Rules systems for play and progress. When you choose, do you divide the infinite?
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Arguing well - by which I mean accurately - generally requires a sense of humor, or at least of play.
We believe good debate is the verbal equivalent of what a gladiator does. Gladiators are dead serious. Consequently, as would-be gladiators, we heft our swords and scan for anything that moves and carries a weapon. Seeing an enemy, we narrow our eyes and crouch, readying sword and buckler.
By debating in this style, we eventually fail to catch good arguments even when swimming in a caldera of them. To burst a metaphor (or stretch it so far it's silly): gladiators don't have time to pause and scoop up blood in their hands and taste some, let alone fake blood, let alone find a blue rose or a zipline off the ground to safety. We're aiming for the jugular, not focusing on evidence, logic, compassion, and imagination - all of which are required for good debate.
You can't prove anything without humoring fallibility: the possibility what you're saying is totally wrong. Therefore you shouldn't equate someone else making a good point (or even just trying), up-front, with your own bloody death, or that of someone you love. If you don't have the stomach to start with the notion that you may be 100% confused, don't expect to settle an issue.
Good debate, if anything, is much more like Tai Chi or Aikido. You relax. You do what Bruce Lee suggested: you "flow like water." You attune to changing arrangements quickly. You let everything happen and just barely tip the existing energies here or there as if they were your own, where needed. In a word, you play.
Maybe you look unconcerned or lazy, but no one can defeat you, because you operate according to nature's contours, rather than your valiant preconceptions of them.
You truly "win" a debate when an idea you put forward matches reality, not because you huffed and puffed and blew someone's house down.
Proof - whether scientific or social - means walking us from the beginning proposition that an idea is totally wrong - while taking fair, transparent, verifiable steps - to the proposition that it's most likely right. You squeeze out uncertainty to establish an idea. If you don't start out uncertain, there's nothing to squeeze. Without squeezing, there is no proving.
This runs counter to our received image of the self-assured contestant. But watch the best ones carefully, the ones with a long track record of right answers, practical ideas, and cogent arguments for them. You'll see they have the boldness to allow and even invite and compliment challenges. In truth, while they project or even feel confidence, the pattern isn't confidence so much as it's the necessary foundation for proving anything. Start with a blank slate. Flow like water. Let the best ideas win. Allow any idea to try. Don't reflexively stab it as if it's trying to kill you. You aren't that weak, and reality is far stronger still.
Because you are not really threatened, you can humor even the ideas that would horrify you if they happened to be true. You know discussion is not reality, but a reflection. You can observe a solar eclipse from its shadows. These are the words of a debate. These are play. The play is a critical component. Without it, you either don't look, or your eyes are damaged.
When you argue from a (perhaps fearful) position of complete certainty, not only are you too rigid, but technically, as I just suggested, you can prove nothing of what you're out to prove. Proof exhales and releases uncertainty; without initial uncertainty, proof has nothing to breathe. You can't get an A on the test without taking the test, which means showing up and allowing the possibility of getting it all wrong. And you don't deserve an A on the test if you go in with a list of all the right answers, previously verified. It's the uncertainty that makes it a valid test. This is true of all proof.
Consequently, you need to humor arguments that undermine what you're trying to prove. To try to blot them out, forbid them, or shame anyone who mentions them is simply cheating.
(You probably are not aware that you are cheating. Our culture does a poor job of making sure everyone understands these natural rules of dialectic, or good argument - which in practice must be softer than mathematical or scientific proof, not harder, to keep discussion going. You're forgiven, at least by me, for cheating without realizing it. But now you know.)
Discussing extremely serious issues while humoring ideas you disagree with generally requires a sense of humor, or at least of play - and using it.
If you can maintain this sense, and the other parties can, you can have a good discussion.
If you can't, it will threaten your relationships even to talk, which means it won't be a particularly good, open, or informative discussion, in all likeliness.
There's a basic mechanic to all this. Good debate isn't a total mystery. It works according to natural rules, much the way your car engine does. When it breaks down, there are reasons. When the car responds to the accelerator, there are reasons.
