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Archive for the tag “maths”

new tiling


A 15th pentagonal tiling has been found!


I found a new puzzle today. Based on ‘traditional’ or maybe I should say the ‘regular’ Sudoku puzzle. The little extra twist is interesting, but what I most like is the strong design graphic it presents.


fractals III

Love the architectural island city aspect of this fractal landscape.




I got this game for Xmas. Neat. Really simple rules but quite sophisticated game play. The purpose of the game is to gain points by forming towers of discs. The playing pieces are magnetic, with each side of a disc oppositely charged.

more than one solution

Keeping up my aim of doing at least one puzzle a day, I enjoy doing this Cross Number type puzzle whenever I happen across a newspaper with it in. I thought the below example must surely be an error? Normally you are given between 6 and 8 minutes something depending on difficulty, but this says 25 seconds!?

Having quickly spotted the ‘trick’ however, it was completely in under half a minute. The “there may be more than one solution” disclaimer on puzzles always makes me laugh.




Looks like a pretty cool derivation-extension of draughts/checkers. Blindside. Unfortunately these types of abstract strategy board game never become uber successful in the long term? Anyone remember Kensington? I think I still have a set around somewhere. Personally I think this type of game should be taught in school.



Oscar Reutersvärd


parallel universes


Nude Descending a Staircase, No. 2, Marcel Duchamp,
1912.Oil on canvas. Philadelphia Museum of Art.

Thunder Perfect Mind yesterday got me thinking about the notion of parallel universes/realities so loved by storytellers. Perhaps due to the exciting possibilities inherent in the alternative reality version of the idea [they are subtly different concepts] these seem to abound?

In a number of films [It’s a wonderful life 1946, Blind Chance 1981, Run Lola Run 1998, etc] the alternates between realities are based on the different paths a character’s life takes/could take depending on a choice/action/event being followed or not. This is nothing more than the What If? premise of novels like Philip K. Dick’s 1962 The Man in the High Castle where alternates are taken to an historical [ie wide reaching not just character] level. Though of course the same premise is at work in time travel narratives where changes to events past/future cause ‘present’ bifurcations in setting.

The main difference in these modes is whether the character/s have knowledge of the alternatives, either through some kind of Dicken’s A Christmas Carol Ghost of Xmas past/present/yet to come ‘deus ex machina’ device [Dr Sam Beckett’s ‘familiar’, Al, in TV’s Quantum Leap] or through self-knowledge as in the humours 1984 novel Job: A Comedy of Justice by Robert A. Heinlein.

For me the convoluted merging/non-merging of narratives streams has always seemed far more interesting. In time travel yarns the basic precept is to NEVER appear in the same place at the same time [else ‘bad consequences’ result]. But surely as with the doppelgänger black cat Déjà vu glitch in the Matrix the real fun is to be had at this very confluence, especially if characters act in a blasé ‘there’s nothing out of the ordinary’ manner.

After all according to the Many-Worlds Interpretation of Quantum Mechanics every instance of reality differing by only a single quantum event must exist – giving rise to an infinite number of realities/universes?

Drowning by Numbers

Screen shot

In welcoming the 100th follower to the blog I thought I would share one of my favourite Directors – Peter Greenaway. In his film Drowning by Numbers, the numbers 1 through 100 appear in various guises during the narrative. If ever there were a film maker whose work demanded a large screen presentation [none of this small screen multiplex nonsense – and definitely not TV] then he is your man.

I was thinking the other day about the new landscape of film watching [whatever happened to  Split Screens in movies] and in particular how movies are so often ‘butchered’ by studios, over the protestation of their makers. Time cut out [as audiences won’t sit through longer films apparently – too many to mention], plot explaining voice-overs [e.g. Blade Runner and Dark City], the removal of ‘fancy’ sub titles [one that particularly annoys is The Andromeda Strain. I argue that the ‘ticker-tape’ inter-titles are a crucial foreshadowing element of the plot], anything by Orson Wells.

It has always seemed strange to me that studios hire Directors to do a job, presumably trusting that they will do a good job, but then allow ‘non-creatives’ to make editing choices despite the objections of the film maker. Surely it must be more than a desire to make more money by having a Director’s Cut version to flog later down the line?

All hail the auteur!

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