#hypergraphic object

[ablackbrick]

Residue

In today’s Geranium Lake Properties comic we have the residue of the summer solstice, which the Inultaru call galynary gusigarra or galynary otmuparyn. In this particular occurrence1 the residue became part of the erratic accumulation, or “snowballing”, of Hypergraphic Object HJW.4415.2 According to Yost’s notes found in both the Paisley Notebook (PN) and the Green Vinyl Bound Sketchbook (GVBS),…

[govindhtech]

qLDPC Library:Quantum Error-Correcting Code Research

Library qLDPC

Infleqtion researchers and JPMorgan Chase introduced a new open-source research software library today to speed up quantum application efficiency efforts. The Economist Commercialising Quantum conference in London on May 13–14 will provide more details on the news.

In conjunction with JPMorgan Chase, Infleqtion researchers created the open-source qLDPC library. Available on GitHub.

The main reason for this package was to help build and analyse quantum low density parity check (qLDPC) codes. However, the library tools also work for general error-correcting stabiliser and subsystem codes.

Reducing the number of physical qubits needed for quantum error correcting is one of the qLDPC library's biggest benefits. This library reduces fault-tolerant quantum computing hardware requirements by 10–100x. A single logical, error-corrected qubit used to need 1,500 physical qubits to work reliably. This new library may lower the requirement to 15–150 physical qubits per logical qubit, depending on implementation. This breakthrough fixes a scaling quantum system bottleneck.

The qLDPC library tools suit Infleqtion's neutral atom-based quantum computing technology. Infleqtion's hardware enables for extremely customisable qubit layouts, enabling the library's more efficient error-correcting codes.

The open-source library qLDPC is meant for collaboration. Developers, academics, and hardware partners can directly interact with the codebase to find new error correction and quantum workload optimisation approaches across platforms.

Important qLDPC library features include:

ClassicalCode: A class for classical linear error-correcting codes over finite fields, featuring pre-defined families and GAP/GUAVA package communication for more codes.

A class for creating stabiliser and subsystem Galois-qudit codes. Get_logical_ops, concatenate, and get_distance perform nontrivial logical Pauli operator construction, code concatenation, and code distance computation, respectively.

CSSCode: QuditCode subclass for building quantum CSS codes from two suitable ClassicalCodes. It uses research paper approaches to estimate code distance upper bounds in get_distance_bound.

Special quantum code constructs and family classes:

Two-block quantum codes.

BBCode, bivariate bicycle codes, including toric layout identification (like long-distance checks) and neutral atom qubit layouts that minimise communication distance. Several arXiv papers mention these constructs.

Product hypergraph codes.

Product codes for subsystem hypergraphs.

Subsystem hypergraph product codes simplex.

Lifted product codes.

Quantum Tanner codes.

decoders.py: BP-OSD, BP-LSD, belief-field, minimum-weight perfect matching, and additional error decoding modules.An interface for custom decoders is included.

Abstract algebra (groups, algebras, representations) module in Python. It communicates with GAP and GroupNames.org and uses SymPy pre-defined groups.

objects.py: A package for building quantum code auxiliary objects like Cayley and chain complexes.

qldpc.circuits.get_transversal_ops: A qubit code subroutine that constructs all SWAP-transversal logical Clifford gates in one code block, but it has exponential complexity and is more suitable for small-to-moderate codes.

Package requires Python >= 3.10 and can be installed via PyPI or source. C compilers for Windows and cvxpy for macOS may be required.

The project wants detailed documentation, however the current material is outdated. For help using the library's classes and methods, consult the source code, comments, examples directory, and test files.

[jessicafurseth]

Reading List, Doing My Best edition.

Image: “Clouds” (2019-20) by Anne Rothenstein

*

You Bust Loose From Heaven And Now Your Life Starts* Should you blow up your life? [Miranda July]

Who Gets "Quality" Leisure? [Culture Study by Anne Helen Petersen]

Nobody wants this, but we can't spend another four years feeling like the world is ending - so we're getting sweaty [Avery Stone, The Cut]

"A packer faces three obstacles. There’s contingency: a variety of possible futures must somehow be tamed. There’s consumerism: the junk you own needs to be winnowed into a useful curation. And there’s comfort: we want to be cushioned against transit’s sharp points. Staring down these monsters can be unpleasant. It’s embarrassing to realize that you live in uncertainty despite your hoard of objects, and to admit that you need your blanket. Maybe, if you were someone who could roll with the punches, and who lived a tougher, less acquisitive life, packing would be easier. So there’s actually a fourth obstacle: you." Why Can’t You Pack a Bag? [Joshua Rothman, The New Yorker]

"Hypergraphia is the compulsion to write excessively and without obvious purpose or profit. Hypergraphics tend to exhibit flamboyant penmanship and fill every inch of space on a page. They favor colored inks and CAPITAL LETTERS. They write in response to internal rather than external pressures — so, not to achieve tenure or impress girls." Pregnant With One Child and 295,233 Words [Molly Young, The New York Times]

My Breast Reduction From Hell [Katie Heaney, The Cut]

How Jonathan Franzen Learned to Write a Franzen Novel [Adam Moss, Vulture]

Men Texting With Men, struggling [Matthew Schnipper, The Atlantic]

Let’s Put The Pagan Back In Christmas TL;DR go outside [Nell Frizzell, Vogue]

In praise of Old Lady Clubbing [Gaby Hinsliff, The Guardian]

Bang the World [Nathan Adrian West, The Baffler]

"With older media, the friction of the interface provided some space for reflection and hierarchizing significance. What was on the front pages or what led the news bulletins was what we heeded most. Music had to be sought out and didn’t come with an infinite stream of more. Digitization has become a “universal solvent” for all information, fed to the same device on the same platform with a convenience and ease that becomes a curse. We have evolved to seek, says Carr, but with the internet, there is no natural curb to that desire, and never any sense of satiation. Reality can’t compete with the internet’s steady diet of novelty and shallow, ephemeral rewards." The Case for Kicking the Stone [Philip Ball, Los Angeles Review of Books]

