# geometrical arrangement

Geometrical arrangement by Busby Berkeley

Interview with Nikola Tesla from 1899

you are five and excitement flies in your stomach like the bright butterflies you saw last spring. and when snack time comes around, you bring out your samosas to share when the rest of the class shares their cookies and sandwiches. and the girl to your right, the one who is the prettiest, or so you think, she makes a face and squeezes her nose shut. for the next 13 years, you will learn to hide away the food you love in exchange for peanut butter & jelly sandwiches and lunchables.

you are seven and you explain to your mother how you will introduce Ganeshji to all your friends at ‘show and tell’. and your mother, the blessing she is, pride in her eyes and love on her lips, she nods excitedly, clapping as you finish. and it is time, and you, sweet & voracious seven year old, bring out your Ganeshji. that day at the playground the boys who chase around the girls yelling ‘cooties’, they instead snicker when they pass the swings, where you sit quietly, and they laugh at the “girl who believes in elephants.” for the remainder of your ‘show and tell’ career, you will bring pencils and baby dolls and toys, and your eyes will not light up.

you are thirteen and you are invited to your first birthday party. and when your mother picks out the dress she bought for you from india last summer, you smile and try it on. but as soon as she is gone, you rumple it up, only to throw it in the back of the closet. and you try on outfit after outfit, but nothing looks as good as the anarkali that lies in the back of your closet. and so you decide to wear it. ‘gorgeous’ claims your mother, tears in her eyes. she places a bindi, a small one, so as not to draw attention. but the cute boy, the one with the mesmerizing blue eyes and the smile that makes your heart flutter, he laughs pointing at your outfit. from that day forward, you will learn that heels and short dresses are the way to go.

you are fifteen and almost through high school. and one day you will bump into the girl who sat to your right 13 years ago. you bump into her at the local indian restaurant, as she orders ‘naan bread’ and ‘curry’, loudly exclaiming to her friends that she loves exotic food.
you are sixteen and the guys who laughed at you are all wearing white tees with Ganeshji printed in different geometric arrangements. and the girls from the playground, show off their tattoos of ‘namaste’ and ‘om’,
you are seventeen and the cute boy, the one with the blue eyes and the smile, he will claim to be attracted to “exotic” girls, he will say looking into your eyes.

you are eighteen, and prom is around the corner. heels and dresses - the way to go you have learnt throughout the years. but as you drape the chiffon brocade saree around your hips and your chest, you can’t but help realize that your saree fits so beautifully. the way it accentuates your curves and the way your black hair falls down your shoulders and the way your brown eyes twinkle in the sunlight and the way your bindi looks so perfect between your eyebrows.

and after a lifetime of storing away your culture in the big bags that your parents only took back to their homeland, you will finally understand that your culture is not a ornament, that is not only to be used by those who claim no pride in anything but the curry and the ‘namastes’, that no number of “color runs” will explain your culture, that is is not meant to be stuffed away.

your culture and history will define you.
you are the desi girl

—  dekhi lakh lakh pardesi girls, ain’t nobody like my desi girl (26/365) // b.d.
LAW #1: NEVER OUTSHINE THE MASTER

JUDGEMENT

Always make those above you feel comfortably superior. In your desire to please and impress them, do not go too far in displaying your talents or you might accomplish the opposite—inspire fear and insecurity. Make your masters appear more brilliant than they are and you will attain the heights of power.

TRANSGRESSION OF THE LAW

Nicolas Fouquet, Louis XIV’s finance minister in the first years of his reign, was a generous man who loved lavish parties, pretty women, and poetry. He also loved money, for he led an extravagant lifestyle. Fouquet was clever and very much indispensable to the king, so when the prime minister, Jules Mazarin, died, in 1661, the finance minister expected to be named the successor. Instead, the king decided to abolish the position. This and other signs made Fouquet suspect that he was falling out of favor, and so he decided to ingratiate himself with the king by staging the most spectacular party the world had ever seen. The party’s ostensible purpose would be to commemorate the completion of Fouquet’s château, Vaux-le-Vicomte, but its real function was to pay tribute to the king, the guest of honor.

The most brilliant nobility of Europe and some of the greatest minds of the time—La Fontaine, La Rochefoucauld, Madame de Sévigné attended the party. Molière wrote a play for the occasion, in which he himself was to perform at the evening’s conclusion. The party began with a lavish seven-course dinner, featuring foods from the Orient never before tasted in France, as well as new dishes created especially for the night. The meal was accompanied with music commissioned by Fouquet to honor the king.

