Visual Pangrams

How Space Begins: Georges Perec

This is an extract from The Page the first essay in Georges Perec’s Species of Spaces and Other Pieces, Perec (1974, 1997).

 “This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text. Is the aleph, that place in Borges from which the entire world is visible simultaneously, anything other than an alphabet? Space as inventory, space as invention. Space begins with that model map in the old editions of the Petit Larousse Illustré, which used to represent something like 65 geographical terms in 60 sq. cm., miraculously brought together, deliberately abstract. Here is the desert, with its oasis, its wadi and its salt lake, here are the spring and the stream, the mountain torrent, the canal, the confluence, the river,……”

This is the illustration Perec is referring to.

larouse_map

The original is really small, only 6 x 10 cm, yet within this tiny area a complete field of interest (Géographie) is enumerated with labels and graphical representations tightly bound together. For instance the label Isthme is right next to its graphical representation and in a wholly natural relation to a Péninsule. In addition all the graphical representations are connected and arranged so as to form a plausible map.

As such it is a member of a very limited class of object, one that as far as I know does not have a name. Following Perec’s alphabetic suggestions, it seems appropriate to call this class of object a visual pangram.

Pangrams use every letter of the alphabet at least once in a more or less meaningful sentence, for instance: –

Jackdaws love my big sphinx of quartz

This includes all 26 letters of the alphabet and has 5 reuses of letters (a twice, s, i and o).

 The suggested formulation is;-

that alphabet corresponds to an enumeration of a field of interest

and sentence to a pictorial representation of that field.

A Portolano Map

As noted in the Perec extract above, in a portolano map the text threatens to overrun the graphical image (the coastline) as in this 14th century portolano style map of the Mediteranean.

Mediterranean_chart_fourteenth_century2Anonymous nautical chart in portolan style probably drawn in Genoa
c. 1320-1350.Library of Congress 
 

The Aleph and the Successive Nature of Language

Aleph

Aleph is the first letter of the Hebrew alphabet and the first letter of the Hebrew word for infinity. Aleph numbers are therefore used to indicate the cardinality (the size) of infinite sets starting with the smallest Aleph-null. Hence the title of the Borges story is The Aleph.

“How, then, can I translate into words the limitless Aleph, which my floundering mind can scarcely encompass? Mystics, faced with the same problem, fall back on symbols: to signify the godhead, one Persian speaks of a bird that somehow is all birds; Alanus de Insulis, of a sphere whose center is everywhere and circumference is nowhere; Ezekiel, of a four-faced angel who at one and the same time moves east and west, north and south. (Not in vain do I recall these inconceivable analogies; they bear some relation to the Aleph.)

Perhaps the gods might grant me a similar metaphor, but then this account would become contaminated by literature, by fiction. Really, what I want to do is impossible, for any listing of an endless series is doomed to be infinitesimal.

In that single gigantic instant I saw millions of acts both delightful and awful; not one of them occupied the same point in space, without overlapping or transparency. What my eyes beheld was simultaneous, but what I shall now write down will be successive, because language is successive. Nonetheless, I’ll try to recollect what I can.”

Text and Image

In the portolano map the text overpowers the graphical image (the coastline).

In the Aleph story, an infinite and all pervading moving image – a premonition of multi-channel television or the internet perhaps, seriously distracts the author and prevents him from writing; a state of affairs that is only resolved by the writer demolishing his house and filling the basement, where the Aleph resides, with concrete.

But in the Petit Larousse Illustré map, and in visual pangrams in general, image and text are simultaneous and reinforce each other, without either threatening to dominate the other.

Aiding Memory

There is some evidence that sequential and visual information are processed in different ways, and that recall is better with a combination of text and image. Mental Representations A Dual Coding Approach. Paivio (1990).

Indeed in Species of Spaces Perec is remembering, in a piece he wrote in the 1970s, something he must have read and seen as a child in the 1940s.

Making a Visual Argument

john_soane_1

This visual pangram attempts to show how John Soane’s architecture is related to (and is distinct from) all other architectural styles.

It represents the styles of architecture as a park one can walk round; inspecting buildings of MAHOMEDAN POINTED, CHRISTIAN POINTED, GOTHIC etc. styles. Each style is enclosed in its own fenced off area and labelled in an uppercase sans-serif typeface then a new re-invention, described in The Nymph and the Grot, Mosley (1969).

There is a straight path from the park gate to the Palace of Architecture. The Soanean building is nearest to the Palace of Architecture in the Greco-Roman section, with its own path to the Palace but carefully screened and separated from the Gothic. The Egyptian section also has its own path but all the other styles are accessed from meandering paths that branch off from the main route to the Palace of Architecture.

A visual pangram is being used to help make a visual argument.

An Indexed Visual Pangram

Flyleaf of Collins Birds og Great Britain and Europe

This image forms the front endpaper and frontispiece of the Third Edition of A Field Guide to the Birds of Britain and Europe and shows the birds one is most likely to see in the places where they are most likely to be seen (from top to bottom) on telephone wires, in trees, on fence posts or on the ground. Peterson, Mountford, and Hollom (1974).

The indexing tidies up the overall pictorial image but gives prominence to the individual graphical representations at the expense of the labels. This is emphasised somewhat by the skylark silhouette being allowed to overlap the text panel. It also imposes an arbitrary, if accidental, linear order on the overall image; top-left to bottom-right, 1 to 20, BEE-EATER to ROOK.

Visual List or Confection: Pugin’s Churches

pugin_churches

Edward Tufte used this image as an example of what he called a visual list or confection. It is the frontispiece of Pugin’s An Apology for The Revival of Christian Architecture in England. Pugin (1843).

It shows St Giles Cheadle in the centre surrounded by other Pugin projects (some of them never completed).

Many other examples of visual lists or confections are also frontispieces that act as visual indexes and otherwise advertise a book’s contents.

The image above does in fact contain minute unreadable index numbers.

These refer to a list of the illustrated churches but the list is conveniently located some six pages into the book.