[leedsomics]

Hyperedge Representations with Hypergraph Wavelets: Applications to Spatial Transcriptomics

arXiv:2409.09469v1 Announce Type: cross Abstract: In many data-driven applications, higher-order relationships among multiple objects are essential in capturing complex interactions. Hypergraphs, which generalize graphs by allowing edges to connect any number of nodes, provide a flexible and powerful framework for modeling such higher-order relationships. In this work, we introduce hypergraph diffusion wavelets and describe their favorable spectral and spatial properties. We demonstrate their utility for biomedical discovery in spatially resolved transcriptomics by applying the method to represent disease-relevant cellular niches for Alzheimer's disease. http://dlvr.it/TDL1tC

[illnessfaker]

"internally-perceived appearance or internally-perceived personal history is not something factored in to how someone is actually subject the the social phenomenon that is race"

I'm curious about how this particular line of thinking applies or doesn't apply to other modes of oppression - say, "passing privilege", visible non-heterosexuality, undiagnosed mental illnesses ('faking it'), closet trans people (especially closeted trans women and their relationship to 'male privilege' etc etc) and a bunch of other things that basically boil down to a mismatch between someone's own subjective experience of oppression versus society's actual mechanisms for that oppression.

It's always been my opinion that, yes, in order for something to constitute oppression it has to actually happen in the real world, some person can't just, 'identify' into it. But I've never been able to reconcile that with, you know, actually believing people about their own experiences.

i hate you (half-jokingly) for sending this because i wanna do creative stuff before i work today but my vyvanse makes me hypergraphic and then i get this nearly essay-prompting ask in my inbox and i'm a weak man.

the statement was in specific reference to both race and osddid stuff so it doesn't have a 1:1 ratio to non-racial and non-osddid stuff, really. gender, sexuality, and mental illness are somewhat similar to race in that they're socially-determined categories that are kinda "made-up bullshit" that don't have any "true" objective essence to them when you get down to it, but gender identity and sexual orientation are much more of a self-determined thing than racial identity typically is (beyond...maybe some situations with racially-mixed individuals but i don't feel comfortable speaking on that whatsoever lol.) but i will try to explain some of this stuff nonetheless because these are also things that people do not understand.

"passing-privilege" (if you're referencing gender identity and sexuality) doesn't have a leg to stand on because how you look isn't the sole determination of how you're socioeconomically located in reference to gender identity and sexuality. while being socially perceived as not apart of a marginalized group to the general public has some varying benefits, that's a flimsy veil that masks suffering as much as it allegedly nullifies it. a gay man who's not open about his sexuality might "pass" for straight at work or to friend groups who he's not out to, but up until a few years ago he would not have been able to legally marry another man. he might have to go great lengths to conceal the fact he's in a relationship with another man at work or with friends because they are homophobic or he fears a homophobic response that might get him fired or put him/his partner in danger. a bi woman who doesn't make her sexuality well-known with a straight boyfriend might have to put up with comments and coercion from him about how he wants to see her do intimate things with another woman, or might face that kind of harassment from other individuals whether she's in a relationship or not. those are just a few examples, even if these people are technically "straight-passing," these are not heterosexual experiences. when it comes to gender identity, an immediate example i can think of is a trans man who passes as male full-time but still has to see an ob/gyn regularly is likely to face discrimination, ignorance, or harassment based precisely on how he passes. that is not a cisgender male experience (barring maybe some intersex cisgender men who may need see an ob/gyn due to their intersexness, but that's not a "privileged" situation either) even if he passes as such to others.

mental illness/disability also are "made-up bullshit" in simplistic terms. undiagnosed mental illness/disability or not realizing you're mentally ill/disabled also doesn't shield a person from sanist or ableist discrimination. exhibiting autistic traits in childhood even without diagnosis or recognition will still people you bullied in school or discriminated against by employers. someone with undiagnosed and unrecognized osddid doesn't lessen the fact there's a risk for suicide due to the lack of adequate support systems for those experiencing complex trauma-related dissociation. people who "fake it" usually have "tells" if it even works effectively in the first place, which may not definitively identify them as "sick in the head" or mentally disabled but others will note that something is "off" and act accordingly. even if someone doesn't really qualify for a psychiatric diagnosis, they might be categorized as mentally ill/disabled or be discriminated on that basis anyway (e.g. a shrink coercively diagnosing a patient with bpd when said patient not actually meeting the symptom profile as a tool for making said patient seem 'manipulative' or 'overdramatic' in reference to their claims of abuse or victimization.)

this also goes for physical illness and disability (which whether that is "made up bullshit" kinda depends on what you're talking about) and that's something i can personally attest to- the fact that i only stopped seeing myself as able-bodied until some time last year doesn't mean stuff like my parents, doctors, and teachers doing things like refusing me pain medicine, ignoring my chronic physical symptoms or blaming them on my diet or lifestyle, scolding me when i couldn't meet their physical demands, etc. aren't magically somehow not forms of ableist violence just because i was successfully manipulated into thinking that what are actually uncontrollable physical conditions, some of which i was born with and one of which my parents even knew about but evidently didn't care enough, were a personal failure on my part. i was still disabled. to add another anecdote regarding mental stuff - i was first diagnosed with adhd at the age of 8. my parents straight-up forgot that happened until i got re-diagnosed with it later, but none of that stopped them from yelling, screaming, beating, or otherwise punishing me for exhibiting traits associated with adhd.

when it comes to transness and gender stuff before coming out, ime the vast majority of trans people already exhibit behaviors and characteristics that are stereotypically gender non-conforming prior to doing so, which earns them harassment, assault, abuse, etc. before they even realize themselves as not being cis. they might be subject to transphobic ideas that still shape them as trans people even if the time they were subject to them was when they didn't see themselves as trans. some trans people don't claim to have this experience and it's not one exclusive to transness by any means, but either way external parties trying to determine whether trans people or a gbtq person had [x] experience prior to coming out is fucking stupid and useless because all it does is lead to further marginalization and it's not like there's some objective measure for determining this stuff since it's purely matter of opinion. some trans women seeing themselves as having had "male privilege" prior to them coming out is not a categorical reflection on trans women as a whole. some trans men seeing themselves as having been women or girls prior to coming out is not a categorical reflection on trans men as a whole.

you're right that believing people about their experiences takes precedence - but that's obviously something done within reason (just because if i hypothetically started to claim i'm transfem despite having been cafab doesn't mean that should be respected and taken seriously) - but when it comes to osddid, alters are not people that exist independently from other alters in a system, they are dissociated parts who collectively form one person, no matter how many rando teenagers on tiktok and twitter insist otherwise.