After dinner there was a promenade through the château’s gardens. The grounds and fountains of Vaux-le-Vicomte were to be the inspiration for Versailles.

Fouquet personally accompanied the young king through the geometrically aligned arrangements of shrubbery and flower beds. Arriving at the gardens’ canals, they witnessed a fireworks display, which was followed by the performance of Molière’s play. The party ran well into the night and everyone agreed it was the most amazing affair they had ever attended.

The next day, Fouquet was arrested by the king’s head musketeer, D’Artagnan. Three months later he went on trial for stealing from the country’s treasury. (Actually, most of the stealing he was accused of he had done on the king’s behalf and with the king’s permission.) Fouquet was found guilty and sent to the most isolated prison in France, high in the Pyrenees Mountains, where he spent the last twenty years of his life in solitary confinement.

Interpretation

Louis XIV, the Sun King, was a proud and arrogant man who wanted to be the center of attention at all times; he could not countenance being outdone in lavishness by anyone, and certainly not his finance minister. To succeed Fouquet, Louis chose Jean-Baptiste Colbert, a man famous for his parsimony and for giving the dullest parties in Paris. Colbert made sure that any money liberated from the treasury went straight into Louis’s hands. With the money, Louis built a palace even more magnificent than Fouquet’s—the glorious palace of Versailles. He used the same architects, decorators, and garden designer. And at Versailles, Louis hosted parties even more extravagant than the one that cost Fouquet his freedom.

Let us examine the situation. The evening of the party, as Fouquet presented spectacle on spectacle to Louis, each more magnificent than the one before, he imagined the affair as demonstrating his loyalty and devotion to the king. Not only did he think the party would put him back in the king’s favor, he thought it would show his good taste, his connections, and his popularity, making him indispensable to the king and demonstrating that he would make an excellent prime minister. Instead, however, each new spectacle, each appreciative smile bestowed by the guests on Fouquet, made it seem to Louis that his own friends and subjects were more charmed by the finance minister than by the king himself, and that Fouquet was actually flaunting his wealth and power. Rather than flattering Louis XIV, Fouquet’s elaborate party offended the king’s vanity. Louis would not admit this to anyone, of course—instead, he found a convenient excuse to rid himself of a man who had inadvertently made him feel insecure.

Such is the fate, in some form or other, of all those who unbalance the master’s sense of self, poke holes in his vanity, or make him doubt his pre-eminence.

When the evening began, Fouquet was at the top of the world.
By the time it had ended, he was at the bottom.
Voltaire, 1694-1778

OBSERVANCE OF THE LAW

In the early 1600s, the Italian astronomer and mathematician Galileo found himself in a precarious position. He depended on the generosity of great rulers to support his research, and so, like all Renaissance scientists, he would sometimes make gifts of his inventions and discoveries to the leading patrons of the time. Once, for instance, he presented a military compass he had invented to the Duke of Gonzaga. Then he dedicated a book explaining the use of the compass to the Medicis. Both rulers were grateful, and through them Galileo was able to find more students to teach. No matter how great the discovery, however, his patrons usually paid him with gifts, not cash. This made for a life of constant insecurity and dependence. There must be an easier way, he thought.

Galileo hit on a new strategy in 1610, when he discovered the moons of Jupiter. Instead of dividing the discovery among his patrons—giving one the telescope he had used, dedicating a book to another, and so on—as he had done in the past, he decided to focus exclusively on the Medicis. He chose the Medicis for one reason: Shortly after Cosimo I had established the Medici dynasty, in 1540, he had made Jupiter, the mightiest of the gods, the Medici symbol—a symbol of a power that went beyond politics and banking, one linked to ancient Rome and its divinities.

Galileo turned his discovery of Jupiter’s moons into a cosmic event honoring the Medicis’ greatness. Shortly after the discovery, he announced that “the bright stars [the moons of Jupiter] offered themselves in the heavens” to his telescope at the same time as Cosimo II’s enthronement. He said that the number of the moons—four—harmonized with the number of the Medicis (Cosimo II had three brothers) and that the moons orbited Jupiter as these four sons revolved around Cosimo I, the dynasty’s founder. More than coincidence, this showed that the heavens themselves reflected the ascendancy of the Medici family. After he dedicated the discovery to the Medicis, Galileo commissioned an emblem representing Jupiter sitting on a cloud with the four stars circling about him, and presented this to Cosimo II as a symbol of his link to the stars.

In 1610 Cosimo II made Galileo his official court philosopher and mathematician, with a full salary. For a scientist this was the coup of a lifetime. The days of begging for patronage were over.