The tragedy of modern democracy is that if everyone knew this, democracy would be 10x more effective, if not 100x more effective.
mardi 24 août 2021
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We accept numbers as infinitely precise - for example, pi cannot be fully expanded in digits. Yet we balk at numbers that are infinitely wide - for example, the number of integers.
The number of integers is less than the number of complex numbers. That we can compare them this way, and discuss them this way, suggests they are numbers, even though they are not finite.
Of course, we can define numbers to be anything we want. My right pinky's nail is a number because I say so, and according to the little game of conversation we're playing, in which we get to choose the terms, that's actually true.
But I'm not saying that. I'm saying that infinity is remarkably like other math objects we call numbers.
dimanche 15 août 2021
dimanche 8 août 2021
78, 56, 22, 4x14, 21+1, 40, 16, 4x10, 4x4.
You may wonder where these numbers come from. I did. And I've been asked the question by several curious minds. Mainly, people want to know, "Why 78?"
Either way, it turns out that for tarot cards there are especially sound reasons for the numbers 56 and 21, and, by extension, albeit to a lesser extent, to 22 and 78.
If you look back to around 1100 CE, when the first Chinese domino sets appear in the record, they have two suits of 11 ranks (give or take one). 11 is a non-random number. A suit of Chinese dominoes is marked to represent the 11 different outcomes you can get from rolling 2 ordinary (ie, cubic) dice and adding the faces: 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12. That's 11 different sums you can get. Now, in the most common Chinese domino set, the second suit is 10 dominoes. This is presumably because 10 is the number of fingers, is similar enough to 11, and when you add both, you get 21. And 21 is another special number.
Why is 21 special? Because this is the number of different outcomes you get when you roll two dice but don't add the faces, merely reporting them both, not caring about the order. This is by far the most natural way to think about a pair of dice you've just rolled. "I rolled two 6s" or "I rolled 3 and 7" the simplest way to read dice, possible even for those who don't know any arithmetic. Players had been using dice for millennia before the invention of die rolls on tiles (ie, dominoes). The numbers 11 and 21 showed up on dominoes because they were familiar to players who understood enough to strategize, and, more importantly, were familiar to the designers of the tiles.
Now, that's dominoes, but what about cards? First of all, cards derive from dominoes: the earliest cards were paper dominoes either drawn by hand or printed in woodblock presses. Consequently, the patterns of 11 and 21 in dominoes form the starting point for playing card decks. In the modern 52 card pattern, all suits have 13 ranks, not 11. Well, games evolve. The original idea of 11 was lost along the way, along with taking the cards literally as either paper dominoes or symbols of dice outcomes. You can still see the resemblance to dice in the array of, say, diamonds on the 6 of diamonds, or clover leaves in the 4 of clubs, or really the pattern on any number card. By some route or other, two Chinese domino suits eventually became four card suits. Now, similar multi-suit and different-rank-count ideas were tried with dominoes, and we can't say for sure that there weren't identical 52-domino sets first. But whatever account you believe, there was plenty of variation across the centuries in the empires that played these games. Card and domino suit patterns came and went. Some are mentioned in documents but lost, some exhibited in museums, some even still in play.
Tarot is interesting, not only because there are more tarot variants than any other category of card game, but also because the original, traditional tarot deck has 4 suits that are even bigger than in the casino deck (14 ranks, not 13 as in your favorite regular card game, nor 11 as in Chinese dominoes). And it also has this extra suit that goes up to 21. Now, contrary to popular belief, trump suits were not a new idea in 15th century Milan, when tarot was invented. But illustrated permanent trumps appear to have been. In most games, the trump suit changed on the fly; in tarot, it was always the fifth suit, the suit of 22 illustrated majors. The question is: Do we believe the 21 + 1 cards - the number of combinations a pair of dice can take on - plus The Fool for 0 - added to the deck are a coincidence?
We might believe it's a coincidence. Stranger things have happened.
What about the 56, though? Does that mean something?
56 is to three dice as 21 is to two dice. Each different combination of 3 dice corresponds to a different, unique minor card, and all of the minor cards are given an ID this way. Just as you can pick any of the 21 majors with a roll of 2 dice, you can pick any of the tarot minors with a roll of 3 dice.
The same, again, goes for the 21 regular trumps. Each corresponds to a unique result of rolling two dice.