[thearistocratsblog]

What is Lettrism?

Lettrism is a multi-disciplinary creative movement born in Paris in 1946 under the guiding force of Isidore Isou. The movement soon expanded by attracting numerous creative people, such as Gabriel Pomerand, Maurice Lemaître, Gil J Wolman… (and over the years, many others joined for particular periods or specific contributions). Lettrism systematically took on all the fields of knowledge, principally in the arts (Poetry, Painting, Novel, Cinema, Photography…) but also in the social sciences (Economics, Law, Psychology…) and natural sciences (Chemistry, Medicine,…).

Lettrism is a new philosophy of creativity and aims to transform society by a creative method –  “La Créatique / Creatics” – and by a new understanding of the branches of knowledge – Kladology. The writing and symbols used in Lettrist works are not to be seen as carrying a useful message, but solely as the object of art, as a third visual material after the figurative and the abstract. In Lettrism, kladology, the science of the branches of knowledge, allows one to approach each discipline fully aware and desiring revolution, with conscious creative positivism that prohibits chance mixtures of genres like the today often favored all-in-one. The happening as a creation is thus rejected by Lettrists. Lettrists keep the theatrical, artistic or poetic dimensions separate, including when they use the supertemporal, which invites the participation of the spectator, but in a well-defined context.

Even today, the movement continues to produce numerous creations as well as propose areas for reflection.

This movement was named Lettrism because in its historic phase it was first of all involved in upsetting poetry, which was judged to be exhausted when it was conveyed by words and concepts. Poetic Lettrism clearly and systematically for the first time (after a few hints, for example, by Dada) proposed a new conception of poetry entirely reduced to the letter, thus eliminating all semantics. The use of new letters, symbolized by the letters of the ancient Greek alphabet, and then by numbers on the scores of this music-poetry, calls on all the sounds that a human body can produce, integrated into a sort of super-score, anticipating the later movements of sound poetry and performance art. Lettrist poetry is also music, but without instruments and rejecting its secular concept, the notion of pitch. Thus Lettrist music-poetry requires a certain flatness while introducing original sound and noise combinations.

In the same way, Lettrism latched onto other art and produced an impressive number of visual works using letters as the exclusive compositional element. To avoid any confusion, one must understand that Lettrism is not a language and thus the writing and symbols used in these works are not to be seen as carrying a useful message, but solely as the object of art, as a third visual material after the figurative and the abstract.

Lettrism thus requires rigorous critical judgment: for instance a foreigner who speaks and is not understood, is not an unknown Lettrist poet, and any writing, even if framed and exhibited, is just a manuscript and cannot be called a work of art.

Besides, the absolute systematizing of Lettrist practice, combining numerous works by several artists with a wide range of visual art personalities, is clearly different from the sporadic use of written forms, as seen before Lettrism and much more since the appearance of the Lettrist movement.

Lettrist visual art quickly added to its palette all the signs of all past, present, as well as invented cultures, overthrowing the meaning that naturally distinguishes it from calligraphy. For more clarity and because letters become only one element of this super-writing, this section would be called Hypergraphics. Thus, the majority of Lettrist painting is really Hypergraphics, an art of signs that is truly prophetic in our society full of pictograms, logos and other graffiti.

But the true importance of Lettrism is to simultaneously attack all the fields of knowledge and artistic expression, for example cinema, photography, theatre, dance, and also economics, mathematics, chemistry, law, theology. Lettrism, unless seen in its totality, which is the only way to grasp its true dimensions, is thus an artistic and intellectual upheaval of great significance, and the precursor of numerous developments in society.

Isou, who created the founding concepts within which the members of the group would carve out their own places, insisted for example on the amplifying and chiseling (or deconstructing) periods of each art, where after being raised up and constructed, it is reduced and eventually destroys itself, before being reborn in a Lettrist form (e.g. painting reborn in Hypergraphic form). Thus in cinema, which Isou overthrew once and for all with his film Le Traité de bave et d’éternté / Treatise on Venom and Eternity (1951), begins the phase of chiseling film when Isou destroys the concept of the classical image by using scraps of film found in trash bins, scratching graffiti on these images to make them unrecognizable. He goes even further in radically disassociating the sound and the image, viewed as two totally independent channels, discrépant or discrete (like later works in music by John Cage and in dance by Merce Cunningham, for example).

In 1956 Isou went beyond this art of the letter and the sign by creating imaginary or infinitesimal art (also called esthapéïrisme / esthaperism), which allows one to imagine a work that would be conceived in the mind, starting from a concrete sign, whether poetic, cinematic, or pictorial. It is the conceptual art par excellence and one of the most productive fields opened up by Isou. In 1960, Isou added the supertemporal framework, which calls on spectators or listeners to participate in working on an art work, which is constantly renewed and goes beyond the finite time-frame of a classical art proposition.

One of the other fundamental dimensions of the movement is economics, with Isou’s Traité d’Economie Nucléaire /Treatise on Nuclear Economics, and his first prophetic political manifesto Le soulèvement de la Jeunesse / Youth Uprising, of which the first volume appeared in 1949. On the occasion of this publication Isou and Lemaître met, a momentous meeting that started a mutually enhancing relationship. Indeed, these two will be practically the only consistent members of the group or more accurately, of the groups, in view of their constant metamorphoses over sixty years. Their vision of transforming society led Lemaître to present his candidacy for the Legislature in 1967, and Isou in 1993. Still today, Lemaître sends out manifestos attempting to promote the innovative concepts that seek to be an alternative to Marxist or capitalist models, based on a society basically involving the notions of creation and innovation.