Advertisement: John Soane’s Models

john_soane_small

This 1818 rendering by Joseph Michael Gandy is over modestly titled Perspective of various designs for public and private buildings executed by John Soane between 1780 and 1815, shown as if they were models in a gallery.

The image was used as the front and back endpapers of Gillian Darley’s John Soane: An Accidental Romantic. Darley (1990)

There is no attempt to label or index any of the models and as with the Pugin etching, this wonderful rendering is more advertisement than useful reference or thinking tool.

Interactive Visual Pangram

This is an example of a visual pangram being used as an interface to the planning regulations.

Planning_Portal_House_Front

It can be tried out here http://www.planningportal.gov.uk/permission/house

Interesting to think how this might be done with a ‘modern’ house; would it, could it, mean as much?

Bibliography

Perec, G. (1974 / 1997). Espèces d’espaces (Species of Spaces and Other Pieces).
                    (Sturrock, J., Trans.) Paris: Galilée / Penguin.
Borges, J.L. (1947). El Aleph (Di Giovanni, N. T., Trans with author)
Larousse. (1912). Petit Larousse Illustré; Librairie. Paris: Larousse.
Paivio, A. (1990) Mental Representations A Dual Coding Approach. Oxford
Peterson, R., Mountford, G and P. A. D. Hollom, P. A. D. (1974)
A Field Guide to the Birds of Britain and Europe Third Edition; Collins
Wightwick, G. (1840) The Palace of Architecture (‘a romance of art and history’) The Gentleman’s Magazine
Mosley, J. (1965). The Nymph and the Grot St Bride Library.
http://typefoundry.blogspot.com/2007/01/nymph-and-grot-update.html
Gandy J. M. (1818) Perspective of various designs for public and private buildings executed by John Soane
between 1780 and 1815, shown as if they were models in a gallery
Darley, G. (1999) JOHN SOANE: an accidental romantic Yale University Press
Pugin A.W.N. (1843) An Apology for The Revival of Christian Architecture in England. London
Tufte, E. R. (1997) Visual Explanations Images and Quantities, Evidence and Narrative Graphics Press, Cheshire Conn.
Posted in Architecture, Brain Physiology, Enumeration, Graphics Technology, Visual Pangrams | Tagged , , , | 3 Comments

Doing Things The Hard Way

Andre Cassagnes the inventor of Etch A Sketch died at the weekend. Etch A Sketch is an ingenious analogue  device, that paradoxically makes sketching more difficult  yet has sold over 100 million copies since 1960.

Some of its charm must come from the pleasure to be had from acquiring the skills necessary to do something difficult; of mastering a device.

Etch A Sketch self consciously imitates a TV screen and in some ways was a precursor to the Visual Display units that were beginning to be used with early CAD systems.

obit-etch-a-sketch-inventor.jpeg-1280x960

These were specialist devices, used Cathode Ray Tubes (CRTs) and had a separate processor that continuously drove a  beam round the screen to create an image. One of the ones I first used in Edinburgh even had a round radar like monitor and a lightpen. The screen image could be easily changed, have parts added or removed, but would begin to flicker when the image became at all complicated.

This was initially overcome by the use of  Storage Tube devices. In these a steerable beam left a trace on the screen very like an Etch A Sketch. Adding to an image was straight forward but deleting was more difficult. The whole screen had to be erased, like shaking the Etch A Sketch, and the image recreated from scratch, often from a separately maintained display list.

Posted in Architecture, Graphics Technology | Tagged , | Leave a comment

The Long and the Short

A year-out student Tom Kirby emailed an office of 200 people asking what the convention was for beyond and behind dotted line styles.  No one knew. On-line searches didn’t prove very helpful so in one of those mad delightful collective moments it was decided to use Morse Code line styles. We would then be able to put any message we liked as a line, including beyond and behind or the scatological, and no one would be any the wiser.

morse-code

Note that there are really 3 symbols here, a dot, a dash and a space. The definition of the space between characters and the space between words are also important in defining what is in some ways a modular system.

/Users/grahamshawcross/Documents/blog_drafts/LongAndShort/DotsAn

In AutoCAD line type definitions like this should work (followed by 7 spaces).

Beyond

*BEYOND,Beyond _… . _.__ ___ _.__ _..

A,12.7, -6.35, 0, -6.35, 0, -6.35, 0, -19.0, 0, -19.0, 12.7, -6.35, 0, -6.35, 12.7, -6.35, 12.7, -19.0, 12.7, -6.35, 12.7, -6.35, 12.7, -19.0, 12.7, -6.35, 0, -6.35, 12.7, -6.35, 12.7, -19.0, 12.7, -6.35, 0, -6.35, 0, -44.5

Behind

*BEHIND,Behind _… . … .. _.__ _..

A,12.7, -6.35, 0, -6.35, 0, -6.35, 0, -19.0, 0, -19.0, 0, -6.35, 0, -6.35, 0, -19.0, 0, -6.35, 0, -19.0, 12.7, -6.35, 0, -6.35, 12.7, -6.35, 12.7, -19.0, 12.7, -6.35, 0, -6.35, 0, -44.5

But unfortunately AutoCAD only allows a maximum of 12 dots or dashes, too bad.

Yin and Yang

The I Ching consists essentially of 64 chapters with each chapter symbolised by a hexagram formed of six lines each of which is either – – (yin) or – (yang) giving 26 = 64 alternatives. These can be arranged in a number of ways. (Knuth 2005)

The first arrangement is the King Wen Arrangement (c 1100 B.C.). King Wen is apparently a fairly loose period just meaning a very long time ago.

4 symmetric half hexagram symbols are recognised: Heaven, Earth, Fire and Water.

In this arrangement top-to-bottom mirror images (yin yang) are adjacent (odd and even numbers) and other important (same symbol and symmetrical) combinations are in prominent positions (boxed below), otherwise mathematically unsophisticated.

Iching_1

In the Shao Yung Arrangement (A.D. 1060)

4 extra asymmetric half hexagrams are recognised: Mountain, Wind, Thunder and Lake.

