Tuesday, September 8, 2020

20-year recap wrapup


Reconstructing Mythic Algebra  

By Michael Griffin

Abstract

This is the tenth in a series of papers on an algebra, derived from mythology, that can model symbolic processes. Previous papers used literary semantics, mythology, semiotics, philosophy and mathematics. The main features of the algebra are set-based elements and making association a new operation. While such a system can be reductive, it need not be. It may reconstruct into a more useful tool. Various implications for its foundations are considered.

6 Keywords:
algebra, association, mathematical modeling, numbers, reduction

1. Introduction

       Mythic algebra began as a system to model mythology, then expanded into narration, thence to cover a host of mental processes using the operation of association (2003). Once the system was completed, new applications were made into semiotics and mathematics (2008). One may question just how far can a system go that is derived from mythology. A guiding assumption was that the mental processes that manifested as myths would also manifest as anything else, if only the underlying system was found.
       The guiding principle was to use the features of basic algebra, looking for group principles and two distinct operations. The results became the following system represented in a formulaic lineup:
(p,q,x,y,s,t), M, R, M/R, R/M, ↆ, =, #, S, $,+, ౼, *, %
This lineup separates into levels as:
Sets (p,q,x,y,s,t) of elements people p and their actions q, things x and their actions y, space s and time t.
Functions M, R, M/R, R/M, ↆ, set states mythic M or real R that can map elements among them by / or just alter elements or states by ↆ.
Relations =, #, S, $  of equality, inequality, similarity, or dissimilarity.
Operations +, ౼, *, %  of addition, subtraction, association or dissociation.

2. Discretion

        Sets have discrete elements. By discrete, we mean separate, distinct, and also countable if we cared to. The meaning of countable will be explored in a later section, while here we look at the most basic definition of elements, their separate, distinct quality. Whether elements are in the same or different sets, they remain distinct from each other. A set of (A,A,A) has three A’s just as (A),(A),(A) does or the listing A,A,A does.
          Concrete reality clearly has things we perceive as distinct from each other: a rock is not a tree even if we have no names for them. Nature builds itself by using discrete elements, from atoms up to cells and beyond. Alfred North Whitehead (1967) in 1925 noted this fact of reality and examples of the advance in human thought once we recognize it:

The influence of atomicity was not limited to chemistry. The living cell is to biology what the electron and the proton are to physics. Apart from cells and from aggregates of cells there are no biological phenomena. The cell theory was introduced into biology contemporaneously with, and independently of, Dalton’s atomic theory. The two theories are independent exemplifications of the same idea of ‘atomism.’ (99-100)

         Our languages have modeled or mimicked this reality of discrete elements by using discrete words, regardless of the particular syntax or semantics. Labeling with words requires otherness, difference. Before Derrida wrote anything on deconstruction, the Zen philosopher Alan Watts (1959) observed the troubles that arise when making discrete distinctions that may be arbitrary:


For the function of these nonsense terms is to draw our attention to the fact that logic and meaning, with its inherent duality, is a property of thought and language but not of the actual world. The nonverbal, concrete world contains no classes and no symbols which signify or mean anything other than themselves. Consequently it contains no duality. For duality arises only when we classify, only when we sort our experiences into mental boxes, since a box is no box without an inside and an outside. (80)

This “inherent duality” goes at least as far back as Plato and Aristotle, whose ideas were expressed as  three Laws of Thought: 1. The law of identity [A is A]. 2. The law of contradiction [either A or not- A]  . 3. The law of exclusion, or excluded middle [only A or not- A] (Law of thought, 2019).


Not only languages, but thought itself may become biased into useless or useful dichotomies. As the Taoists noted millennia ago (2007), once you make a discrete thing or quality you then have to have something else that is not that thing:

For is and is-not come together,
Hard and easy are complementary;
Long and short are relative;
High and low are comparative;
Pitch and sound make harmony;
Before and after are a sequence. (2)

Cut out windows and doors
In the house as you build;
But the use of the house
Will depend on the space
In the walls that is void.