If Isidore Isou created Lettrism in 1946, launching this movement through a journal with the provocative title La Dictature Lettriste / The Lettrist Dictatorship, he was joined by various first class creators such as Gabriel Pomerand, nicknamed the archangel of Lettrism, who became a Lettrist activist and wrote some of its most emblematic Lettrist pages. His hypergraphic novel (originally called a metagraph) Saint-Ghetto des prêts / Saint Ghetto of the Loans, his oil paintings, and his Symphonie en K / Symphony in K are part of the basis of Lettrist esthetics. And whereas Pomerand soon left the Lettrist group, Maurice Lemaître was the one who faithfully stood shoulder to shoulder with Isou. Author of a prolific canon that is detailed in the other pages of this site, Lemaître clearly became the major Lettrist film-maker as well as the greatest photographer of the movement. He has been a prolific writer, but his acute sense of polemic would lead him to a public isolation that was the lot of all the Lettrists during their lives. This public isolation and misunderstanding is now progressively overcome by high quality exhibitions and catalogs, showing the true contributions of this group, not in a confusing or partial manner, but by an enlightened and well-documented choice.

The history of this group is naturally plural and the numerous strong personalities that pass through it are like so many currents, more or less in relationships with Isou’s initial ideas. Pomerand and Lemaître, like later on Jacques Spacagna, Roland Sabatier, Broutin or François Poyet and Jean-Pierre Gillard … represent some of the exciting possibilities of the Isouian line, even though sometimes upsetting it. At the same time, other no less important Lettrists, starting with Gil J Wolman, adopt a more divergent view, both using and challenging the new Lettrist concepts. Nevertheless, and this is the case for Wolman and his megapneumies (deep breath poetry), his film L’Anticoncept / The Anticoncept, his Lettrist paintings and even some of his scotch tape art, they would also write some essential pages in a movement that would be diminished without their participation.

As for François Dufrêne, he would concentrate on Lettrist poetry (and also film) while  Jean-Louis Brau would be involved in everything. The case of Guy Debord remains rather amusing and marginal in the sense that, dazzled by Isou in 1951, he joined the Lettrist gang only for a year, but a year during which he would make his major film, Hurlements en faveur de Sade / Shouts in Favor of Sade, before going on to found a Lettrist International (1952-1957) with Wolman and Brau; this movement would be the antechamber to the future Situationist International that would permit him to become this French National Treasure* that still is often the first gateway to Lettrism.

The complexity and longevity of Lettrism make it a difficult subject to grasp; it claims to be a completely different species from other groups of its time or even of the past. For example, the infinitesimal makes it similar to what the Fluxus movement would develop later, even though it is opposed to it. In Fluxus art and life are mixed together, while for Lettrism, kladology, the science of the branches of knowledge, allows one to approach each discipline fully aware and desiring revolution, with conscious creative positivism that prohibits chance mixtures of genres like the all-in-one. The happening is thus rejected by Lettrists. Lettrists keep the theatrical, artistic or poetic dimensions separate, including when they use the supertemporal, which invites the participation of the spectator, but in a well-defined context.

If one thinks of the ultimate goal of Lettrism: “la société paradisiaque concrete,” the concrete paradisiac society, a sort of heaven on Earth: a world made up of creators, a world where contrary to the anarchical “Neither God nor master,” a person must change into “All Gods, all Masters”, then one understands better the gulf that has been dug out between the Lettrists, the most radical and innovative group of the second half of the twentieth century, and a society that seems in a hurry to consummate its loss, incapable of recognizing the still living creators.

* Artist’s archives cannot leave France

-Frédéric Acquaviva

[endfieldhypergryphglobal]

What To Expect From Arknights Endfield After the Announcement From Hypergryph?

Many video game franchises have made the transition from PC to mobile over the years. However, few companies have made the switch in the other direction.  

Many companies managed to accomplish this feat in 2020 when they simultaneously after releasing for mobile and console. Now Hypergryph is ready to achieve the same feat with アークナイツエンドフィールド afterAnnouncing Hypergryph Arknights. 

The Arknights original mobile tower defence game, with RPG elements, was released on mobile devices in 2020. It was instantly a success. Hypergraph revealed that the mobile game had received over one million preregistrations before it was launched outside of China. Arknights proved to be a popular game due to its addictive gameplay, a rich storyline and subtle gacha mechanics.

Hypergraph revealed that Arknights would become a franchise on March 17th, with the next Arknights: Endfield entry. The new game will retain some of the same strategy elements as the original game, but it will be a 3D real-time RPG. エンフィールド will have the same "worldview" as Arknights. However, it will be set on a completely new planet with a new cast and storyline. 

HypergryphがArknightsを発表 with some concept art, a trailer and a gameplay demo for Arknights Endfield. The footage feels very similar to some of the locations from PlatinumGames' action RPG Nier: Automata. The gameplay video shows a glimpse at the map interface. It seems to have the same futuristic aesthetics as Arknights' UI. The video then cuts to the two characters running through desert locations before they reach a vibrant oasis. The demo's manmade objects seem to have been abandoned long ago, giving the area an apocalyptic feel.

Arknights Endfield takes place on a planet called Talos-II. Players embark on a dangerous mission to find a home for themselves in this hostile world. There are vast expanses of unexplored land beyond the colonies. Players work with Endfield Industries, a company that aims to discover the secrets of this abandoned planet, which once supported human life.

While the RPG game's gameplay will be different, players will still be able to control a party and complete missions. They can also unlock chapters that will help them progress their story. Battle will take place in real-time in Endfield, unlike the turn-based combat in arknights. Players will face a variety of enemies and factions.