What about The Fool, though? Why is he there, and doesn't he break the scheme? Well, yes, sort of.
There are precedents for dominoes representing 0, not just 1-6. For example, the modern European-style set contains 28 dominoes, corresponding to all the rolls (combinations) of, well, a pair of mythical 7-sided dice with faces 0-6. There is no 7-sided die in existence, at least not in a regular shape with congruent faces. But the European dominoes pretend there is, to put 0 into the mix.
Now, ok, let's summarize. What have we got? We have 56 majors (a familiar 52-card deck with one extra rank), all of which are IDed by the different patterns you get with 3 dice. We have 21 minors, which are IDed by the different patterns you get with 2 dice. In this sense, the 77 cards can be mapped to, or addressed by, if you will, 5 dice. And beyond all that, we have the weirdo wild man, The Fool, whose 0 means both high and low, and allows him to infiltrate any rank or suit.
Let's go back to the minors for a minute, remembering that we have still temporarily banished The Fool from the majors.
If you isolated the 56 minors and drew a card at random, that would be equivalent to rolling 3 dice and reading off the numbers the way anyone would around the world (ie, not caring about the order, which mathematically means you are reporting what's called the combination). Ok: not perfectly equivalent, because the probabilities of the 56 dice outcomes are not balanced. That is, snake eyes (1 and 1) is only half as likely as getting, say, 1 and 2. But if we ignore the unevenness of the probabilities, 3 dice will nevertheless map to the 56 minors, and so you can perfectly accurately see each minor card as symbolizing a unique outcome from a roll of 3 dice. (Forgive me for getting repetitive here.)
If you put the 21 majors back in the deck for a total of 77 cards, and then drew one, this would not, however, be equivalent to rolling 5 dice. It almost would, but it wouldn't. Why? Let's say you colored 2 of them blue and 3 of them green. When you roll all 5 dice, you get a pattern on the blue dice (one of the majors is thereby selected) and also a pattern on the green dice (one of the minors is thereby selected). From that roll of 5 dice, which card is chosen? The answer is: two different cards are chosen, a major and a minor. Just the die roll is not enough to say which of the two cards is the "right" one selected by rolling dice.
Still, we're getting pretty close to converting a tarot deck into the dice that gave birth to it centuries earlier.
Can we do any better? And what about The Fool? Can he come back to the tavern and join the revelry?
Let's use a trick. The Fool might like that (especially if he were teaming up with The Magician, but that's neither here nor there).
Notice that if a die roll needs to select either a major (from the 22) or a minor (from the 56), that means that you will be reading either from two dice or from three dice. So, actually, do we need all 5 dice at once? Or even all? We need either 2 dice or 3 dice, plus a method to decide whether we're going to use 2 or 3. Fortunately, if we only need 2 dice, it doesn't hurt to have rolled 3. So we can always go ahead and roll 3 dice, and read either 2 of them or all 3, depending on some other command.
Where could that command come from?
Ok, that sounds believable. Now, how many majors are there? 22. How many minors? 56. What's the ratio? 22:56. Hmmmm, can't be reduced. What if we kick The Fool out of the tavern again, for a minute. 21:56. Can it be reduced? Yes!
It reduces by a common factor of 7, and you get 3:8. What does that mean? It means that when we draw a card, 3/11 of the time, we draw a major, and 8/11 of the time, we draw a minor. (That is, provided we've banned The Fool.) This is particularly handy, because, remember, 11 is one of the canonical numbers with a pair of ordinary, cubic dice. If you add the two faces, you get 11 different possible outcomes.
Ok. Let's try to use this trick.
We roll 3 dice, not knowing whether we will read 2 of them (and then draw a major card) or all 3 (and then draw a minor card). To answer that question, we roll another 2 dice, add the two faces, and look at the outcome. After 3 of the outcomes - say, sums of 2, 3, or 4 - we will read 2 of the other dice and draw a major. After the other 8 outcomes, we will read all 3 of the other dice and draw a minor.
As before, the probabilities are not equal. For example, an outcome of 7 is much more likely (6x more) than an outcome of 2. So in this current scheme, we will get a major card less often via the dice method than if we were simply drawing shuffled cards. However, it's still interesting to note that if we roll the dice repeatedly, we now have a method that will eventually get to every one of the cards. Except The Fool, of course, because we banished him.
