to find more.

09/28/2017 UPDATE: A reader sent me the whole book.

Podcast Episode 124: D.B. Cooper

https://archives.fbi.gov/archives/news/stories/2007/december/dbcooper_123107

In 1971 a mysterious man hijacked an airliner in Portland, Oregon, demanding $200,000 and four parachutes. He bailed out somewhere over southwestern Washington and has never been seen again. In today’s show we’ll tell the story of D.B. Cooper, the only unsolved hijacking in American history.

We’ll also hear some musical disk drives and puzzle over a bicyclist’s narrow escape.

See full show notes …

Some Tidy Anagrams

https://en.wikipedia.org/wiki/File:Main_Street,_Lismore,_MN.jpg

PICTURES = PIECRUST
INSATIABLE = BANALITIES
SHATTERING = STRAIGHTEN
CORSET = ESCORT
RECLAIM = MIRACLE
TRANSPIRE = TERRAPINS
INTEGRAL = TRIANGLE

Darryl Francis finds that LISMORE, MINNESOTA is an anagram of REMAIN MOTIONLESS.

“There is a well-known story in The Spectator, of a lover of Lady Mary Boon, who, after six months’ hard study, contrived to anagrammatize her as Moll Boon; and upon being told by his mistress, indignant at such a metamorphosis, that her name was Mary Bohun, he went mad.” — William Sandys, ed., Specimens of Macaronic Poetry, 1831

In 1971, Word Ways encouraged its readers to find the anagram that this sad man had worked so hard for. What they found was MOLDY BALLOON.

The Paradox of Musical Description

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Unlike the visual or literary arts, music seems to be impossible to describe in words — we’re forced to choose between the senselessly subjective and the incomprehensibly technical. Rutgers philosopher Peter Kivy cataloged four common types of music criticism:

  • Biographical: a description of the composer rather than his music. “We are allowed to gaze upon a deeply agitated life, that seeks, with strong endeavour, to support itself at the high level of the day.”
  • Autobiographical: a description of the critic’s impressions rather than the music. “I closed my eyes, and whilst listening to the divine gavotte … I seemed to be surrounded on all sides by enfolding arms, adorable, intertwining feet, floating hair, shining eyes, and intoxicating smiles.”
  • Emotive: a subjective description of emotions in composers or listeners. “The first episode is a regular trio in the major mode, beginning in consolation and twice bursting into triumph.”
  • Technical: the coldly clinical: “The joint between the second movement and the third can hang on the progression D-B♭-B♮, which is parallel to F-D♭-D♮ between the first and second.”

There just doesn’t seem to be an adequate way to convey the experience of hearing a piece of music without actually playing it for someone. “Description of music is in a way unique,” Kivy writes. “When it is understandable to the nonmusician, it is cried down as nonsense by the contemporary musician. And when the musician or musical scholar turn their hands to it these days, likely as not the non-musician finds it as mysterious as the Cabala, and about as interesting as a treatise on sewage disposal.”

(From The Corded Shell, 1980.)