Each of 8 half hexagram symbols index both columns (above) and rows (below). Giving 8×8 = 64 combinations again.

Iching_2

For instance Mountain (column 2) above Lake (row 7) gives chapter 2 + (7 – 1) * 8 = 50

This makes a much more practical index for a book and facilitates divination of various sorts. This calculation method was known at the time.

Inversely chapter 50 gives 50 mod 8 (columns) = column 2 (Mountain)

and chapter 50 integer divide 8 (columns) + 1 = row 7 (Lake).

This method, which is less useful, was not known at the time.

So one might pick 2 sets of 3 long or short sticks and get the following result. 1 long and 2 short (Mountain) followed by 1 short and 2 long (Lake) and then go straight to chapter 50 for a reading.

Chapter 50 Extract

IChingChapter5

Sanskrit Poetics (c 2nd Century BCE)

IChingChapter5

A mnemonic for remembering all sequences developed in the Middle Ages:

IChingChapter5

Pingala‘s Chandahsutra (c. 200 BCE)

Syllables are short or long in length

1 long = 2 short

Pingala classified all the 16 different meters of four syllables like this:

1 meter of four short syllables SSSS

4 meters of three shorts SSSL, SSLS, SLSS, LSSS

6 meters of two shorts LLSS, LSSL, SSLL, SLLS, LSLS, SLSL

4 meters of one short SLLL, LSLL, LLSL, LLLS

1 meter of no shorts LLLL

Musical Sequences and Aperiodic Tiling

Taking a Penrose P2 (Kite and Dart) aperiodic tiling marked with Ammann bars leads to a set of 5 grids at 2PI/5 rotations.

The Long and the Short of It

Spacing between adjacent Ammann lines, short and long intervals, is in the golden ratio. Further short cannot be followed by short and two longs cannot be followed by another long as summarised in the following decision diagram.

LSystem

Composing or decomposing a musical sequence gives rise to another musical sequence and an inflated or deflated tiling.

Aperiodic Tiling

The substitution S’=L” and L’=S+L automatically give rise to the golden ratio

MusicalSequences

Bibliography

Knuth, D. E., 2005,
The Art of Computer Programming, Volume 4, Fascicle 2: Generationg All Tuples and Permutations
Addison-Wesley
 
Knuth, D. E., 2006,
The Art of Computer Programming Volume 4, Fascicle 4 Generating All Trees, History of Combinatorial Generation.
Addison-Wesley
 
Grünbaum, B. & Shephard, G.C., 1987. Tilings and patterns
Freeman
Posted in Aperiodic Tiling, Architecture, Frozen Music, Rhythm | Tagged , , | 5 Comments

A Continuous Semantic Space……

I came across a report of this recently in the New Scientist and thought it might be important as it seems to suggest that the brain locations of names of objects and actions have some commonality across the brains of a range of different people.

LeftHandBrain

The full text of the article from Neuron

“A Continuous Semantic Space Describes the Representation of Thousands of Object and Action Categories across the Human Brain”

can be accessed here  http://dx.doi.org/10.1016/j.neuron.2012.10.01

and includes a short video explanation

There is also an interactive tool that uses WebGL which can be activated on Macs with Snow Leopard and above, but it is much easier just to load Chrome for Mac. WebGL is said to run much faster on Chrome anyway, http://gallantlab.org/semanticmovies/

Bibliography

Huth A.G., Nishimoto S., Vu A.T., Gallant J.L.
“A Continuous Semantic Space Describes the Representation of Thousands of Object and Action Categories across the Human Brain”
Neuron Volume 76, Issue 6, 20 December 2012, Pages 1210–1224

							
Posted in Architecture, Brain Physiology, Classification | Tagged , | 1 Comment

Enjoying Randomness

This came about after visiting Loch Maddy in North Uist and trying to think of ways to emulate the  strange way that the land and sea merge into each other there and realising that the technique had wider uses as well.

Random Graduated Mixing of Two Elements

The random mixing of two elements can be simply implemented using the random number function in any spreadsheet type program. The essential feature is to compare the output of the random number function RAND() to different trigger values.

RAND() returns a random number between 0.0 and 1.0. Therefore testing if RAND() is less than 0.5 has a 50% chance of being TRUE and a 50% chance of being FALSE. Similarly testing if RAND() is less than 0.25 has a 25% chance of being TRUE and a 75% chance of being FALSE.

The first diagram is taken directly from an Excel spreadsheet. An even set of values is set up for each column, ranging from VALUE = 0.0 for solid land at the left-hand end, to VALUE = 1.0 for solid sea at the right-hand end.

Every cell in each column is then given the formula =IF(RAND() < VALUE, LAND, SEA) where VALUE is taken from the top of each column and LAND and SEA are 1 and 0 respectively. Conditional Formatting is then used to set both background and text to the same appropriate colour dependent up the cell value of LAND or SEA.

Following such a procedure, with an even distribution of column values, the number of green and blue cells should be approximately the same and increasingly so if the total number of cells is increased. A different distribution of column VALUES could obviously give different diffusion rates.

Land and sea inter-mingled as at Lochmaddy, North Uist.

Random Selection in Smooth Fixed Proportion

High Bay Warehouse Dogern: Sauerbruch Hutton 2002

Below is a simplified procedure for generating even mixtures that can again be carried out using any spreadsheet type program. The method works by associating a separate random number function with each colour in a palette of colours, and then sorting the colours in the palette according to the random numbers output by the associated random number functions. The colours in the palette are thus randomly mixed over and over again.

The illustration below uses 8 colours rather than the 20 in the High Bay Warehouse but the idea can be extended to any number of colours and or mixtures of colours, in effect to any colour palette.

Using this procedure all colours are used before any are re-used. This results in a fixed proportion of colours and a known number of panels (provided the total area to be covered is a multiple of the number of colours). Tinting or a bias towards a particular shade can be achieved by altering the proportion of colours in the palette list, if necessary artificially increasing its length.

