Tuesday, 6 September 2022

Phi

Golden ratio

The golden ratio, otherwise known as the Divine Proportion or Phi, is a mathematical ratio with special properties and aesthetic significance. An enormous number of things in the universe are engineered around the ratio, ranging from the human body to the ark of the covenant to snail shells to the orbits of the planets. Some argue that the prevalence of the Golden Ratio is positive evidence of a common design plan uniting a wide variety of phenomena which share only their creator in common.

Calculating

Phi is derived by dividing a line segment into two parts in such a way that the ratio of the smaller segment to the larger segment is the same as the ratio of the large segment to the whole.

The number is irrational, meaning it never ends or repeats in a decimal system. To the first ten decimals, it is 1.6180339887 ...

A golden rectangle is one in which the ratio of length to height is 1:phi.

The divine ratio also makes an appearance in the Fibonacci sequence. The fibonacci sequence is derived by starting with 0 and 1, and then calculating the next number in the sequence by adding the last two together. Thus the sequence is 0, 1, 1 (0+1), 2(1+1), 3(1+2), 5(2+3), 8(3+5) and so on. The ratio of a number to the previous number in the sequence approximates the golden ratio, and comes to approximate it more closely as the values increase. Thus:

8/5 = 1.6

144/89 = 1.6179775280

10946/6765 = 1.6180339985

Examples

Because Phi is irrational, it is impossible for anything to measure at "precisely" the golden ratio. However, a large number of things approximate the golden ratio to a startling degree.

Architecture

The divine ratio and golden rectangles appear throughout ancient architecture and art. It was believed to be the most aesthetically pleasing and harmonious means of design. Statistical analysis seems to indicate that "people involuntarily give preference to proportions that approximate to the Golden Section." The Oxford Companion to Art, Ed. Harold Osbome, First Edition, Oxford University Press, Oxford, 1978, p.489.

Egyptian pyramids were designed with reference to the golden ratio. Slant height / distance from center to perimeter = Phi;
Greek Parthenon designed and constructed out of golden rectangles;
Modern credit cards are golden rectangles;
The painting, The Last Supper, is based on the golden ratio;
The Notre Dame cathedral in Paris is based on the golden ratio;

In Genesis 6:15, God commanded Noah to build an ark saying, "And this is the fashion which thou shalt make it of: The length of the ark shall be three hundred cubits, the breadth of it fifty cubits, and the height of it thirty cubits." The end of the ark is thus in a ratio of 5:3. Both are fibonacci numbers, thereby approximating phi at 1.667, so close as to be indistinguishable to the eye.

In Exodus 25:10, God commands Moses to build the Ark of the Covenant, in which to hold His Covenant with the Israelites, the Ten Commandments, saying, "Have them make a chest of acacia wood- two and a half cubits long, a cubit and a half wide, and a cubit and a half high." 2.5/1.5 or 5/3 (a fibonacci relationship) = 1.667, again approximating Phi so closely as to be indistinguishable to the eye.

Biology

Humans

The human head forms a golden rectangle;.
The mouth and nose are each placed at golden sections of the distance between the eyes and the bottom of the chin.
Whole body height / head to fingertips = Phi;
Top of head to fingertips / head to navel and elbows = Phi;
Top of head to navel and elbows / head to pectorals and inside top of arms = Phi;
Top of head to navel and elbows / width of shoulders = Phi;
Top of head to navel and elbows / length of forearm = Phi;
Top of head to navel and elbows / length of shinbone = Phi;
Top of head to pectorals / top of head to base of skull = Phi;
Top of head to pectorals / width of abdomen = Phi;
Length of Forearm / length of hand = Phi;

DNA

Each cycle of the DNA molecule measures 34 angstoms long by 21 angstroms wide. 34 and 21 are fibonacci numbers, as noted above. 34/21 is 1.619, approximating phi. Jean-claude Perez suggests there is a strong link between DNA and golden ratio in 1991, then again in 1997 in his book l'ADN décrypté. In this work, he shows that relative proportions of nucleotides within coding DNA sequences like genes or RNA strings are governed by specific Fibonacci and Lucas numbers sets. This discovery was validated particularly on all known HIV and SIV (Simian Immunodeficiency Virus) retroviruses whole genomes with Professor Luc Montagnier (the discoverer of HIV virus) which called the discovery a "DNA supracode" .