[csleko]

Point definitely goes to Maya for rigging. Open Hypergraph, click and drag the thing to the bone and BOOM. Parented. Move the bone, the thing moves with it.

Blender decided to make this otherwise simple process into a goddamn epic side quest. Start in "object mode", select the thing, select the skeleton, go to "pose mode", select the specific bone, THEN you can parent the thing to the bone. Congrats. You've made one piece move with one bone. Now do that whole process 37 more times. Luckily, adding IK handles is still relatively simple.

SO YEAH. I've got a totally rigged Leko to play around with and maybe actually do that channel intro/trailer idea I mentioned a hundred years ago.

[paulabrandule-animation-y2]

Principles of Composition- Balance

Balance- In scene composition, this refers to creating visual weight equal. This is when  elements in an image don’t overwhelm each other. All the elements capture the viewers attention equally.  This important, because having one side of image feel heavier will make it seem like its going to fall over.  There are two types of balance: 

Symmetrical balance, i.e., the two sides are mirror images of each other, is the easiest type of balance to achieve. Symmetrical balance is used extensively in architecture and it feels very stable, permanent, and calm. The attention is automatically focused on whatever is placed at the centre of the frame. 

Asymmetrical balance is more common, more interesting, and more difficult to achieve. Balance is achieved by using dissimilar elements with different visual interests. 

Imbalance – the purposeful destruction of balance – also creates an interesting image. However, in this instance the viewer does not experience harmony. Imbalance causes tension, so it is a great technique to further enhance the uncomfortable message or feeling of an image.

Asymmetrical Balance

Visually light elements will need more space in the image to balance out the visually heavy elements.

Tonal Balance: The eye is attracted to contrast so a small area of high contrast will balance a larger area of low contrast.

Balance by Colour: The eye is more attracted to bright colour as opposed to dark or neutral, small area of bright colour will balance a larger area of neutral colour. 

Balance by Shape: A small complicated shape can balance a large simple shape. Also, a large uncluttered area can balance a small busy area containing many shapes. We can minimise busy areas by placing them in shadow or enhance them by lighting them well. Large simple areas can be enhanced by even bright lighting or by breaking them up with shadows, thereby making them more complex.

Balance by texture:  High contrast texture on a small shape will balance a larger shape with a smooth, matte surface. Texture can give an emotional quality to a scene, e.g., soft, fuzzy objects are more inviting than smooth, polished objects. The attraction of the texture can be enhanced or minimised by appropriate lighting, e.g., bright and hard to enhance or soft and dim to minimise.

Size Balance: The Pier has much more detail, which adds balances the visual interest of the foregrounded larger, less detailed object which is the couple.

Balance by position: A smaller object farther away from the centre will balance a larger object that is closer to the centre. Even if we cannot move an object in a scene, its visual weight can be affected by the lighting.

Balance by eye direction: Edges, shapes, and/or groups all imply a visual direction. This can be used to balance a heavier side by having the eye direction point to the lighter side, thus transferring visual importance. A linear object, a shadow edge, or the edge of a light can achieve a strong directional effect. Having the same colour on opposite sides of an image can also cause the eye to be led from one side to the other.

resources

https://expertphotography.com/basic-composition-techniques-balance/

https://thelenslounge.com/balance-in-composition-tips/

https://www.siggraph.org/education/materials/HyperGraph/design/composition/balance_in_composition.htm

[ablackbrick]

The Height of Wit

From 2014: My Big Fat Hypergraphic Object We’ve had some funny moments on this blog in the past ten years. You may have missed them, my sense of humor can be subtle sometimes. Other times, not very. Continue reading The Height of Wit

[mathematicianadda]

Adjacency matrix of weighted dual hypergraph

I posted this on another subreddit yesterday and it hasn't had much traffic. Apologies if this is the wrong place for a question like this.

I am working on a problem involving hypergraphs - I haven't got much experience with them so I'm running into problems quite regularly and this one is really kicking my ass. I am also sure that this is somewhere in the mathematics literature but I haven't been able to find it.

A weighted hypergraph is a set of nodes, edges and weights G = {N, E, W}. Nodes can be connected to any number of edges and edges can be connected to any number of nodes (in contrast with a regular graph, where edges can only be connected to two nodes). Edges carry weights which are real numbers > 0.

A representation of the hypergraph is the incidence matrix M (combined with the weight matrix W). M is an n_nodes * n_edges matrix and W is a diagonal n_edges * n_edges matrix. A useful object is the adjacency matrix A ~ M W MT .

We can construct the dual hypergraph G* by exchanging nodes with edges, and the incidence matrix M* of G* is the transpose of M; M* = MT, therefore, I would assume the adjacency matrix A* ~ MT W* M.

I would like to know how W* is related to W because I am constucting the hypergraph, finding the dual hypergraph and then making inferences. I don't have a way to construct the dual hypergraph directly.

An alternative that I've been using in a somewhat ad hoc way is to roll the definition of M and W together so m = M √W and therefore A = m mT and A* = mT m = ( √W MT ) (M √W ). I'm not entirely happy with this as I would like to understand the relationship between the weighting schemes a bit more deeply.

One thing I realised is that, while W is diagonal W* will not be because the edges of G carry the same weight for all nodes, but this is not true of G* . Basically, does it make sense to expect a weighted hypergrah to have the same sort of structure in a weighted dual and if it does, what is the relationship between the weights of the two hypergraphs?

Many thanks! :)

submitted by /u/joseph_fourier [link] [comments] from math https://ift.tt/3jwY6oC https://ift.tt/eA8V8J from Blogger https://ift.tt/2CF7TIA

[frankkjonestx]

Stephen Wolfram’s hypergraph project aims for a fundamental theory of physics

Thanks to Kevin Bacon, everybody nowadays knows about networks.

There are not only Bacon-like networks of actors, linked by appearing in the same film, but also social networks, neural networks and networks of viral transmission. There are power grid networks, ecological networks and the grandest network of all, the internet. Sometimes it seems like the entire universe must be just one big network.