It turns out that we needn't have banished him, really. When you draw from a pile of the 22 majors, 1/22 of the time, you will get The Fool. If we draw from the whole deck, it's 1/78 of the time. But we've already admitted that our probabilities are off in the dice method. So all we really need to do is attach a particular die outcome to The Fool and go on our way. Let's give The Fool 12. So, whenever the two special dice both come up as 6, that means that instead of consulting all 3 other dice, or 2 of them, we simply ignore them and choose The Fool. This does mean that The Fool is replacing one of the situations where we would have drawn a minor. But we already noticed that the minors were overrepresented in the probabilities. While there are 11 sums of two dice and 21 combinations, there are 36 permutations, and double-6 is exactly one of those permutations. This means that according to our current scheme, The Fool will be drawn 1/36 of the time, rather than 1/78, or about twice as often as he should be.
The neat thing, though, is that we now have a method for using a single roll of 5 dice to select potentially any tarot card. The probabilities are a bit off, but they could be tweaked. Interestingly, since we don't use one of the 3 initial dice about 3/11 of the time, we could perhaps ask that die to serve an extra role, and get ride of one of the 2 extra determining dice. So even though tarot corresponds closely to the probabilistic structures emanating from 2+3 dice, I think we could pull off a similar drawing-any-card-with-dice feat with only 4 dice. However, I have to think about this. I'm not sure whether that approach would preserve all 78 mapped cards.
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When you chant that the book is ALWAYS VASTLY SUPERIOR, you do several things on a socioaffective level that you may not be reflecting on closely. Most obviously, you're taking the opportunity to share that you have read the book. Because books still tend to carry more intellectual prestige than movies, this in itself could be simple self-aggrandizement. Still, room for sharing, of course, and what's the worst that could happen - someone thinks you're annoying, or feels down about not reading more themselves? (Real feelings! And ones I've experienced! But limited in scope.) Next, with ALWAYS you not-so-subtly claim that books are the VASTLY SUPERIOR medium. Clever you. Third, you position yourself as a connoiseur fit to judge such sweeping claims. Oh my knees tremble. Fourth, you put yourself with the "us" who say such things, so you give yourself a community. Fifth, you may be brushing aside the opinions and feelings of others about a fundamentally subjective question. Sixth, you self-assuredly show no sign of humility about the probably vast quantity of books and movie renditions out there that you have not yet encountered. Aren't you so charmingly confident.
Listen, it ends up being a very personal and even situational thing. For example, everyone thinks the Peter Jackson Lord of the Rings adaptations are about as good as anything can get. I thought... they were ok. Really not bad. Quite decent. Even good. Sometimes excellent. But they mostly did not capture how I felt about the books as a kid. That's an issue. For me. I hate the way the orcs look, for example. They look stupid and Hollywoody. The battle scenes are pretty boring and take up too much time, relatively speaking. It doesn't quite feel like a travelogue in a mysterious land full of secrets in runes. Again, for me. And so on.
You might say that's because the book is ALWAYS VASTLY SUPERIOR, and that might be an adequate explanation for you. I'm not particularly criticizing the movies, either. I do feel they're better than I have much right to expect, and I admire and wonder at the work and care that went into them, and don't begrudge them any success or praise.
Meanwhile, take an "unfilmable" book like Fear and Loathing in Las Vegas, and a film adaptation that plenty of people panned (Terry Gilliam's, so far the only one). You know what? I like the movie better than the book. On some level it's just a morally irreponsible story, but I think the visual feast and actorly fireworks are even more extraordinary than the delirious travelogue. I don't have to justify it. And I'll admit I saw the movie first, then read the book. But it could still have gone the other way: I could have thought, damn, this book is so much better. Instead, I thought it was a little flat after I'd already seen the whole idea play out multiple times. There were some extra reflections, and those were nice, but... who cares? Does introspection make the book ALWAYS VASTLY SUPERIOR? (I'm an almost unnaturally introspective person; maybe it's like pomegranates at a pomegranate orchard.) It hardly surprises me that some introspections didn't make it to the screen. The question then becomes: are these so great and worthwhile that they override my feeling that I miss the movie? To be sure, I'm not claiming the filmed version is better. I'm saying that, for an attempt to film an unfilmable book, it vastly exceeded my expectations, to the extent that I personally prefer the result, given the choice between the two. Here, the difference was not less than, but greater than usual: not just a book, but "unfilmable." This isn't supposed to happen!