DNA supracode is revealed by computing sets called "resonances" within any DNA sequence: specific nucleotides clusters like FFF (Fibonacci Fibonacci Fibonacci), LLL (Lucas Lucas Lucas), FFL (Fibonacci Fibonacci Lucas) or LFF (Lucas Fibonacci Fibonacci). An example of elementary FFF resonance: 144 contiguous TCAG bases contain exactly 55 bases T and 89 bases A or C or G. This kind of screening is processed along the DNA sequence, for all possible Fibonacci/Lucas combinations, and for all possible values (example here 144 89 and 55 are 3 consecutive Fibonacci numbers). Then there appear lots of "resonances". For example, in HIV whole genome, long of about 9000 bases, there are more than 50000 significant Fibonacci/Lucas resonances. The longer resonances (several hundred resonances) are overlapping about 2/3 of the whole HIV genome (6765 bases which is a Fibonacci number).

Then, to explore both aesthetics and Ethics dimensions of this discovery, Perez published in 1994 an audio CD entitled "the first music of genes" - SACEM GEN0694 - (a subset of supracode for the oncogene KIRAS involved in cancers)...

And also in 1995 sone thinkings related to Ethics of a discovery .

In 2008 Jean-claude Perez is publishing proofs on evidence of Golden ratio based rules at all levels of Life information: bioatoms, DNA, RNA amino acids or whole genomes

Particularly he will publish a central book entitled " CODEX BIOGENESIS: les 13 CODES de l'ADN " (spring 2009) .

Human Genome

The book CODEX BIOGENESIS show that the whole Human Genome is controled by two BINARY CODES ATTRACTORS which provide a kind of self-organized bistable binary code like in computers.[1]

With the central following difference - the binary code within computers was invented artificially by humans and yet the binary code of Life has either “emerged” spontaneously perhaps by self-organization or was the intentional act of divine creation.

The ratio between both bistable states is exactly equal to “2” (the space between two consecutives octaves in Music...)

The Top state is exactly matching with a GOLDEN RATIO...
The Bottom state is also exactly related to Golden Ratio...
“Top” level = = 1 / Phi
“Bottom” level = 1 / 2 Phi
Top / Bottom = 2

Where Phi is the "Golden Ratio"

In 2009 new proofs were provided on the human Fractal Genomephysical and logical structure.

Other life

The bodies of dolphins are defined by the golden ratio
The bodies of ants are defined by the golden ratio
Snail shells and many seashells are golden spirals, that is, a spiral formed by making successively smaller golden rectangles.
In plants, petals, leaves, sections, and seeds, pinecones, pineapples and sunflowers all exhibit fibonacci numbers;
Fruit seeds form in golden spirals.

Astronomy

Golden ratio in the planets: The orbital periods, mean distances, and orbital velocities of the planets in the solar system are all related by phi to a statistical significance of over 99%.
The rings of Saturn form two golden sections, divided by the Cassini division.

Implications

Related References

External links

The Scorpion, who was a Queen amongst Scorpions, said, “No. If I do THAT you'll turn, and thrown me off your back and EAT me, midstream — then, not only will I day, but the whole of my race will go extinct amongst the Scorpion nations : You are too GREEDY, you will devour me, all of my children, and any hope of a Future for My People.”

The Bullfrog assured him, “Do You really think I would betray you, know that you would sting me to death, the moment it seemed like I might try….?

You are an aggressive, venomous beast, who protects Her Young with Deadly Force — known for it, in fact.”

So The Scorpion Queen thought about it, decided that no — the bullfrog would have have to be pretty fucking stupid to be THAT obviously Treacherous, and so finally agreed.

So The Scorpion climbed up on his back,

and The Bullfrog began to swim.

But halfway across The River,

The Bullfrog was seized by the grip of an insatiable hunger,

and threw the Scorpion Queen off his back midstream, whereupon

She instantly lashed out

and she stung him

and she stung him.

As The Poison filled his veins,

The Scorpion turned her face to the Bullfrog and said

“See You in HELL, You Greedy, Dissembling Traitor..!!

Now YOU’RE gonna die TOO…!!”

“I couldn't help it,” said The Bullfrog.

“I am immune to the lethal effects of Scorpion Venom, and I consume EVERY living creature I can fit inside my mouth, and swallow them all Whole —”

picking the poor, heartbroken Queens tiny children off her back by the dozen, which his lightning-flash long, sticky tongue, until he had eaten her entire Family,

along with any future they WOULD

have had on the far bank of The River —

“It's My Nature.”

he quipped to the desolated

Widow Queen by way of conclusion,

and then gobbled her up

and swallowed her whole.