And maybe it is.

Physicist–computer scientist–entrepreneur Stephen Wolfram believes the universe is a vast, growing network of relationships that constitutes space itself, and everything within it. In this picture, Wolfram sees the basis for the ultimate theory underlying all of physical law.

Wolfram expressed something like this view 18 years ago in a 1,197-page tome entitled A New Kind of Science. But back then his picture was still a little fuzzy. Now he thinks he has found a more sharply focused vision for how to explain reality.

“I’m thrilled to say,” he writes in a summary document released April 14, “that I think we’ve found a path to the fundamental theory of physics.”

At the core of Wolfram’s approach is the notion of a hypergraph. “Graph” in this context is like the diagrammatic representation of a network: lines connecting points. But reality can’t be captured by lines linking points on a flat sheet of paper. Wolfram generates computer visualizations to depict relationships in more complicated “hypergraphs.” (In a hypergraph, the “lines” can connect any number of points, not just one to another.)

Wolfram’s investigations indicate that complex hypergraphs can mimic many features of the universe, including matter and energy, along with reproducing the physical structures and processes described by the theory of relativity and quantum mechanics.

“In our model, everything in the universe — space, matter, whatever — is supposed to be represented by features of our evolving hypergraph,” Wolfram writes.

His key point is that such extremely complex hypergraphs can be produced by applying simple rules to a simple starting point. Suppose you have two “abstract elements” labeled A and B. You have a rule that says every A should be changed to BBB, and every BB should be replaced with A.

Start with A. By the rule, you “update” A to BBB. BBB possesses two BBs. So you update BBB twice: Once, making the first two Bs into an A (making AB), and then making the second two Bs to an A, making BA. So:

A

is connected to

BBB

which is connected to both

AB and BA.

Updates of AB and BA both yield BBBB. But BBBB then makes ABB, BBA and BAB. As you keep on applying the rule, the graph gets more complicated.

These update steps, Wolfram says, correspond to our common notion of time, a sort of ticktock of the cosmic clock. As a rule is repeatedly applied to a set of abstract entities, the resulting connections — the graph of the relationships linking them — correspond to the structure of space. So space (in this picture) is not a mere uniform set of indistinguishable points; rather it is a network of points linked in unfathomably complex patterns that reproduce matter and energy and the relationships collectively known as the laws of physics.

“This is basically how I think space in the universe works,” Wolfram writes. “Underneath, it’s a bunch of discrete, abstract relations between abstract points. But at the scale we’re experiencing it, the pattern of relations it has makes it seem like continuous space of the kind we’re used to.”

It’s sort of like how fish perceive the ocean as a smooth featureless fluid, even though the water is made of discrete tiny molecules.

In a sense, Wolfram believes, everything that exists is basically made from space. “Put another way,” he writes, “it’s the exact same hypergraph that’s giving us the structure of space, and everything that exists in space.”

It almost sounds like theoretical physicists should close up shop and just run some computer simulations using Wolfram’s rules. But as he acknowledges, the job isn’t done yet. So far Wolfram’s project has identified almost 1,000 rules that produce complicated structures that look like a universe. It remains to be seen what rule produces precisely the universe we all actually inhabit.

“Sometime — I hope soon — there might just be a rule … that has all the right properties, and that we’ll slowly discover that, yes, this is it — our universe finally decoded,” Wolfram writes.

In his summary, Wolfram declares that hypergraphs illustrate a principle he calls “causal invariance.” That means that various distinct paths through the hypergraph can sometimes converge. Such convergences allow the cause-and-effect chain of events through time to be preserved.

In a hypergraph “there is not just one path of time; there are many paths, and many ‘histories,’” Wolfram writes. But one supposedly independent path of history can merge with another. “Even when the paths of history that are followed are different, these causal relationships can end up being the same — and that in effect, to an observer embedded in the system, there is still just a single thread of time.”

Thanks to causal invariance, Wolfram’s hypergraphs reproduce many of the consequences of various physical theories, such as Einstein’s special theory of relativity. Traveling rapidly slows down time (as special relativity says) because hypergraph structures corresponding to moving objects make an angle through the hypergraph that extends the distance between updates (or time steps). The speed of light is a maximum velocity, as relativity states, because it represents the maximum rate that information can spread through the hypergraph as it updates. And gravity — described by Einstein’s general theory of relativity — emerges in the relationship between features in the hypergraph that can be interpreted as matter particles. (Particles would be small sets of linked points that persist as the hypergraph updates, something like “little lumps of space” with special properties.)

In an even more complicated extension of these ideas, Wolfram explores how hypergraph properties even correspond to the weird features of quantum mechanics. “In our models, quantum mechanics is not just possible; it’s absolutely inevitable,” Wolfram asserts.

Space as constructed in such hypergraphs can have a very fine structure, like a digital camera sensor with gazillions of megapixels. Wolfram estimates that a hypergraph corresponding to today’s universe might have applied 10500 time steps (incomprehensibly more than the universe’s age in seconds, roughly 1015). So space could be fine-grained enough to contain matter-particle structures much, much smaller than the known particles of physics. In fact, Wolfram suggests, supersmall unknown particles, which he calls oligons, might have been created in abundance shortly after the beginning of the universe. Such oligons, subject only to gravity, could now be hanging out in and around galaxies utterly unnoticed — except for their gravitational impact. Oligons might therefore explain why astronomers infer the existence of vast amounts of invisible “dark matter” in space. (And that could also explain why attempts so far to identify the nature of dark matter have been unsuccessful.)

Similarly, the mysterious “dark energy” that drives the universe to expand at an accelerating rate might just be a natural feature of Wolfram’s hypergraphs. Perhaps dark energy might in essence just be what space itself is made of.

Beyond that, Wolfram believes that his hypergraphs could resolve current disputes about which of many speculative theories are the best bets for explaining fundamental physics. Superstring theory, loop quantum gravity, causal sets and other ideas have all been proposed, and debated, for decades. Wolfram thinks hypergraphs can contain all of them.