Twelve Tone Music

This is similar to twelve-tone music where every note is used before any is reused.

    Schoenberg Wind Quintet

numbered notes

As in the procedure above, where every colour is used before any colour is reused, here very note is used before any is reused.

Random Selection to Achieve Particular Appearance

Trnovski Residential Complex Ljubljana 2002 Sadar Vuga Arhitekti

This seems to want a higher concentration of dark tiles adjacent to the black window surrounds and a lighter concentration of mainly white and yellow tiles further away from the windows. Simplifying somewhat to wanting 100% black around the window opening and 100% white around the outside perimeter and graduated mixtures of black, white and yellow tiles elsewhere

Random Selection Lists

Random Selections

Posted in Aesthetics, Architecture, Randomness | Tagged , , | 1 Comment

Visual Thinking

I have recently become interested in visual thinking, probably because I like making arguments visually but also as a result of having encountered problems in producing simple easy to understand diagrams.

Diagrammatic Illustrations

/Users/grahamshawcross/Documents/blog_drafts/periodic and non-peThe minimal (graphics only) version above contains all the information required to define the tiling on the right (plus the information that reflexion is allowed).

Adding some redundancy to the diagram does aid its readability.

That is labelling the vertices (A to F), the edges (a to f) and listing the necessary relations between them (A+B+D = 360°, C+E+F = 360°, a = d and c = e).

Attempting to reinforce the relationships by colour coding the vertices, edges and their labels against each other does not aid readability, it just adds unnecessary visual noise.

The style and aspiration of these diagrams owes something to Oliver Byrne’s 1847

“The First Six Books of THE ELEMENTS OF EUCLID in which Coloured Diagrams and Symbols Are Used Instead of Letters for the Greater Ease of Learners”.

Euclid-1-1

Visual Mathematics

As Marjorie Senechal says in Quasicrystals and Geometry (Senechal 1996) the discovery of quasicrystals has encouraged mathematicians to think visually again. In this respect she also somewhat surprisingly gives credit to Martin Jay’s Downcast Eyes: The Denigration Of Vision In Twentieth-Century French Thought, (Jay 1994).

Here is an example of Xavier Gérard Viennot demonstrating how to do some serious maths visually.

Prejudice Against Diagrams

On the other hand Sun-Joo Shin in the Logical Status of Diagrams (Shin 1994) is concerned that in mathematics, diagrams are not accepted as proofs and that there is a prejudice amongst mathematicians in favour of symbolic manipulation and other linguistic representations.

She suggests that the main obstacle to using diagrams as proofs is their long standing perceived tendency to mislead us in reasoning. For instance if you want to prove something about triangles and accidentally draw an isosceles triangle you might inadvertently use the specific properties of an isosceles triangle in arriving at your proof.

Alternatively a diagram might mislead one into denying a proposition that is true.

/Users/grahamshawcross/Documents/blog_drafts/periodic and non-peIf in the figure AB = AD and BC = CD then angle AEB is a right angle. But angle AEB does not look like a right angle so one might erroneously conclude that the proposition is false, rather than that the diagram is wrong.

But as Shin says (Shin 1994) quoting Barwise and Etchemendy

“If we threw out every form of reasoning that could be misapplied by the careless we would have very little left. Mathematical induction for example for example would go”

A Very Short History of Logic Diagrams

Using circles (or closed curves) to represent the classical syllogisms seems to go back at least as far as Ramon Lull (approximately 1232-1315). However it seems that Leonhard Euler, in the eighteenth century, was the first to use circles to represent relations between classes (what are now called sets). His method was improved in the nineteenth century by John Venn and in the twentieth by Charles Peirce and later by A. W. F. Edwards.

Euler Diagrams

Euler introduced his circles in Lettres à une princess d’ Allemagne (1761) to illustrate syllogistic reasoning. The four types of categorical sentences are represented as follows:-

/Users/grahamshawcross/Documents/blog_drafts/representationalism

The two universal statements “All A is B” and “No A is B” are represented in an intuitive manner, following the convention that “A” and “B” refer to whole disks.

However there is scope for ambiguity with the existential statements “Some A is B” and “Some A is not B” and interpretation depends on the exact positioning of the labels.

Another problem with Euler Diagrams  is that the system does not exhaust all the possible relations between two terms.

A final problem is that the proposition and result are represented in the same diagram so there is no opportunity to start with one proposition and then add another.

However as Martin Gardner points out (Gardner 1982)

“Here [in Euler’s Lettres à une princess d’ Allemagne] for the first time we meet with a geometrical system that will not only represent class statements and syllogisms in a highly isomorphic manner, but can be manipulated for the actual solution of problems in class logic”

Venn Diagrams

Venn Diagrams overcome most of the problems with Euler Diagrams by having a primary  diagram that, influenced by Boolean algebra, labels each compartment in the following way and represents all the possible combinations of class A and class B as follows:-

/Users/grahamshawcross/Documents/blog_drafts/representationalism

Unlike in the Euler system, the overlap of the two circles does not represent any specific relation between the two classes. This is added by a separate syntactic device, shading, which is placed in an appropriate compartment.

As Venn expressed it:-

“What we do then is to ascertain what combinations of classes are negatived by any given proposition, and proceed to put some kind of mark against these in the diagram. For this purpose the most effective means is just to shade them out.”

For example the proposition “All A is B” implies that there is nothing in class “A and not B” so this region is shaded:-

/Users/grahamshawcross/Documents/blog_drafts/representationalism

Whilst not quite as intuitive as the Euler system this has the advantage that propositions can be combined as required.

/Users/grahamshawcross/Documents/blog_drafts/representationalismAgain Venn puts it succinctly

“How widely different this plan is from the old-fashioned Eulerian diagrams will readily be seen. One great advantage consists in the ready way in which it lends itself to the representation of successive increments of knowledge as one proposition after another is taken into account, instead of demanding that we should endeavour to represent the net result of them all at one stroke.”