Interpretation

In one stroke, Galileo gained more with his new strategy than he had in years of begging. The reason is simple: All masters want to appear more brilliant than other people.

They do not care about science or empirical truth or the latest invention ; they care about their name and their glory. Galileo gave the Medicis infinitely more glory by linking their name with cosmic forces than he had by making them the patrons of some new scientific gadget or discovery.

Scientists are not spared the vagaries of court life and patronage. They too must serve masters who hold the purse strings. And their great intellectual powers can make the master feel insecure, as if he were only there to supply the funds—an ugly, ignoble job. The producer of a great work wants to feel he is more than just the provider of the financing. He wants to appear creative and powerful, and also more important than the work produced in his name. Instead of insecurity you must give him glory. Galileo did not challenge the intellectual authority of the Medicis with his discovery, or make them feel inferior in any way; by literally aligning them with the stars, he made them shine brilliantly among the courts of Italy. He did not outshine the master, he made the master outshine all others.

KEYS TO POWER

Everyone has insecurities. When you show yourself in the world and display your talents, you naturally stir up all kinds of resentment, envy, and other manifestations of insecurity. This is to be expected. You cannot spend your life worrying about the petty feelings of others. With those above you, however, you must take a different approach: When it comes to power, outshining the master is perhaps the worst mistake of all.

Do not fool yourself into thinking that life has changed much since the days of Louis XIV and the Medicis. Those who attain high standing in life are like kings and queens: They want to feel secure in their positions, and superior to those around them in intelligence, wit, and charm. It is a deadly but common misperception to believe that by displaying and vaunting your gifts and talents, you are winning the master’s affection. He may feign appreciation, but at his first opportunity he will replace you with someone less intelligent, less attractive, less threatening, just as Louis XIV replaced the sparkling Fouquet with the bland Colbert. And as with Louis, he will not admit the truth, but will find an excuse to rid himself of your presence.

This Law involves two rules that you must realize. First, you can inadvertently outshine a master simply by being yourself. There are masters who are more insecure than others, monstrously insecure; you may naturally outshine them by your charm and grace.

No one had more natural talents than Astorre Manfredi, prince of Faenza. The most handsome of all the young princes of Italy, he captivated his subjects with his generosity and open spirit.

In the year 1500, Cesare Borgia laid siege to Faenza. When the city surrendered, the citizens expected the worst from the cruel Borgia, who, however, decided to spare the town: He simply occupied its fortress, executed none of its citizens, and allowed Prince Manfredi, eighteen at the time, to remain with his court, in complete freedom.

A few weeks later, though, soldiers hauled Astorre Manfredi away to a Roman prison. A year after that, his body was fished out of the River Tiber, a stone tied around his neck. Borgia justified the horrible deed with some sort of trumped-up charge of treason and conspiracy, but the real problem was that he was notoriously vain and insecure. The young man was outshining him without even trying. Given Manfredi’s natural talents, the prince’s mere presence made Borgia seem less attractive and charismatic. The lesson is simple: If you cannot help being charming and superior, you must learn to avoid such monsters of vanity. Either that, or find a way to mute your good qualities when in the company of a Cesare Borgia.

Knowing the dangers of outshining your master, you can turn this Law to your advantage. First you must flatter and puff up your master. Overt flattery can be effective but has its limits; it is too direct and obvious, and looks bad to other courtiers. Discreet flattery is much more powerful. If you are more intelligent than your master, for example, seem the opposite: Make him appear more intelligent than you. Act naive. Make it seem that you need his expertise. Commit harmless mistakes that will not hurt you in the long run but will give you the chance to ask for his help. Masters adore such requests. A master who cannot bestow on you the gifts of his experience may direct rancour and ill will at you instead.

If your ideas are more creative than your master’s, ascribe them to him, in as public a manner as possible. Make it clear that your advice is merely an echo of his advice.

If you surpass your master in wit, it is okay to play the role of the court jester, but do not make him appear cold and surly by comparison. Tone down your humor if necessary, and find ways to make him seem the dispenser of amusement and good cheer. If you are naturally more sociable and generous than your master, be careful not to be the cloud that blocks his radiance from others. He must appear as the sun around which everyone revolves, radiating power and brilliance, the center of attention. If you are thrust into the position of entertaining him, a display of your limited means may win you his sympathy. Any attempt to impress him with your grace and generosity can prove fatal: Learn from Fouquet or pay the price.

In all of these cases it is not a weakness to disguise your strengths if in the end they lead to power. By letting others outshine you, you remain in control, instead of being a victim of their insecurity. This will all come in handy the day you decide to rise above your inferior status. If, like Galileo, you can make your master shine even more in the eyes of others, then you are a godsend and you will be instantly promoted.