Thing

A Thing that looks like a Police Box, standing in a Junkyard….

It can move anywhere in Time and Space….

“…..it shifts shape again and comes up in the form of Christ The Carpenter,

and Says,

“Do You Know Me?”

and Kirk said,

“Oh, now I know Who You Are.”

And He Says,

‘How Strange You Didn't Know

These Other Forms of Me.’

Really, what Gene had written was that this 'thing' was sent forth to lay down The Law; to communicate The Law of The Universe, and that as time goes on The Law needs to be reinterpreted.

And at that time 2,000 years ago, The Law was interpreted by this Carpenter image. As time went on, The Law was meant to be reinterpreted, and The Christ figure was meant to reappear in different forms.

But This Machine malfunctioned, and it was like a phonograph record that got caught in a groove and kept grooving back, grooving back, grooving back. It's important to understand the essence of all this and reinterpret it as time goes on.

This was a little heavy for Paramount. It was meant to be strong and moving, and I'm sorry it never got made."

"I handed them a script and they turned it down," Roddenberry stated.

“As we wrap up here and I sweep my head clear at last of all things Green Lantern, one reader (hi, Colin McKenzie!) talked about feeling understandably uncomfortable with the ‘cop’ aspect, the stated ‘police procedural’ nature of the book, particularly at a time when in both the USA and the UK way too many policemen were being caught overstepping their bounds in horrific ways.

I grew up with a deep distrust of the police; the police dragged my dad from sit-ins and demonstrations, the police threw him in jail, the police turned up at the door to threaten him. I was raised with a working-class distrust of authority that is generations thick. It took a while to cure myself of instinctively flinching at the sight of a squad car and feeling immediately guilty in the presence of the Boys in Blue.

As I grew older, as I made more effort to take people as they come and give them the benefit of the doubt without prejudice, I met a few police who seemed okay sorts, decent types. Fuck only knows what it took to retain their Humanity in a culture that has been exposed again and again of late as a cesspit of Wrong but I was able to relate to them, have a laugh, and get on as with normal people. They do exist among the ranks.

Nevertheless, it’s hardly controversial to point out that police on Earth are often corrupt, often on the take, often as happy to enforce unjust laws as they are to ignore the law altogether. In short, my last inclination would be to valorize the police in my work.

Were I to write a story about policing in our real world, I would of necessity be compelled to examine some fairly grimy corners of the human experience, it’s true.

The Green Lantern Corps, being fictional, can comprise a finer caliber of polisman! The Rules of the DC Universe allow for the existence of a genuinely trustworthy, honorable, courageous and selfless form of cosmic law enforcement and those were the rules Liam and I chose to play by.

When I decided to approach The Green Lantern as a police procedural in the style of a weekly TV show then, I was borrowing the format and translating it into a science fiction context, rather than attempting to make any meaningful comment about the real life nature of policing on planet Earth which, as is the case with so much human activity tends to exemplify what happens when stupidity, brutality and prejudice are given free license and dangerous weaponry.

Nor was I using the opportunity to comment on the way cop shows romanticize or fetishize law enforcement. I was trying to use cop show tropes to demonstrate what might be the same and what was very, very different about regular policemen compared to Green Lanterns.

Our ‘re-imagining’ of police procedural began with the Guardians of the Universe, the council of blue-skinned immortals overseeing the activities of the Green Lantern Corps. In the past, the Guardians had often been portrayed as geriatric, out of touch, bureaucratic or authoritarian but Liam and I chose to take a different track and to portray them as wise sci-fi monks with an ancient profound understanding of how the universe really works.

Our Guardians are supremely attuned masters born of an unimaginably ancient race of sages. The ‘laws’ they administer correspond to the Hindu concept of Dharma or the Chinese ‘Tao’, ‘the Way’ or ‘Road’ of Zen.

It takes Olympian suspension of disbelief to imagine an authority that is entirely benign, selfless and still effective - such a chimera does not exist on our planet except in our stories – but the attempt to put aside the constraints of the human condition and actually think about how a cosmic law and order enforcement agency might function without falling prey to the problems of earthly policing can be, if nothing else, instructive and gave us our context for the Green Lantern Corps.

Jordan’s twisty character bio saw him begin life as a glamorous test pilot before deciding to chuck it all in and sell insurance. The insurance gig lasted only until Jordan decided that the wandering life of a toy salesman was the natural next step.