Venn-Peirce Diagrams

In 1896 Charles S. Peirce invented a system of logical diagrams that he called “Existential Graphs”. Peirce based his system on an examination of what he saw as the four faults of the Venn system (although he continued to call them Euler diagrams).

1. The Venn system “cannot affirm the existence of any description of an object”. As seen earlier Venn’s shading is only capable of representing universal statements.

2. The system “affords no means of expressing a knowledge that one or another of several alternative statements of things occurs.” That is the system is unable to express disjuctive information.

3. “It cannot express enumeration, statistical facts, measurements, or probabilities”. According to Shin, this is no worse than any standard first-order language with existential and universal quantifiers.

4. “It does not extend to the logic of relatives”. That is relations cannot be represented in this system.

In order to represent existential objects, Peirce introduces the character “x” into the system

/Users/grahamshawcross/Documents/blog_drafts/representationalism

In order to represent disjunctive information, Peirce does two things. First he replaces Venn’s shading with the letter “o”. He then he suggests the following “rule”. “Connected assertions are made alternately” and introduces  a syntactic device to represent disjunction. This is a line that joins “x” or “o” marks.

/Users/grahamshawcross/Documents/blog_drafts/representationalism

The right most diagram above conveys the information that is a disjunction of the information that the leftmost diagram conveys and the information that the middle one conveys.

/Users/grahamshawcross/Documents/blog_drafts/representationalism

In more complicated cases things are not so simple, in the example above the rightmost diagram conveys the disjunction of the information the two left hand diagrams represent. The effect is to undermine the visual simplicity of the original Venn system.

/Users/grahamshawcross/Documents/blog_drafts/representationalism

Peirce suggests a way around this by drawing a Venn diagram of Venn diagrams each surrounded by a circle to represent its Universe of Hypothesis, as above. There is then no need of connecting lines in the enclosing diagrams.

According to Shin this is very similar to the idea behind the disjunctive normal form of symbolic logic.

Peirce then introduces a set of 6 transformation rules for diagrams.

“‘Rule’ is here used in the sense in which we speak of the ‘rules’ of algebra; that is as a permission under strictly defined conditions”

Rule 1: We may erase any entire sign (“o”, “x” or a connected body)
Rule 2: We may connect a character to any other character
Rule 3: Any assertion which could permissively be written, if there were no other assertion, can be written at any time, detachedly. I think this means that we can put in a new piece of information.
Rule 4: When more than one character is written in the same compartment we may transform a diagram in several different ways
(i) Characters in the same compartment of the same kind or sign, whether attached or detached are equivalent to one writing of it.
(ii) Characters of two different signs
(ii-1) Connected signs may be erased since equivalent to no sign at all.
(ii-2) Detached signs indicate an absurdity.
(iii) Different kinds of signs connected with other signs say, P and Q. Then we may erase the two contrary signs and connect P and Q.
Rule 5: We may erase a circle.
Rule 6: We may draw a circle.

Here we are a long way from intuitive visual diagrams and Peirce was aware of the shortcomings  of his rules.

“These six rules have been written down entirely without preconsideration; and it is probably that they might be simplified and not unlikely that some have been overlooked”

Shin identifies Peirce’s mixing of syntactic and semantic information in rules 1 and 2 as a problem and goes on to develop systems that she calls Venn-I and Venn-II. Neither of these is visually any simpler than Venn-Peirce diagrams.

In quick summary Venn-I uses shading for emptiness, ‘x’ for existential input and connecting lines between ‘x’s for disjoint information. Venn-II is as Venn-I plus connecting lines between diagrams for disjunctive information.

Lambert Diagrams

/Users/grahamshawcross/Documents/blog_drafts/representationalism

Lambert published his system in 1764 apparently unaware of Euler’s  work. His innovation was to use dotted lines and accurate positioning of labels for the existential statements “Some A is B” and “Some A is not B”.

Lambert represents an individual as a dot and the position of the letter “A” is important. Thus there is at least one thing that is “A” and that thing is represented where the letter “A” is written.

Dotted lines represent uncertainty in the following sense: something else that is “A” might exist, and if it does it can be represented by one of the dots.

Peirce was critical of Lambert for wrongly believing that a sentence or a diagram represents a way of thinking about a fact, not the fact itself.

Lewis Carroll Diagrams

Charles Dodgson (Lewis Carroll) was a contemporary of Venn’s and taught mathematics at Christ Church Oxford. He thought that the universal set should be represented not by the whole plane as in Venn’s diagram but by a closed area and that rectangles rather than circles should be used.

carroll-1

Dodgson used his three set diagram for his Game of Logic, which first appeared in 1887.

carroll-2

But according to A.W.F. Edwards (Edwards 2004) both Venn and Dodgson lost their nerve when it came to diagrams for 5 sets and produced diagrams with disjoint sets.

Edwards-Venn Diagrams

/Users/grahamshawcross/Documents/blog_drafts/representationalism

Edwards-2-1

Venn diagrams for 4 and 5 sets redrawn from Venn

As noted above Venn and Carroll Diagrams work well with 2, 3 or even 4 sets but become increasingly difficult to construct for higher numbers.

knots

Edward’s first intuition followed a piece of work on knots by Tait (Tait 1876). If you draw an endless line on a piece of paper so that it cuts itself any number of times (but never cuts itself more than once at the same point), then you can colour the resulting regions using only two colours without any adjoining regions being the same colour, as in the diagram above.

Venn diagrams also possess this property which can be nicely demonstrated by induction.

“Suppose the property holds for a diagram with n sets. Then the closed curve for the set next added, the (n + 1)th, has to pass through  each of the 2n regions of the existing diagram. In the new diagram there will be 2regions inside the new set and 2n outside. Change the colour of each of those inside the new set and the property now holds for a diagram with n + 1 sets, because all the regions which have been divided by the new curve are differently coloured. But it certainly holds for a one-set diagram, so it must hold for any number of sets”.