Image:
The Stars in the
Sky. There can be only
one sun at a time. Never
obscure the sunlight, or
rival the sun’s brilliance;
rather, fade into the sky and
find ways to heighten
the master star’s
intensity.

Authority: Avoid outshining the master. All superiority is odious, but the superiority of a subject over his prince is not only stupid, it is fatal. This is a lesson that the stars in the sky teach us—they may be related to the sun, and just as brilliant, but they never appear in her company. (Baltasar Gracián, 1601-1658)

REVERSAL

You cannot worry about upsetting every person you come across, but you must be selectively cruel. If your superior is a falling star, there is nothing to fear from outshining him. Do not be merciful—your master had no such scruples in his own cold-blooded climb to the top. Gauge his strength. If he is weak, discreetly hasten his downfall: Outdo, outcharm, outsmart him at key moments. If he is very weak and ready to fall, let nature take its course. Do not risk outshining a feeble superior—it might appear cruel or spiteful. But if your master is firm in his position, yet you know yourself to be the more capable, bide your time and be patient. It is the natural course of things that power eventually fades and weakens. Your master will fall someday, and if you play it right, you will outlive and someday outshine him.

ACE AIR: LINDA HANG

Program: Ace AIR
Location: Ace Hotel New York
Date of Stay: 09.10.17
Artist: Linda Hang

Linda Hang (aka L Z) created a marker-tip on paper work titled Rug 1 during her night at Ace Hotel New York. The piece reveals Linda’s interest in working across different media, creating this particular “rug” out of repeating forms and color patterns in playful geometric arrangements. The functional borders at the edges, plant-like constructions in the corners, and waving lines within the open spaces affirm both the abstract and practical applications of Rug 1

FIST is the NYC studio of L Z Hang, a multidisciplinary artist who works in photography, painting, publishing, artist books, textiles, sculpture, and performance. Weaving distant cultural ingredients, she gathers esoteric patterns from the structures of her research. In composing these tapestries, what emerges is an itinerant discovery of form and dynamism, inherent and persistent in all complexities of matter regardless of the origination.

This September, Ace AIR is curated by Printed Matter. Founded in 1976, Printed Matter is the world’s leading non-profit organization dedicated to the dissemination, understanding and appreciation of artists’ books. Located at 195 Tenth Avenue, Printed Matter maintains an expansive inventory of over 37,877 titles from more than 27,080 artists, and produces both the New York Art Book Fair and LA Art Book Fair

Ellsworth Kelly - Spectrum Colors Arranged by Chance III, 1951

Robert Morris, ‘Untitled’, 1965

Morris’s Minimalist sculptures of the mid-1960s consist of rigorously pared down geometric forms. He typically arranged these into ‘situations’ where ‘one is aware of one’s own body at the same time that one is aware of the piece’. This work demonstrates the principle. As the viewer walks around the four cubes, their mirrored surfaces produce complex and shifting interactions between gallery and spectator.

4

Esther (1865) John Everett Millais.

Soon after seeing Millais’ work, Anne Thackery, daughter of William Thackery, wrote “I cannot help longing to know the fate of ‘Esther’… after she went in through the curtains.”  The Biblical Queen had long been a popular subject for artists from the Renaissance to the nineteenth century’s Pre-Raphaelite Brotherhood, who thrilled in the dramatic Old Testament tale of the great Hebrew beauty’s daring courage. However, Millais’ work is unique in that he chooses to depict Esther without obvious narrative force; instead, he captures an intermittent scene where she “put on her royal apparel, and stood in the inner court of the king’s house” (Esther, 5:1), preparing to set in motion an elaborate plan to defend her people from King Ahasuerus’ genocide. The story of Esther is translated into the aesthetic possibilities of a woman dressed in an elaborately brocaded grown, grasping a crown in one hand, her other pulling beads through her long auburn tresses. The tense mood of the moment is revealed in color contrasts and geometric arrangements, as the Queen seems poised to push through the heavy blue curtains.

A few thoughts on metalbending

While I was browsing the Legend of Korra article on TVtropes, I noticed some rather cutting commentary on some of the metalbending characters:

The second one’s particularly interesting. Better commentators than me have pointed out how we think of characters like Suyin, Lin, and Kuvira primarily as “metalbenders” rather than earthbenders. Also given how prominently metalbending featured in books 3 and 4, I thought I’d take a closer look.

## Jahn-Teller Metals- A new state of matter!.

A metal, an Insulator, a Superconductor and a Magnet- All in one.That’s what this newly discovered state of matter called Jahn-Teller metals is!