Jordan’s writer, my hero John Broome, gave Hal the soul of the Beat Generation, imprinting a rootless, searching-for-America restlessness that became the foundation for various takes, including our examination of the character. Considering Hal Jordan in the round, it was easy for Liam and I to emphasize his Beat nature and amplify his cosmic Kerouac, Dharma Bum dimensions!

To call the Green Lanterns ‘cops’ is simply to translate into comprehensible terms what they really are which is some combination of knight errant/sheriff/Beat cop/area manager and more…

There is always another story to be told using these characters, of course, one that more closely comments on or reflects events in the real world but that wasn’t our story in this case and the general OTT extravagance of our approach would, I suspect, have been more inclined to trivialize serious contemporary issues.

Thankfully, my job no longer depends on pondering these and other such imponderables on a daily basis!

As peers and admirers alike stood in line to congratulate Hal Jordan on his achievements, he quietly slipped away in a blaze of emerald into the shadows of space without any great fanfare and so too I made my exit into the aether, the either and the other.

Liam switched to illustrating Batman: Reptilian from Garth Ennis scripts, while writing and drawing his own spectacular graphic novel series Starhenge, (the first remarkable volume The Dragon and the Boar will be available from Image Comics on July 6 - if you liked where Liam was going in the latter issues of The Green Lantern, this is the fabulous flowering of those experiments – Arthurian Celtic Futurism barely covers its scope).

As for Hal Jordan, he flashed that wry grin, thumbed another ride and took to the Road once more, passing out of our stewardship as he’d passed in turn through the hands of John Broome, Denny O’Neill and Geoff Johns among many others. Forever young, self-assured and iron-willed, he lives on, reinterpreted through the personal filters of future creative teams for as long as his IP delivers on the balance sheet!

Reading through it all again for this retrospective, I’m proud of our work on The Green Lantern and look back on it fondly. I think the whole thing – including Season 1, the Annual, Blackstars and Season 2 – hangs together as a tight and complete portrait of a complex, contradictory veteran character who’s seen and done it all.

Despite the intrusion of doubt and loss, the entire enterprise was driven by a spirit of relaxed imaginative play and a desire on the parts of Liam and I to goad one another to new heights of invention.

My own work on The Green Lantern Season 2 – especially the somewhat scrappy experiments on my part in the final two issues - encouraged me to go deeper into those seeming flaws and mistakes in search of inspiration and new energy, which then gave rise to the Xanaduum project with its focus on fragmentation, collage, compressed information, charged symbolic imagery and textual overload.

Season 2’s nimble response to bad times and painful feelings, its willingness to adapt and try different things, its privileging of art over commerce showed me where to go next with my comics.

Liam and I had creative freedom and a joyful working relationship on a book where anything could happen and very often did, and the result, we hope, is a thematically tight collection of interlocking short stories that add up to a timeless portrayal of Hal Jordan as we saw him after his decades of character development.

Although my last extended run on a monthly superhero comic sometimes felt like one of Jordan’s test flights – a full throttle take-off and climb to altitude, wing flex, pulling Gs, busting through harsh turbulence up there on the edge of the sky, followed by a steep white-knuckle landing that called for a bit of improvisation and imagination to bring the bird home – in the end, The Green Lantern worked thanks to the absolute trust Liam and I had in one another’s divine madness!

Sexcelsior!

Soundtrack:

Monday, 5 September 2022

The Hatch

All Our Work is gone.

Ultron cleared out.

He used The Internet

as an escape hatch.

Your Rage has Unbalanced You!

You, sir, would Fight to The Death against a Knight who is not Your Enemy, over a stretch of road you could easily ride around..!!

We want a window

hatch (v.1)

early 13c., hachen, "to produce young from eggs by incubation," probably from an unrecorded Old English *hæccan, of unknown origin, related to Middle High German, German hecken "to mate" (used of birds). Meaning "to come forth from an egg," also "cause to come forth from an egg" are late 14c. Figurative use (of plots, etc.) is from early 14c. Related: Hatched; hatching.

hatch (n.1)

"opening, grated gate, half-door," Old English hæc (genitive hæcce) "fence, grating, gate," from Proto-Germanic *hak- (source also of Middle High German heck, Dutch hek "fence, gate"), a word of uncertain origin. This apparently is the source of many of the Hatcher surnames; "one who lives near a gate." Sense of "opening in a ship's deck" is first recorded mid-13c. Drinking phrase down the hatch attested by 1931 (the image is nautical).

hatch (v.2)

"engrave, draw fine parallel lines," late 14c., from Old French hachier "chop up, hack" (14c.), from hache "ax" (see hatchet). Related: Hatched; hatching. The noun meaning "an engraved line or stroke" is from 1650s

£50

hatch (n.2)

"that which has hatched; action of hatching," 1620s, from hatch (v.1).

hatch (n.3)

"engraved lines or strokes," 1650s, from hatch (v.2).