So advantage is had
From whatever is there;
But usefulness rises
from whatever is not. (11)
(Blakney 60, 70)

Some basic dichotomies exist in mythic algebra, too. There is a static-dynamic principle to divide elements: static p,x,s or dynamic q,y,t. There is also a distinction of persons-things or neither, as p,q or x,y or s,t. This has been critiqued, for what defines a person whereas a sentient creature like a pet is a thing? If this criterion is a human body, then sentient minds don’t count. One has to define the elements according to need.
Then the states of sets divide into the basic dichotomy of mythic M or real R, with mythic defined as not-real. Generalizing states into F or G still means that state G is not-F. Any number of distinct states can then be notated, all defined as not each other: A,B,C,D,E,F,G,H,I,J,K,L,N,O,U,V,W,Z, etc.
           What criteria make them not equivalent? It depends on the context. For mythic stories, the M-R distinction was based on an M(s,t) mythic spacetime which was not in our everyday world. For an F-G distinction it could simply be two separated sets, though seemingly equivalent elements: F(a,b,c), G(a,b,c). F is this one, G is that one.
           So we now have sets of six basic elements which can vary in their definitions. The state functions of these sets can also vary in definition, just as long as they differ from each other: M-R, F-G, etc. The elements and states are discrete because they differ in binary polarities. Elements p,x,s are similarly static, yet p,q are similarly of people but x,s are not. The utility of a people-things distinction fits realms in which people figure, such as the human mind or cultures. In realms of physical nature or pure mathematics, this may not matter.
        These four different realms of use will be examined also in a later section. For now we can conclude that elements and states of sets are only defined by the quality of being discrete from each other. Another meaning of discrete is unconnected, which brings us to consider the next levels of mythic algebra.

3. Plus -- or Not

        The basic operation that all mathematics is founded upon is addition. Once we have discrete units we combine them. Undoing addition is subtraction, extended addition is turned into the shortcut of multiplication, or its undoing is division. Mythic algebra does not consider multiplication-division operations, presuming they are implied by addition-subtraction. But what else may elements do besides combine by adding? They may add to stay distinct, such as: A+B = A+B, or they may add to transform, such as: A+BC, like 1+2=3 as a new number.
        These kinds of operations work well with discrete elements, but elements can also have a continuous connection apart from this, even if they maintain their discrete character. Such connections may not fit addition, but rather addition may fit into such broader connections. This continuous connection or linkage has been modeled as the * operation of association. Some sketches can show the inadequacy of addition to fully convey all possible connections of discrete point-elements:





Points A,B,C,D are linked as A* B, A* C, A*D and arbitrary measures of the paths may be taken as the magnitudes of points B,C,D. In the first example, A+B+C+D = 2+2+2 = 6, and in the second example 3+3+3 = 9 yet in both examples the paths are the same lengths. Any scale of distance does not really matter to A* B, etc.
       Or consider defining point A by its unequal links:





On the left, A= 1+1+2+3 =7
On the right, A= 1+1+1 =3
Yet A and B are the same path and actual distance in both cases. Even B in these examples has magnitude 2 or just 1. Traditional number lines avoid this confusion of miscounts by keeping connections in a single dimension to measure, so any differences of scaling can be compared:



A__+__+__B is 3/3 which equals A___+____B or 2/2

But such additive lines are single components of possibly endless continuous links:


whether on a two-dimensional page or any-dimensional space. As if out of Flatland (1884), a line connecting two points may only convey part of their total linkage:



A________B

And if we only define the point's magnitude by measure along that single dimension, we miss all of the other magnitudes and path-connections notated by the asterisk symbol *.

4. Levels

        Besides the extra dimensions of connectivity, levels of organization may upscale or downsize in a fractal-like style of structure, maintaining mythic algebra at any level just as arithmetic does. The results of any use of mythic algebra may be subsumed into a new basic set element, its opposite elements then noted, and the usual mythic algebra operations and functions performed on these new elements.
        By opposite, I mean pairs of static-dynamic elements. Even the space-time pair (s,t) can be a basic static-dynamic pair, if we define space as the field that allows differing elements to occur, and time as the force that allows change to occur, such as motion or mapping or any action.
        This makes a kind of reduction, but not reductive to the single operation of addition, as arithmetic does, and the edifice of mathematics built upon that. The properties of one level may not be predictable from the association links' principles at a different level, so no perfect reductionism exists. A structure can still be sketched to show how one group of associations may be arbitrarily defined as the next level's new basic elements:






Circled collections would be new element-points.
        With the newer elements we may have only a sketch of:




And such a rescaling of perspective itself need not be on a uniform scale measurable by arithmetic.
       However, natural science does model reality using levels of scaling of uniform numerical measure. We proceed from the units of ecology – whole organisms, to units of biology – body parts, to units of chemistry, to underlying physics, to theoretical mathematical models of the basis of physics. Each level uses numerical addition to construct the next level, but even here we get new properties unexpected and not predictable from earlier levels.
         Still, these new properties can usually be modeled with the same arithmetic-based mathematics that also is used for reduction between levels. The addition operation, using discrete numbers, does well to model nature. It is simply a starting fact without prior justification, such as is remarked upon mathematics by Wigner (1960).
         If additive numbers are just one aspect of a larger mythic algebra using * connections, then anything modeled by mathematics may have other real links missed by the traditional mathematics. It remains to prove such links and avoid the pitfalls of false analogies and wishful, magical thinking. And perhaps nature is so only because it is limited to arithmetical number-mathematics. But any emergent properties in nature may indicate the missing * links of the association operation.

5. New Math

I have always viewed askance any system of claims to knowledge that can’t be turned into a visual diagram or also into a structural symbolic system such as mathematics or logic, even though I consider all such systems merely provisional, pragmatic knowledge. Nonetheless, any long tome I consider as talking a subject to death without getting to any deep understanding. This is undoubtedly a bias of my own brain, and an urge to simplify and unify. Since words to me are mere labels, I look for symbols that convey real force, more reality than labels. Our scientific civilization has a few such systems, mainly of mathematics, and perhaps this has been its appeal to me, a feeling that it is truer than mere word labels. Yet such truths seem so limited, that one can believe that a better, truer mathematics is possible. Perhaps this has been an urge upon me, too.


References

Abbott, Edwin A. Flatland, A Romance of Many Dimensions, 1884 ed. www.gutenberg.org/ebooks/201

Blakney, R.B. Tao Te Ching. New York: Signet Classics, 2007.

Griffin, Michael. ‘Looking Behind the Symbol: Mythic Algebra, Numbers, and the Illusion of Linear Sequence.’ Semiotica 171, 2008, 1-13. www.mythicalgebra.blogspot.com/2015_01_01_archive.html

-- ‘More Features of the Mythic Spacetime Algebra.’ Journal of Literary Semantics 32, 2003, 49-72. www.mythicalgebra.blogspot.com/2014_11_01_archive.html


Law of thought, From Wikipedia, the free encyclopedia, last edited on 29 August 2019,
https://en.wikipedia.org/wiki/Law_of_thought#The_three_traditional_laws


Watts, Alan W. The Way of Zen. New York: Mentor Books, 1959.

Whitehead, Alfred North. Science and the Modern World: Lowell Lectures, 1925. New York: The Free Press, 1967.

Wigner, Eugene. ‘The Unreasonable Effectiveness of Mathematics in the Natural Sciences.’ Communications in Pure and Applied Mathematics, vol. 13, No. 20 (February 1960).
www.dartmouth.edu/~matc/MathDrama/reading/Wigner.html


Thursday, September 5, 2019







Silver, Modern, Green, Woman: My Two Favorite Superhero Comic Book Covers


By Michael Griffin, MLS






Abstract


The silver age cover for X-Men #50 is compared to Botticelli’s painting The Birth of Venus and the modern age cover for Harbinger #17. The contrast of subjects typifies the status of women’s liberation in western society at those times, 1968 and 1993, or second and third wave feminism. In the first, a woman is coming into her power. In the second, a woman is supported by a camouflaged man.

Keywords: camouflage, feminism, Harbinger, Venus, X-Men


Superhero comic books have an 80-year history to draw upon to pick out one's favorite covers. I am not doing that; instead, I am reflecting upon the two covers which naturally stand out to me as my clear favorites. One of them is certainly among the most popular silver age covers of all: Jim Steranko’s 1968 cover for X-Men #50, hereinafter referred to as X50. The other is little noticed or remarked upon: Howard Simpson's 1993 cover for Harbinger #17, which I will refer to as H17. While these two covers have many obvious differences, one can contemplate possible similarities and how each might embody the zeitgeist or spirit of its own age.