## How did they discover this?

A group of scientists from Tokuhu University in Japan introduced Rubidium into BuckyBalls( carbon-60 molecules ) and were able to change the distance between them. The Rubidium atoms due to their large size apply pressure on the carbon atoms and this lead to a new crystalline structure with the above-mentioned properties.

## Why is it called “Jahn-Teller Metals”?

It is named after the Jahn-Teller effect. This effect is used to describe how at low pressures, the geometric arrangement of molecules and ions in an electronic state can become distorted.

What happens in a Jahn-Teller metal is that as pressure is applied, and as what was previously an insulator - thanks to the electrically-distorting Jahn-Teller effect - becomes a metal.

## The Future.

Although a ton of research is to be done before this might become a household term, but this new state is promising. Scientists have never been able to convert insulating material into superconducting materials, but with the discovery of Jahn- Teller metals, we might be able to make that possible!

Hypothetical question. If I were to be transported onto a star ship, major city, or basically any populated place within the Katric system, How would I be able to discern Ai to Organics? Is there certain noticeable features, or could i be surrounded by robots and never realize it?

“Biological mimicry has gotten fairly close with regards to A.I. avatars, however, it becomes more expensive the closer it gets. Some of the more highly developed, iterative design avatars like myself are nigh-indiscernible from organics, so geometric patterns are arranged on the fur coats as just a reminder. Most avatars are identifiable through fur coat, seams, sounds, movement or other factors, but some designed to blend in can do so well, they’re just not the average.”

Date a girl with dark blue skin and glowing white freckles arranged in geometric patterns

• me: *sees random arrangement of geometric shapes*
• me: what kind of perfume teas...
8

Geometric Arrangements of Colorful Glass Reflect Patterns of Light

Given his last name, you wouldn’t immediately expect that Cambridgeshire-based artist Chris Wood’s material of choice is delicate pieces of glass. Using small squares, Wood designs captivating arrangements and relies on light and reflection to influence his colorfully dazzling final products.

Are minerals, rocks, gems and crystals all the same thing? I'm kinda confused here

Minerals are a specific chemical compound or a group of very similar compounds that solidified together. Crystals are what happen when a mineral solidifies out of a solution in a stable geometric arrangement and forms faces. You don’t need all possible sides for it to be a crystal so you could make the argument that just one side can make a crystal. Gems are open to interpretation but it generally refers to a transparent bit of a mineral. Rocks are multiple minerals jumbled together.

2

Friends! I’m playing around with a new series and calling it JSTOR: Beyond the Book, where we take popular non-fiction and fiction titles and direct you to journal articles on JSTOR that enhance your reading experience. Maybe the author cites articles and you can find their original research on JSTOR, or there are first-hand accounts of a historical event, or even just really great background information.

First up: Devil in the White City by Erik Larson

From Amazon: "Erik Larson—author of #1 bestseller In the Garden of Beasts—intertwines the true tale of the 1893 World’s Fair and the cunning serial killer who used the fair to lure his victims to their death. Combining meticulous research with nail-biting storytelling, Erik Larson has crafted a narrative with all the wonder of newly discovered history and the thrills of the best fiction.“

Journal articles about the 1983 Chicago World’s Fair published in 1893-1894: these are real-time accounts of the White City and the entire list of (free!) articles can be found here. A few of interesting individual articles below.

• Exhibit of Games in the Columbian Exposition - A detailed description of games and puzzels from around in the world in the Anthropological Building
• The Decorative Uses of Electricity at the Columbian Exposition -  "By far the most striking exhibit was that made by the General Electric Company, on the main floor. The central piece of display was the great Edison Tower of Light, the tall shaft extending almost to -the roof of the colonnade, the whole studded with miniature incandescent lights, arranged in geometrical figures of red, orange and purple. These were wired on various circuits, each connected with a separate key on the keyboard, so that a variety of combinations, both of shapes and colors, could be brought into action by the simple pressure of the proper keys. The tower was surmounted by a huge model of the Edison lamp, constructed of forty-thousand prisms of glass carefully wired-to an iron framework within. The bulb was ten feet high. The total number of lamps was eight thousand, being equivalent to the light of fifty thousand sperm candles.”
• Tiffany Glass and Decorating Company’s Exhibit at the Columbian Exposition - cool picture of a Tiffany Glass window on this one.

Let me know what you think of this endeavor, and I’ll tag everything in this series #JSTOR beyond the book. And if you have any suggestions or ideas, send a me a message. Happy reading!