Entries linking to hatch

hatchet (n.)

c. 1300 (mid-12c. in surnames), "small axe with a short handle," designed to be used by one hand, from Old French hachete "small combat-axe, hatchet," diminutive of hache "axe, battle-axe, pickaxe," possibly from Frankish *happja or some other Germanic source, from Proto-Germanic *hapjo- (source also of Old High German happa "sickle, scythe").

This is perhaps from PIE root *kop- "to beat, strike" (source also of Greek kopis "knife," koptein "to strike, smite," komma "piece cut off;" Lithuanian kaplys "hatchet," kapti, kapiu "to hew, fell;" Old Church Slavonic skopiti "castrate," Russian kopat' "to hack, hew, dig;" Albanian kep "to hew").

Hatchet-face in reference to one with sharp and prominent features is from 1650s. In Middle English, hatch itself was used in a sense "battle-axe." In 14c., hang up (one's) hatchet meant "stop what one is doing." Phrase bury the hatchet "lay aside instruments of war, forget injuries and make peace" (1754) is from a Native American peacemaking custom described from 1680. Hatchet-man was originally California slang for "hired Chinese assassin" (1880), later extended figuratively to journalists who attacked the reputation of a public figure (1944).

hatchback

type of rear door of an automobile, 1970, from hatch (n.) + back (n.).

hatchery

hatchling

hatchway

hash

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Thursday, 1 September 2022

The Great Attractor

Never cross the Great Magnet

Well, this is How The World Works :

All Energy flows according to

The Whims of The Great Magnet --

What a FOOL I was to Defy Him.

I was going back to Las Vegas

I had NO CHOICE.

The Matrix

Fear & Loathing – The Matrix Flashback

Funny

A Guy walks into

The Doctor’s Office.

The Doctor says,

“You need An Operation.”

Guy says, “I want

a second opinion.”

The Doctor says,

“Okay, You’re ugly, too.”

fun (n.)

"diversion, amusement, mirthful sport," 1727, earlier "a cheat, trick" (c. 1700), from verb fun (1680s) "to cheat, hoax," which is of uncertain origin, probably a variant of Middle English fonnen "befool" (c. 1400; see fond). Scantly recorded in 18c. and stigmatized by Johnson as "a low cant word." Older senses are preserved in phrase to make fun of (1737) and funny money "counterfeit bills" (1938, though this use of the word may be more for the sake of the rhyme). See also funny. Fun and games "mirthful carryings-on" is from 1906.

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fun (v.)

1680s, "to cheat;" 1833 "to make fun, jest, joke," from fun (n.). Related: Funning.

fun (adj.)

mid-15c., "foolish, silly;" 1846, "enjoyable," from fun (n.).

Entries linking to fun

fond (adj.)

late 14c., "deranged, insane;" also "foolish, silly, unwise," from fonned, past-participle adjective from obsolete verb fon, fonne (Middle English fonnen) "be foolish, be simple," from Middle English fonne "a fool, stupid person" (early 14c.), which is of uncertain origin but perhaps from Scandinavian. Related: Fonder; fondest.

Meaning evolved via "foolishly tender" to "having strong affections for" (by 1570s; compare doting under dote). Another sense of the verb fon was "to lose savor" (late 14c. in Middle English past participle fonnyd), which may be the original meaning of the word:

Gif þe salt be fonnyd it is not worþi [Wyclif, Matthew v.13, c. 1380]

funny (adj.)

"humorous," 1756, from fun (n.) + -y (2). Meaning "strange, odd, causing perplexity" is by 1806, said to be originally U.S. Southern (marked as colloquial in Century Dictionary). The two senses of the word led to the retort question "funny ha-ha or funny peculiar," which is attested by 1916. Related: Funnier; funniest. Funny farm "mental hospital" is slang from 1962. Funny bone "elbow end of the humerus" (where the ulnar nerve passes relatively unprotected) is from 1826, so called for the tingling sensation when struck. Funny-man was originally (1854) a circus or stage clown.

fun-loving

funning

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