Edwards-3

This is Edward’s redrawing, and correcting, of Peirce’s diagram labelled

“This shows that n closed curves can be drawn so as to separate the plane into just 2n regions no more no less”

Edward’s next insight was to realise that the problem of higher numbers of sets was simplified if one drew the regions onto a sphere and then projected the result onto the plane.

Edwards-5

The method can produce both Venn and Carroll forms of diagram depending upon the orientation of the sphere.

Edwards-1

Edwards-9-1Venn diagram for 9 sets

Once a method was found a minor flood of alternative constructions appeared.

Edwards-18Adelaide is a 7 set symmetric Venn Diagram that A.W.F. Edwards discovered in Adelaide, and was independently discovered by Branko Grünbaum. There are also Hamilton, Massey, Victoria, Palmerston North and Manawatü, all of which are 7  set symmetrical diagrams constructed on a necklace principle and named for the places they were found.

Edwards-16

The two colour nature of Venn diagrams means they can even be used to generate binary sequences as above.

Bibliography

Byrne, O. 1847, The First Six Books of THE ELEMENTS OF EUCLID
William Pickering, London
 
Oechslin, W. 2010, Oliver Byrne Essay on The First Six Books of THE ELEMENTS OF EUCLID Tachen Köln
 
 Senechal, M. (1996) Quasicrystals and Geometry
Cambridge University Press
 
Jay, M (1994) Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought
The University of California Press
 
Shin, Sun-Joo 1994, The Logical Status of Diagrams
Cambridge University Press
 
Gardner, M (1982) Logic Machines and Diagrams 2d ed
Chicago University Press
Chicago
 
Edwards, A.W.F. 2004, Cogwheels of the MIND, The Story of Venn Diagrams
John Hopkins University Press
Baltimore and London
 
Tait, P.G.,1877a On Knots 
Transactions of the Royal Society of Edinburgh 28, 145-90
Posted in Architecture, Geometry, Logic | Tagged , , | 6 Comments

Oscar Niemeyer

The death of Oscar Niemeyer reminded me of an enjoyable September 2010 visit to Paris with the Twentieth Century Society. Among other wonderful buildings including Pierre Chareau’s  Maison de Verre we visited Oscar Niemeyer’s Paris Communist Party Headquarters which later became the French Communist Party Headquarters.

IMG_1772

Entrance Under Floating Office Block

IMG_1782

Jean Prouvé Designed Ironmongery

IMG_1775

Inside The Congress Hall

IMG_1776

Detail of Congress Hall Ceiling

The building is being beautifully looked after by the Communist Party and is obviously well loved by its owners and users and a joy to visit.

Posted in Architecture | Leave a comment

Design Methods

Design Methods are now so out of fashion that some of its most important documents have recently been thrown out of the Minto House library, including The Design Method (Gregory S. A. 1966)

I was trained, 1963-1968, at Sheffield School of Architecture where Geoffrey Broadbent was an influential Lecturer, so was exposed to Design Methods during my architectural education.

The Anatomy of Judgement

In the mid nineteen sixties Jane Abercrombie was a favorite of the Design Methods Movement, she had done research for the Medical Research Council on the best methods of selecting medical students and then gone on to research the best methods of selecting architecture students. The result in both cases supposedly being that no method guaranteed an outcome better than random chance, or sticking a pin in a list of similarly qualified candidates, in those days a somehow satisfactorily democratic conclusion.

If you haven’t noticed something wrong with the image above, look at it carefully again.

Jane Abercrombie was a psychologist and introduced to Design Methods ideas about the importance of visual perception.

“We tend to think of ourselves as passively receiving information from the outside world, but this is far from the case; in the process of receiving information we interpret and judge.”

“When the thing we look at is sufficiently like the thing we expect to see, and easily fits our scheme, our experience helps us to see. It is only when what we expect to see is not there that our schemata lead us astray.”

The book consequently included examples of optical illusions, including the Müller-Lyer and Ames Room illusions. The Müller-Lyer illusion works even when we know the correct answer or that what we are looking at is an illusion.

mullerlyer-illusion

There is a large amount of literature on this illusion including a discussion in Richard Gregory’s Eye and Brain (Gregory 1978) and some indication that it is culturally dependent on a mainly rectilinear physical environment.

The Anatomy of Judgement also included a line drawing representation of the Ames Room illusion, but it is better appreciated in this modern implementation.

A couple of extra things to note about this illusion.

1) even when you know this is an illusion, there is no way you can switch it off, even if you know exactly how the room is constructed.

2) the architecture over-rides the relation to human scale even with live moving subjects; that is the body is not always the measure.

Abercrombie’s attitude to Design Methods is perhaps best appreciated through this quotation:

“Free group discussion is to thinking (ideas and abstractions) as handling things is to perception.”

Synectics

A perhaps extreme exposition of Design Methods was Synectics (Gordon 1961). The scope of which can be judged from its alternative subtitles, “The development of Creative Potential” and “A new method of directing creative potential to the solution of technical and theoretical problems”.

In spite of a mechanistic reputation its Hypotheses were

i) creative efficiency in people can be markedly increased if they understand the psychological processes by which they operate;

 ii) in creative process the emotional component is more important than the intellectual, the irrational more important than the rational;

iii) it is these emotional, irrational elements which can and must be understood in order to increase the probability of success in a problem-solving situation

Apostolic Succession

The acknowledgments section of Synectics includes a certain Dr. Donald Shone, now Schön, who is credited with developing with Gordon the importance of the Hedonic response.

Hedonic response as evoked in creative process takes two forms:

1. It is a pleasurable feeling, developed toward the successful conclusion of a period of problem solving concentration, that signals the conceptual presence of a major new viewpoint which promises to lead to a useful solution.

2. It is a pleasurable feeling which occurs in a minor way acting as a moment-to-moment evaluation of the course of the creative process itself.

Gordon goes on to state:

Emotional response is distrusted in science and technological invention.

This is because the way one feels about the solution to a problem is confused with emotional response to a problem during the process of searching for a solution.