Steranko's X50 shows the debut of the character Polaris, mistress of magnetism. It is a kind of birth of Venus, and does bear comparison to Botticelli’s 1485 classic painting The Birth of Venus. In a mirror-reversal of the painting’s pose, a winged figure is still on the side opposite to the arm hanging down. Rather than covering her breast, Polaris is stretching out her hand to express power, perhaps channeling magnetism or just symbolizing her command of the situation. Venus and Polaris are both flanked by supporters, though the X50 cover teases that they may be fearful adversaries (they are not). X50 shows the birth of Polaris in a time of rising empowerment of women in America, called second wave feminism. Women’s liberation had moved beyond getting the vote and was now raising consciousness about social position. Superhero comics responded somewhat in kind (Madrid 2016). For example, the story inside X50 is of a mild-mannered young woman kidnapped by followers of the supervillain Magneto and turned into Polaris. Her natural powers had lain dormant until Magneto’s minions activated them. One may critique the story as not exactly feminist, yet the result is a newly empowered young woman who at story’s end maintains her independence.









Image 1
X-Men #50 cover Copyright © 1968 Marvel Comics.









Image 2
The Birth of Venus (Public Domain)


Let us now jump ahead in real time from 1968 to 1993. According to the Valiant Wikia, the H17 cover was drawn by Howard Simpson, inked by Bob Layton, and colored by Maria Beccari. It shows the young, single black female character Shatiqua carried in the arms of the character Camouflage. She looks possibly surprised, as if he has just scooped her up. Her own superpower is fast agility and reflexes, yet we don’t know if she will resist or hang on to him in approval. The cover is thus an effective tease to entice us to see what will happen inside the story. It is only a tease, since this scene does not occur in the story, but it does symbolize what occurs. Shatiqua invites Simon, or Camouflage, to attend a house party with her. At the party, Simon beats up Shatiqua’s domineering and abusive boyfriend, before leaving with agents of the Harbinger Foundation. Shatiqua and Simon are friends, and he protects her in a way.








Image 3
Harbinger #17 cover Copyright © 1993 Valiant Comics


A variety of further interpretations of this cover can fit the zeitgeists of its time and our present. The 1990s saw the rise of third wave feminism, broadening out to include issues of race and class, and superhero comics took this influence up to the present day (Cardo and Curtis 2018). Here we have an unremarked example, a woman of color supported by an invisible man, fitting the third-wave context of the post-women’s lib years. In our current 21st century we have further gender issues. A Jungian reading sees the animus, the male aspect hidden inside the woman.  Or a Jungian transgender reading sees the anima made flesh, the female aspect hidden inside the man  replacing the fading man. If we don’t look inside the story, there is no certain clue of Camouflage’s gender, in fact, except for a lack of any hairstyle indicating short hair more common to men in 1993.


The flexible utility of this cover owes to its true nature, which belongs to an art tradition in western civilization only a century old: camouflage art (Forbes 2009). Perhaps the H17 artists Simpson and Layton intended no more than a contribution to the camouflage art tradition, but the colorist Maria Beccari made the dominant wall color green, which fits original camouflage based on nature. However, the green of nature is a symbol of natural power, and now a further connection to X50 arises. Polaris has naturally green hair besides a green costume, and as such resembles a kind of nature goddess, which is fitting since she commands magnetism, a force of nature. Her aura of power casts the X-Men in a green light. Green is prominent on the H17 cover also, merely as the main color of the striped wallpaper. This green is in vertical panels and also designs running vertically along the wallpaper. And imagery of the wallpaper covers the character Camouflage as if it was lines of force channeled from nature. Since Camouflage is carrying the woman Shatiqua, it is as if she is supported by green lines of natural force, although she is obviously not in control of those forces like a nature goddess. She is not like Storm, the X-Men’s black African nature goddess who first appeared in 1975 (Dalbeto & Oliveira 2015).


So we do have a tonal contrast between covers. X50 shows an empowered young woman with those around her taken aback. Polaris floats in the air, a vertical orientation position. H17 shows a young woman taken off of her own feet by power, in a horizontal orientation. The third wave seems harder to control than the second wave, if we read gender politics into these covers. Was it so in society? At least in superhero comics, there was a proliferation of superheroines, including the X-Men (Campochiaro 2016).


And where are they now? Polaris has maintained her popularity and continues to appear with the X-Men today. She is even one of the main characters in the live-actors TV show The Gifted, a spinoff of the Marvel Cinematic Universe X-Men on Fox TV. Shatiqua was a lesser character who only lasted six more issues after H17. Camouflage joined the Harbinger B-Squad and last appeared in 1995. My shy introverted nature is drawn to the Camouflage character, while my anima also seems OK with either woman, in X50 or H17. These images of beautiful young women, self-empowered or supported by a camouflaged man, call to me. Influenced by their times, such covers remain as powerful symbols, the waves of force the women channel matching their waves of feminism, spreading out across space and time to reach our present day.