Or what about an example like Jurassic Park? I saw the movie first, and given that Michael Crichton had directed films based on his stories before, and the novel was filmed, you have to suspect that he wrote the book with the silver screen somewhere in the back or front of his mind. This story's the opposite of unfilmable, then. It's a completely groundbreaking movie, climbed straight into history books and newsreels and documentaries. Everyone in my 5th grade class was stunned by it. In fact, it seemed everyone was stunned by it, period. Yet I remember my dad reading the novel maybe two years earlier, and he left it in a hotel room half-way through. He said, this author has brilliant ideas, but he doesn't quite know how to execute them. He didn't feel like finishing it. Fast-forward a few years, and I read the book myself, after seeing the movie repeatedly and loving it, thinking there was nothing else like it. Guess what? I enjoyed the book at least as much. I couldn't put it down at all. Does that make the book better? Not necessarily. I'd still say the film is the more extraordinary achievement. But, damn, that book was fun to read as well. I didn't really know what my dad had meant.
Let's try Solaris. I've seen the Tarkovsky, the Soderbergh, and the uncredited adaptation Event Horizon. I saw those three movies before I read the book. And I enjoyed all of them a lot, actually. And... drum roll. The book still blew me away. For me, the book here is king. But that doesn't diminish my appreciation especially of the Tarkovsky movie. It's just so radically unlike anything I've seen before or since. It is not at all what I'd imagine a film of Solaris to be. And it's wonderful. But, again, I enjoyed all three of those movies and want to see them all again. And I want to read the book again. Is the book better? Maybe. Here I'd say it probably is. As astonishing as Tarkovsky's Solaris is, I think a better movie could still be made, at least in theory. And I definitely enjoyed the book most.
I've been reading Dune. As a child, I saw the much-maligned Lynch version many, many times. A quarter of the way through the original, I'm really enjoying it. This is understandably one of the greatest classics of science fiction. But there are things in the movie that are wickedly well done. The book is not better in all respects. And I'm reading an audiobook. Despite all the boos from critics for the Lynch movie, this award-winning audio production very clearly takes after the movie, in terms of its sound design and some acting choices. Movie - flopped, disgraced. Audiobook - Audie award. Yet the audiobook emulates the movie without being (to my mind) nearly as good. (If I didn't read so much on long walks, I'd much prefer to read all of the story in ebook form. But I don't say that because the audiobook is always lesser than the pure text, or because this particular audiobook is poorly done. Some audiobooks add to the text in a way that I would claim is even objective - check out Joss Ackland's reading of The Screwtape Letters!) Sure, the novel contains many more little details and contexts, so far. And I appreciate all of them. But let's be blunt: quite a few of them are prosaic. At least in the first quarter of the story, which I can address, David Lynch and his team made what I would say are excellent calls about what to put in and what to leave out, given budget and time constraints, and what to embellish. Now, much as I love the (yes, definitely flawed) movie, I'm more than willing to say the novel is a greater achievement, and better (in the sense that stands the test of time), not just "better." But I must say, all the most exciting scenes, I can see and hear them in my head from the movie, and they came out really damn well. And, again, the extra details (UPDATE: this changes) are often pretty bland. Frank Herbert himself felt much more positive about the movie than the critics. He said he inevitably had some issues with it, but they'd done a great job. I'm going to be pretentious and simply side with the author, here. What he said, as I've just found out, is how I'm feeling. Doesn't that make me special and smart.
It's a personal thing, though. Wouldn't it be easy to say the book is ALWAYS VASTLY SUPERIOR and leave it at that, smugly. No, it often is - which makes sense, because when a movie is based on a book, that's usually because the book was extremely successful in its own chosen medium. Conversion to a new medium is inherently risky, and conversion to a shorter length is inherently lossy. Yet it can succeed.