“It almost seems like everyone has been right all along,” he writes, “and it just takes adding a new substrate to see how it all fits together.”

Wolfram’s technical paper (and accompanying papers — here and here — by colleague Jonathan Gorard) have been posted on a website promoting his project, and Wolfram is inviting the physics community to participate in pursuing his vision.

“In the end our goal must be to build a bridge that connects our models to existing knowledge about physics,” he writes. “I am extremely optimistic that we are finally on the right track” toward finding the “right” rule for our universe.

That “right rule” would generate a hypergraph with our universe’s precise properties: three (apparent) dimensions of space, the right cosmic expansion rate, the right repertoire of elementary particles with the correct charges and masses, and other features.

But perhaps, Wolfram has realized, seeking one single rule misses a bigger point. Maybe the universe uses all the possible rules. Then all the possible universes are just parts of one really big universe, in which “absolutely everything … can happen — including all events for all possible rules.”

We discern a certain set of physical laws based on the “language” we use to describe and comprehend the world. The elements of this language are tuned to “the kinds of things our senses detect, our measuring devices measure, and our existing physics describes.” The right rule is the one that corresponds to the portion of the hypergraph that we explore from our own particular frame of reference. Life elsewhere might see things differently. “There’s actually an almost infinite diversity of different ways to describe and experience our universe,” Wolfram suggests.

In other words, explaining the physics that applies to our existence might require insight into the mechanisms of a vastly more complex reality, beyond the realm of what we can experience. As Wolfram puts it, “In many ways, we are inevitably skating at the edge of what humans can understand.”

As he acknowledges, much more work will be needed to merge his approach with the successful theories of established physics. And standard physics does have an impressive resume of accomplishments, explaining details about everything from the innards of atoms to the architecture of the universe and the nature of space and time.

Yet mainstream physicists have long suspected that space and time cannot be fundamental concepts. Rather it seems likely that space and time are conventions that must emerge from something deeper. It might be a long shot, but just maybe Wolfram has perceived a path that leads to the depths where reality originates.

Only time — or many more hypergraph updating steps — will tell.

from Tips By Frank https://www.sciencenews.org/article/stephen-wolfram-hypergraph-project-fundamental-theory-physics

[semester2research]

Détournement- Situationists

Barbara Kruger

Cacophony Society

‘A détournement, meaning "rerouting, hijacking" in French, is a technique developed in the 1950s by the Letterist International, and later adapted by the Situationist International (SI), that was defined in the SI's inaugural 1958 journal as "[t]he integration of present or past artistic productions into a superior construction of a milieu.” “It has been defined elsewhere as "turning expressions of the capitalist system and its media culture against itself" Détournement was prominently used to set up subversive political pranks, an influential tactic called situationist prank that was reprised by the punk movement in the late 1970s and inspired the culture jamming movement in the late 1980s.’

‘Détournement is similar to satirical parody, but employs more direct reuse or faithful mimicry of the original works rather than constructing a new work which merely alludes strongly to the original. It may be contrasted with recuperation, in which originally subversive works and ideas are themselves appropriated by mainstream media.’

‘Guy Debord and Gil J Wolman categorized détourned elements into two types: minor détournements and deceptive détournements. Minor détournements are détournements of elements that in themselves are of no real importance such as a snapshot, a press clipping, an everyday object which draw all their meaning from being placed in a new context. Deceptive détournements are when already significant elements such as a major political or philosophical text, great artwork or work of literature take on new meanings or scope by being placed in a new context.’

‘However, the line between 'recuperation' and 'détournement' can become thin (or at least very fuzzy) at times, as Naomi Klein points out in her book No Logo. Here she details how corporations such as Nike, Pepsi or Diesel have approached Culture Jammers and Adbusters and offered them lucrative contracts in return for partaking in 'ironic' promotional campaigns. She points out further irony by drawing attention to merchandising produced in order to promote Adbusters' Buy Nothing Day, an example of the recuperation of détournement if ever there was one.‘

‘Klein's arguments about irony reifying rather than breaking down power structures are echoed by Slavoj Žižek. Žižek argues that the kind of distance opened up by détournement is the condition of possibility for ideology to operate: by attacking and distancing oneself from the sign-systems of capital, the subject creates a fantasy of transgression that "covers up" his/her actual complicity with capitalism as an overarching system. In contrast, scholars are very fond of pointing out the differences between hypergraphics, 'detournement', the postmodern idea of appropriation and the Neoistuse of plagiarism as the use of different and similar techniques used for different and similar means, effects and causes.‘

[complexpapers]

Abstract: Community recovery is a central problem that arises in a wide variety of applications such as network clustering, motion segmentation, face clustering and protein complex detection. The objective of the problem is to cluster data points into distinct communities based on a set of measurements, ...

[dglee90]

Arxiv[quant-ph] 2/24~3/2

Renormalization group flows of Hamiltonians using tensor networks - Matthias Bal, Michaël Mariën, Jutho Haegeman, Frank Verstraete

Quantum thermalization dynamics with Matrix-Product States - Eyal Leviatan, Frank Pollmann, Jens H. Bardarson, Ehud Altman

Symmetry reduction induced by anyon condensation: a tensor network approach - José Garre-Rubio, Sofyan Iblisdir, David Pérez-García

Entanglement phases as holographic duals of anyon condensates - Kasper Duivenvoorden, Mohsin Iqbal, Jutho Haegeman, Frank Verstraete, Norbert Schuch

Finite-representation approximation of lattice gauge theories at the continuum limit with tensor networks - Boye Buyens, Simone Montangero, Jutho Haegeman, Frank Verstraete, Karel Van Acoleyen

Frustrated magnetism of dipolar molecules on square optical lattice: evidence for a quantum paramagnetic ground state - Haiyuan Zou, Erhai Zhao, W. Vincent Liu

Obtaining highly excited eigenstates of the localized XX chain via DMRG-X - Trithep Devakul, Vedika Khemani, Frank Pollmann, David Huse, Shivaji Sondhi