Artists and writers are EXPECTED to like or dislike their materials and subject matter. The products of art and literature are judged on a “like” or “dislike” basis whereas the criterion of technological products is “are they useful?”, “do they work?”

Synectics emphasizes that the PROCESS of producing either aesthetic or technical objects is accompanied by certain useful emotional responses, and that these responses must not be rejected as irrelevant, but must be schooled and liberated.

How to Solve It

A book that I think was influential over the whole field was Pólya “How to Solve It”  (Pólya 1945) although its subject was mathematical problem solving, it gives a series of widely applicable problem solving heuristics

Analogy – Can you find an analogous problem that you can solve?

Generalisation – Can you find a more general problem?

Induction – Can you derive a solution by generalising from examples of the problem?

Vary the problem – Can you change the problem to create new problem(s) whose solution(s) will help solve the original problem?

Auxiliary problem – Can you find a sub-problem or side problem whose solution will help solve the problem?

Previously solved – Can you find a related problem that has already been solved?

Specialisation – Can you find a problem more specialized?

Decomposing and Recomposing – Can you decompose the problem and “recombine its elements in some new manner”?

Working Backwards – Can you start with the goal and work backwards to something already known?

Draw a Figure – Can you draw a picture of the problem?

Auxiliary Elements – Can you add some new element to the problem to get closer to a solution?

Bibliography

Ed Gregory S. A. 1966
The Design Method
Butterworths, London
 
Gregory R. 1978
Eye and Brain The Psychology of Seeing
Third Edition Revised and Updated
World University Press
McGraw Hill Paperpacks
 
Abercrombie M.L.J. 1960
The Anatomy of Judgement
Hutchinson
 
Gordon W.J.J. 1961
Synectics
Harper & Row
New York, Evanston and London
 
 Pólya G. 1945
How to Solve It.
Princeton University Press.
Posted in Architecture, Design, Design Methods | Tagged , , | 4 Comments

Aesthetics of Aperiodic Tilings

Wang tilings seem to me to be visually more interesting than their plain or decorated aperiodic tiling generators. The various versions of the same Penrose P2 tiling below all look very uniform, with their randomness hardly registering, whilst the randomness of their Wang equivalents is much more apparent.

It also seems that the mathematical desire to reduce the number of tiles and colours to a minimum reduces the visual interest of Wang tilings.

The first three Wang tilings below are derived from Penrose P2 and Ammann A2 aperiodic tilings as described in “Wang Tiles and Aperiodic Tiling” where the Culik / Kari method of deriving the fourth tiling is also illustrated.

I am not sure if, in Cecil Belmond’s terms, the second tiling is more “alive” than the first, which is smoother and more evenly distributed. There is a tension in the second tiling caused by adjacent blocks and runs of similar colours that is not present in the first.

It is perhaps worth saying the obvious here, that Wang tiles can be seen as a means of delivering random sets of coloured square tiles because their edge colours have to match, thereby creating coloured squares.

With this in mind it can be seen that Wang tilings bear a close resemblance to a number of artists’ work.  The resemblances probably relate to the use of chance in the composition of these works. An early example is Ellsworth Kelly and his “Colors for a large Wall” 1951. Oil on canvas mounted on 64 wood panels; overall 7′ 10¼” x 7′ 10¼”.

Ellsworth Kelly had met John Cage and Merce Cunningham in Paris after the Second World War and the title of the painting below “spectrum colors arranged by chance II” 1951 clearly acknowledges the use of chance.

Bridget Riley has also produced a number similar works. “From Here” 1994  has connected blocks and runs of similar colour, that closely resemble the Wang version of the Ammann A2 24 tiles over 24 colours tiling.

Ignoring their superficial diagonality, Wang tilings also seem to bear a striking similarity to some of Gerhard Richter’s Colour Chart paintings such as his “4900 Colors” of 2007 that uses randomly selected colours and also appears to have clumps and runs of colours as one should expect with a truly random composition method (see “Find Your Own Space”).

Various versions consist of different numbers of panels but Version I  consists of  196 panels, each of which consists of 25 squares. Each individual panel is made up of spray-painted enamel squares that measure 9.7 x 9.7 cm.

In architecture Sauerbruch and Hutton’s High Bay Warehouse uses 16,000 25 x 160 cm metal panels in 20 colours.

High Bay Warehouse Dogern: Sauerbruch and Hutton 2002

Dr. Bernhard E. Kallup, Chairman of Sedus Stoll AG, comments: “We offer huge product variety for all potential applications. Our broad portfolio for administration, communication and regeneration scenarios includes millions of technical and visual options, to ensure that no restrictions are put on architects and special building project managers. The warehouse architects have symbolised this freedom in their facade design.”

Scale seems to be an important attribute of this scheme, projects with larger panels and or fewer colours seem much cruder, as in Morrison’s huge warehouse at Bridgewater just off the M5 with its enormous panels in just four colours. It looks much better in this photograph than it does in reality.

Apart from the physical size of the panels I think this relates directly to an understanding of the different number of tiles and colours in the Wang tiling examples above. That is 13 tiles over 5 colours or 16 tiles over 6 colours is too crude and 32 tiles over 16 colours is probably too bland and smooth. Leaving 24 tiles over 24 colours as offering the liveliest set that is not too crude or bland.

Bibliography

Grünbaum B., Shephard G. C. (1987)
Tilings and Patterns
W.H. Freeman and Company
New York
 
Kari J., 1996
A small aperiodic set of Wang Tiles
Discrete Mathematics Volume 160 Issue 1-3 Pages 259-264
 
Culik K., 1996
An Aperiodic Set of 13 Wang Tiles
Discrete Mathematics Volume 160 Issue 1-3 Pages 245-251
 
Belmond C., Smith J. (2007)
Informal, Pages 189-264
Prestel Munich, Berlin, London, New York
Posted in Aesthetics, Aperiodic Tiling, Architecture, Tiling | Tagged , | Leave a comment

Find Your Own Space

A randomly distributed sets of points can be considered as the lowest state of architectural order; the placing of the simplest object, a point, with the least degree of structure, being randomly placed.

