Solid State Jabberwocky
06/27/22 11:31 AM
This take on Lewis Carroll's Jabberwocky is from the April, 1972 edition of Datamation magazine.
The only reference to this on the web that I can find is at archive.org. This poem is 50 years old. I wonder who else, besides me, remembers it?
'Twas Burroughs, and the ILLIACS
Did JOSS and SYSGEN in the stack;
All ANSI were the acronyms,
and the Eckert-Mauchly ENIAC.
"Beware the deadly OS, son!
The Megabyte, the JCL!
Beware the Gigabit, and shun
The ponderous CODASYL!"
He took his KSR in hand:
Long time the Armonk foe he sought.
So rested he by the Syntax Tree
And APL'd in thought.
And as in on-line thought he stood,
the CODASYL of verbose fame,
Came parsing through the Chomsky wood,
And COBOL'ed as it came!
One, two! One, two! And through and through
The final pol at last drew NAK!
He left it dead, and with its head
He iterated back.
And hast thou downed old Ma Bell?
Come to my arms, my real-time boy!
Oh, Hollerith day! Array! Array!
He macroed in his joy.
'Twas Burroughs, and the ILLIACS
Did JOSS and SYSGEN in the stack;
All ANSI were the acronyms,
and the Eckert-Mauchly ENIAC.
-- William J. Wilson
The only reference to this on the web that I can find is at archive.org. This poem is 50 years old. I wonder who else, besides me, remembers it?
Comments
Gems from John R. Pierce
02/08/13 07:39 PM

"Mathematically, white Gaussian noise, which contains all frequencies equally, is the epitome of the various and unexpected. It is the least predictable, the most original of sounds. To a human being, however, all white Gaussian noise sounds alike. It's subtleties are hidden from him, and he says that it is dull and monotonous. If a human being finds monotonous that which is mathematically most various and unpredictable, what does he find fresh and interesting? To be able to call a thing new, he must be able to distinguish it from that which is old. To be distinguishable, sounds must be to a degree familiar. … We can be surprised repeatedly only by contrast with that which is familiar, not by chaos." [pg. 251, 267]
112°F
06/30/12 04:51 PM
My car's thermometer registered 112°F around 4:15pm.
Oh it's no feat to beat the heat.
All reet! All reet!
So jeet your seat
Be fleet be fleet
Cool and discreet
Honey...
With fond memories of Alfred Bester.
Oh it's no feat to beat the heat.
All reet! All reet!
So jeet your seat
Be fleet be fleet
Cool and discreet
Honey...
With fond memories of Alfred Bester.
Cubism
11/04/11 10:23 PM


Dispensing with the screen of neo-Impressionist brushstrokes - perhaps recognizing its superfluity, given the constructive potential of the device of a colour grid - Delaunay orchestrates a range of spectral colors around the spatial recession from the foreground orange curtains to the background blue sky and the green profile of the tower. As in the hermetic paintings of Picasso and Braque, the representational legibility of the image is secured by the vestigial iconic character of these motifs. But unlike their exploration and celebration of the linguistic magic of painting for its own sake - or perhaps for its suggestion of a reality beyond appearance - Delaunay's bracketing of his complex and fragmented representation of the cityscape between the external limit of the picture frame/window and the internal limit of the distant tower posits an equivalence between the experience of deciphering the painting and the active, constructive nature of visual perception that life in a modern city entails. [pg 61].
"Vestigial iconic character?" The pointed green triangle-like object is the Eiffel Tower? The blue is the sky? The yellow-orange represents curtains? There's a cityscape in there somewhere? Obviously I am a barbarian, unlearned in the vocabulary of Cubism. Nevertheless, some Cubist art is strikingly beautiful. Even if I don't necessarily know what it means.
Proud Father, II
12/08/09 11:05 PM
La Belle Heaulmiere
11/07/09 08:46 PM
My wife sent me this cartoon with the comment, "This may be me in the not-to-distant future."

At the same time, I was re-reading Heinlein's Stranger In A Strange Land (yes, the 1975 Berkeley edition. My hardback copy of the uncut version is on loan) and came across Jubal's description of Rodin's "La Belle Heaulmière":
Anybody can see a pretty girl. An artist can look at a pretty girl and see the old woman she will become. A better artist can look at an old woman and see the pretty girl she used to be. A great artist can look at an old woman, portray her exactly as she is...and force the viewer to see the pretty girl she used to be...more than that, he can make anyone with the sensitivity of an armadillo see that this lovely young girl is still alive, prisoned inside her ruined body. He can make you feel the quiet, endless tragedy that there was never a girl born who ever grew older than eighteen in her heart...no matter what the merciless hours have done.
My darling wife: your beauty will never fade.

At the same time, I was re-reading Heinlein's Stranger In A Strange Land (yes, the 1975 Berkeley edition. My hardback copy of the uncut version is on loan) and came across Jubal's description of Rodin's "La Belle Heaulmière":

My darling wife: your beauty will never fade.