References


Botticelli, S. (1485) The Birth of Venus.
https://artsandculture.google.com/asset/the-birth-of-venus/MQEeq50LABEBVg
[Last accessed 1 March 2019].


Campochiaro, M. (2016). On X-(Wo)men and Third-Wave Feminism. Sequart
Sat, 6 February http://sequart.org/magazine/62699/on-x-women-and-third-wave-feminism/ [Last accessed 1 March 2019].


Cardo, V. and Curtis, N. (2018). Superhero Comics and Third Wave Feminism. Feminist Media Studies 18(3) DOI: https://doi.org/10.1080/14680777.2017.1351387


Dalbeto, L. do C. & Oliveira, A.P. (2015). Oh My Goddess: Anthropological Thoughts On the
Representation of Marvel’s Storm and the Legacy of Black Women in Comics . The Comics
Grid: Journal of Comics Scholarship . 5 ( 1 ) , p . Art. 7 . DOI: http://doi.org/10.5334/cg.bd


Drake, A (w), Steranko, J (p), & Tartaglione, J (i). City of Mutants. Uncanny X-Men #50 Nov. 1968 Marvel Comics
http://marvel.com/comics/issue/12500/uncanny_x-men_1963_50. [Last accessed 1 March 2019].


Fontenot, M (w), Simpson, H (p), Layton, B (i), & Mayo, G (i). Camouflage. Harbinger #17 May 1993 Valiant Comics
http://valiant.wikia.com/wiki/Harbinger_Vol_1_17. [Last accessed 1 March 2019].


Forbes, P. (2009). Dazzled and Deceived: Mimicry and Camouflage. Yale University Press.
ISBN: 978-0-300-17896-8.


Madrid, M. (2016). The Supergirls : Feminism, Fantasy, and the History of Comic Book Heroines.
(Revised and Updated). Exterminating Angel Press. ISBN:1935259334, 9781935259336





Tuesday, September 4, 2018


#archetypes  #hero

Intro for ebook of Imaginary Heroes:

I must confess that, 3 decades later, I no longer believe in much of what I wrote for this book, though it still has value for a couple reasons. First, it is a precursor to mythic algebra, showing the sources which developed into it. Also, the analysis of pop culture is still relevant and interesting if we merely relegate archetypes to the status of tropes, not instincts. My current attitude to psycho-dynamics is best summed up in my paper on Wonder Woman, which is part of the other ebook, Mythic Algebra. I quote its statements here:

"Mythic algebra can be used to model stories and show patterns. As a formal system, it may identify tropes for either the writer or reader, and the artist or viewer. While the choices of these tropes occur in a social context, aside from that they still may have a structure. Such formalism does not require determinism, but rather presents the most logical possibilities granted by the language ...

Could the ancient Greeks have ever imagined that their Furies would meet up with Wonder Woman thousands of years later? This hero cycle does not mean that all hero stories have to follow this structure, if only because any storyteller can embellish and improvise the tale to make it different. If hero cycles are universal - whether Campbell's, the tragic Greek, or their combination - they are only so as logical possibilities.

Heroes and villains don't have to change. The basic hero cycle is a kind of template, a starting point for anyone to fill in the blanks or alter the pattern. And part of the joy of humanity is the endless creativity we have to come up with new stories, even if they begin as revisions of myths."

The comments made about hero cycles can also apply to mythic algebra itself: a template of logical possibilities, a formal structure the brain may follow because of its utility to model reality, yet a model to transcend and improvise off of.



Wednesday, August 1, 2018

Special note for my "beta" readers: no one has ever contacted me but it seems there are six readers who faithfully follow my postings every month, in the USA, Germany and Russia. I'm guessing semiotics students. Before I format my blogs into 2 e-books I would like to hear any suggestions or criticism from you as to how I might update, revise or improve it. So for this month, I am opening up just this post for comments.

Sunday, July 1, 2018

Imaginary Heroes book section: Index

#archetypes  #hero












Friday, June 1, 2018

Imaginary Heroes book section: Bibliography

#archetypes  #hero





























Wednesday, May 2, 2018

Imaginary Heroes book section: Notes

 #archetypes  #hero