Well distributed point sets are important in several areas of computer graphics. These include anti-aliasing, global illumination, non-photorealistic rendering, point based modelling and rendering.

Point based modelling corresponds most closely to the architectural case.

In many applications it is also desirable that the distribution is scalable, that is stays the same at all scales.

The section immediately below follows “Hierarchical Poisson disk sampling distributions” (McCool and Fiume, 1992) and uses their diagrams.

A Poisson or Random Distribution

A Poisson Distribution is one in which  each event is entirely independent and when thought of spatially the effect is of each point being randomly selected. This is the state of least order although determined by a simple rule.

Figure 1. Poisson Distribution

Visually this is lumpy, appears to have clusters and lacks smoothness. Requiring the points to be at least a minimum distance apart improves this and provides an initial level of ordering.

Poisson Disk Distribution

A Poisson Disk Distribution requires that no two points are less than a minimum distance apart.

Figure 2. Dart Throwing Algorithm

This is visually smoother, but in theory to get a  true Poisson Disk Distribution one must continue generating Poisson Distributions until one hits upon one with the requisite separations, an awkward procedure with no guarantee of success.

Dart Throwing Algorithm

With the Dart Throwing Algorithm points are placed sequentially and checked against all the points that have already been added, if a point is too near to any previously placed point it is simply discarded. The process continues until the required number of points have been placed or no other points can be added (after very many attempts).

Importantly the sequential nature of this algorithm means that the points can be indexed and the density of the distribution simply manipulated by including only the necessary number of points to achieve the required density. This is possible because all points have the same status; they have all been randomly selected.

Figure 2. actually shows a distribution arrived at using the Dart Throwing Algorithm. Circles are drawn in the centre tile showing in this case a separation of 0.1 (disk diameter).

Relaxation

In fact there is no requirement that the separation distance remains constant, one can start with a large separation, say 0.3, and at each iteration reduce it by a factor slightly less than 1, as shown in Figure 4. below. Note that the current (smaller) disk size can be used for all distance comparisons as the aim is produce a distribution with a single minimum separation.

Figure 4: Poisson Disk Distribution with Relaxation

Another type of relaxation due to Lloyd generates the Voronoi diagram of the distributed points and then moves each point to the centroid of its Voronoi cell, a process that can be repeated until changes become minimal.

Figure 5: Lloyd Relaxation

The effectiveness and in particular the speed of convergence of this procedure depends upon the distribution of the initial points. Dart Throwing followed by Lloyd relaxation is therefore a good strategy.

Some work has been done on the aesthetics of distribution sets with varying degrees of relaxation (Duessen, 2009).

Blue Noise Point Sets

Blue noise has few low-frequency components that can be interpreted as artefacts. It is thought to be an appropriate model of smooth distribution because it corresponds to the distribution of cones in the retina. It is surmised that this distribution evolved as a efficient method of receiving light in an even manner.

What follows is based on “Recursive Wang tiles for real-time blue noise” (Kopf, Cohen-Or, Deussen et al 2006) which itself makes use of a Relaxed Dart Throwing Algorithm, as described above, at least as a means of generating initial stochastic point distributions, and the ability to easily select point sets of different densities sharing common points. It also makes use of Wang aperiodic tiling using a small set of  tiles to avoid repetition and creates a set of recursive tiles to achieve this at different scales

Figure 6. below contrasts uniform blue noise point sets generated using periodic tiling (top row), aperiodic Penrose tiling (middle row) and aperiodic Wang tiling (bottom row).

The red and blue diagrams to the right show the mean radial power (red) and radial anisotropy plots (blue). The anisotropy spectrum is a measure of the angular regularity of the distribution.

In the top row the repetitions due to the periodic tiling are easily seen. The energy of the spectrum is quite evenly distributed but the anisotropy is strong.

The energy of the Penrose tiling version displays strong spikes resulting in extreme anisotropy values. The spectrum reveals the rotational ten-fold symmetry of the Penrose tiling which can be seen as an artefact in the rendering.

The Wang tiling version displays few repetitions in the rendering or the spectrum. The energy is well distributed in the spectrum and the anisotropy is very low.

Progressive Blue Noise Tiles

The aim is to produce a set of Wang tiles whose edges blend seamlessly together accross their point distributions and that can be calculated just once and then reused.

The Relaxed Dart Throwing Algorithm is used to produce a unique distribution for each tile and each colour of a Wang tile set.

The point distribution of each tile is then recalculated using its own distribution and the distributions of its four edge colours.

The tile distribution is combined in turn with the distributions of each of its four edge colours. This is done by combining the 2 point sets, generating the Voronoi  diagram of the combined set, giving high cost to points which are very close together and then calculating the shortest path between appropriate tile corners. The shortest path is then used to separate the two point sets and the sequencing of the combined points recalculated. As can be seen after all four edge colour distributions have been combined in this way much of the original tile distribution remains, but smooth transitions to adjacent (same colour) edged tiles has been achieved.

Recursive Wang Tiles

In order to make the point distributions scalable a set of recursive Wang tiles is generated by coding the edges as shown below, a process that can carry on endlessly.

In order to ensure smooth frame coherence for real time movement some points are relaxed between scales, the whole process is nicely covered in the following clip.

Bibliography

McCool, M; Fiume, E; 1992
Hierarchical Poisson disk sampling distributions
Proc Graphics interface 92 (Pages 94-105)
Morgan Kaufmann Publishers Inc.
 
Kopf, J., Cohen-Or, D., Deussen, O., et al.
Recursive Wang tiles for real time blue noise; 2006
ACM Transactions on Graphics
 
Duessen, 0.; 2009
Aesthetic Placement of Points Using Generalized Lloyd Relaxation
Computer (2009)
Eurographics Association, Pages: 123-128
 
 
Posted in Aesthetics, Aperiodic Tiling, Architecture, Geometry, Tiling | Tagged , , | 2 Comments