Friday, November 10, 2006

Tagore Exhibit


"The Gift"

If you would have it so,
I will end my singing.


If it sets your heart aflutter,
I will take away my eyes from your face.

If it suddenly startles you in your walk,
I will step aside and take another path.

If it confuses you in your flower-weaving,
I will shun your lonely garden.

If it makes the water wanton and wild,
I will not row my boat by your bank.






"In the Dusky Path of a Dream"

In the dusky path of a dream I went to seek the love who was mine
in a former life.

Her house stood at the end of a desolate street.
In the evening breeze her pet peacock sat drowsing on its perch,
and the pigeons were silent in their corner.

She set her lamp down by the portal and stood before me.
She raised her large eyes to my face and mutely asked, "Are you
well, my friend?"
I tried to answer, but our language had been lost and forgotten.

I thought and thought; our names would not come to my mind.
Tears shone in her eyes. She held up her right hand to me. I
took it and stood silent.

Our lamp had flickered in the evening breeze and died.



I stopped by the British Museum this evening to see the small but stunning exhibit of Rabindranath Tagore paintings. In some ways, these small paintings are just doodles, but the deep layers of color are masterful and bring the abstract animals to life against a background of sorrow mingled with hope. These are a few of his many poems. I hadn't known that he had done any painting.



"Mind Without Fear"

Where the mind is without fear and the head is held high;

Where knowledge is free;

Where the world has not been broken up
into fragments by narrow domestic walls;

Where words come out from the depth of truth;

Where tireless striving stretches its arms towards perfection;

Where the clear stream of reason
has not lost its way into the dreary desert sand of dead habit;

Where the mind is led forward by thee into ever-widening thought and action---

Into that heaven of freedom, my Father, let my country awake.

Fish & Chips

Earlier this week, I joined a few other maths postgrads for fish & chips for lunch. It was the first time since I've been living here that I've eaten fish & chips. One of the guys who came with us is from somewhere on the coast of England and said that you can't get really good fish & chips in London, but he said the place we went to (the Rock and Sole Plaice) was the best he'd had so far.

I'm suffering from too much beer consumption last night (some might go so far as to call it a "hangover"). Brenda invited "The Emperor" to join us for drinks at the pub. His nickname comes from being the rather demanding social organizer of another maths postgrad office down the hall from us. He's from Belfast and has quite a reputation for drinking often, long and heavily. The bar staff greeted him personally when we arrived. Not only did he join us, but another 5 guys showed up and I drank twice as much as I usually do on our Thursday evening pub nights. The whole situation seems more likely to arise in fraternity initiation than in the social life of some maths postgrads. I think the conversation might have given us away though.

Actually, Peter (The Emperor) is no longer The Emperor since he finished and now has a job for which he has to get up in the morning. Supposedly another guy named Peter in the same office has taken over his role ("Peter the Second"), but I don't think he has quite the same knack for the job.

Wednesday, November 08, 2006

Useless Joseki

My friend and I dubbed this star point joseki (1 through 7) the "useless joseki". Playing White or Black, we never felt satisfied with this joseki. Our misgivings (in one direction anyway) apparently were justified: this joseki is now considered "old". White should not choose to play this joseki. Why?

First of all, Black will press with 1 through 5. Here, White is pushing from behind--never (especially if you are Guo Juan's student) push from behind! Also, White is running along the second line while Black is building outside influence. This is good for Black.







Furthermore, if White plays elsewhere, Black has a severe follow up. With 1 through 7 in this diagram, White lives tiny along the side, but Black seals White in and makes massive influence on the outside. This is unacceptable for White.







White can avoid being sealed in as in this diagram, but now Black gets a really big corner and White is not even alive yet.










My question now is, what other choices does White have against this 2 space high pincer if White does not want to jump into the corner? The only other options given in my joseki dictionary are jumping into the corner or doing a double approach move, which, compared to jumping out, is generally similar to jumping into the corner.

THE math

From an interview of Karl Rove a couple of weeks ago by NPR's Robert Siegel:
SIEGEL: I don't want to have you to call races...

ROVE: I'm looking at all of these Robert and adding them up. I add up to a Republican Senate and Republican House. You may end up with a different math but you are entitled to your math and I'm entitled to THE math.

SIEGEL: I don't know if we're entitled to a different math but your...

ROVE: I said THE math.