Quantum phase transitions of light in a dissipative Dicke-Bose-Hubbard model - Ren-Cun Wu, Lei Tan, Wen-Xuan Zhang, Wu-Ming Liu

Noise-resilient preparation of quantum many-body ground states - Isaac H. Kim

Architectures for quantum simulation showing quantum supremacy - J. Bermejo-Vega, D. Hangleiter, M. Schwarz, R. Raussendorf, J. Eisert

Autonomous Quantum Error Correction and Application to Quantum Sensing with Trapped Ions - F. Reiter, A. S. Sørensen, P. Zoller, C. A. Muschik

Optimal entanglement witnesses in a split spin-squeezed Bose-Einstein condensate - Enky Oudot, Jean-Daniel Bancal, Roman Schmied, Philipp Treutlein, Nicolas Sangouard

Semiconductor devices for entangled photon pair generation: a review - Adeline Orieux, Marijn A. M. Versteegh, Klaus D. Jöns, Sara Ducci

Influence of the asymmetric excited state decay on coherent population trapping: atom × quantum dot - H. S. Borges, M.H. Oliveira, C. J. Villas-Boas

Objectivity in non-Markovian spin-boson model - Aniello Lampo, Jan Tuziemski, Maciej Lewenstein, Jaroslaw K. Korbicz

Quantum absorption refrigerator with trapped ions - Gleb Maslennikov, Shiqian Ding, Roland Hablutzel, Jaren Gan, Alexandre Roulet, Stefan Nimmrichter, Jibo Dai, Valerio Scarani, Dzmitry Matsukevich

The Complexity of Translationally-Invariant Low-Dimensional Spin Lattices in 3D - Johannes Bausch, Stephen Piddock

Solvable Model of a Generic Trapped Mixture of Interacting Bosons: Reduced Density Matrices and Proof of Bose-Einstein Condensation - Ofir E. Alon

Fluctuating hydrodynamics, current fluctuations and hyperuniformity in boundary-driven open quantum chains - Federico Carollo, Juan P. Garrahan, Igor Lesanovsky, Carlos Pérez-Espigares

Systematic Construction of Counterexamples to Eigenstate Thermalization Hypothesis - Naoto Shiraishi, Takashi Mori

Universal many-body response of heavy impurities coupled to a Fermi sea - Richard Schmidt, Michael Knap, Dmitri A. Ivanov, Jhih-Shih You, Marko Cetina, Eugene Demler

Dicke Phase Transition and Collapse of Superradiant Phase in Optomechanical Cavity with Arbitrary Number of Atoms - Xiuqin Zhao, Ni Liu, Xuemin Bai, J.-Q. Liang

Towards topological quantum computer - D. Melnikov, A. Mironov, S. Mironov, A. Morozov, An. Morozov

Small Majorana Fermion Codes - M. B. Hastings

Quantum Error Correction for Complex and Majorana Fermion Qubits - Sagar Vijay, Liang Fu

Quantum Information Set Decoding Algorithms - Ghazal Kachigar, Jean-Pierre Tillich

A loophole in quantum error correction - Xavier Waintal

Work-sharing of qubits in topological error corrections - Tetsufumi Tanamoto, Hayato Goto

Building a Completely Reversible Computer - Martin Lukac, Gerhard W. Dueck, Michitaka Kameyama, Anirban Pathak

The pitfalls of planar spin-glass benchmarks: Raising the bar for quantum annealers (again) - Salvatore Mandrà, Helmut G. Katzgraber, Creighton Thomas

Multipartite entanglement detection for hypergraph states - Maddalena Ghio, Daniele Malpetti, Matteo Rossi, Dagmar Bruß, Chiara Macchiavello

Relating correlation measures: the importance of the energy gap - Carlos L. Benavides-Riveros, Nektarios N. Lathiotakis, Christian Schilling, Miguel A. L. Marques

Complex Networks: from Classical to Quantum - Jacob Biamonte, Mauro Faccin, Manlio De Domenico

The reference system and not completely positive open quantum dynamics - Linta Joseph, Anil Shaji

Generation of Nonlocality - Kaushiki Mukherjee, Biswajit Paul, Debasis Sarkar, Amit Mukherjee, Some Sankar Bhattacharya, Arup Roy, Nirman Ganguly

Axiomatic characterization of the quantum relative entropy and free energy - Henrik Wilming, Rodrigo Gallego, Jens Eisert

The second law of thermodynamics at the microscopic scale - Thibaut Josset

Deterministic nonclassicality for quantum mechanical oscillators in thermal states - Petr Marek, Lukas Lachman, Lukas Slodicka, Radim Filip

Direct observation of phase sensitive Hong-Ou-Mandel interference - Petr Marek, Petr Zapletal, Radim Filip, Yosuke Hashimoto, Takeshi Toyama, Jun-ichi Yoshikawa, Kenzo Makino, Akira Furusawa

Maximal violation of n-locality inequalities in a star-shaped quantum network - Francesco Andreoli, Gonzalo Carvacho, Luca Santodonato, Rafael Chaves, Fabio Sciarrino

Entanglement and squeezing in continuous-variable systems - Manuel Gessner, Luca Pezzè, Augusto Smerzi

Symmetry protected entanglement between gravity and matter - Nikola Paunkovic, Marko Vojinovic

Black Holes: Eliminating Information or Illuminating New Physics? - Sumanta Chakraborty, Kinjalk Lochan

Generalized Grassmann variables for quantum kit (k-level) systems and Barut-Girardello coherent states for su(r+1) algebras - M. Daoud, L. Gouba

[ablackbrick]

All the Lies You Told Today

All the Lies You Told Today

Almost every Geranium Lake Properties comic Yost submitted for publication came with a black-and-white or grayscale version, unless the original artwork was limited to black ink on white paper. Sometimes, as in this example, I prefer the black-and-white over the color version. Label written in pencil on the back of the artwork for this GLP panel: “Hypergraphic Object Epsilon Utah, inside…