randform

A reader called Silvia Hossfehler asked about a statement I made in a blog post, in which I described a design of a chair that I had subbmitted to a competition. My statement there was “I do not like competitions.” And Silvia Hossfehlers question was:

Are you sure that you do not like competitions? So why did you then send in your suggestion?

Since I think this is a more general issue, I decided to make a blog post out of this.

There are three major aspects of a competition. One is filtering, one is evaluation and one is motivation. A competition is filtering since it is making a choice between the objects/subjects under competition. A competition is evaluating since this choice is usually done with respect to some “value scale” that is for example in the olympic games the value could be e.g. “high velocity” and the filtering is thus to filter out the fastest. However in an art competition for example the “value scale” is not so obvious, people may talk about “quality”, as a possible value, but usually in an art competition, the filtering is mostly subject to a quite unspecifyable/predictable “value scale”. The third aspect is that a competition may serve as fostering motivation, it may make people increase their commitment to a certain task. That is for example the runner in the olympic games may be running faster and giving his/her best due to the “competition”.

Likewise in the working world a competition may filter out “the most efficient/capable”, moreover usually competition is regarded as a necessary condition for motivating people to work hard enough. Efficiency and a motivated workforce is usually essential to make profits and since competition solves all these demands all at once it therefore is a kind of “must-have” for “capitalists”. Often enough the principles of evolution (“survival of the fittest”) are taken as a justification of these paradigmas. However it should be noted that there there are enough examples, which display that in evolution things are more complicated, in particular the “survival of the fittest” may not hold for the individual but for a group of species.

Nevertheless as a result our western society is highly “competition-oriented”.

In my point of view – especially by looking at the odd sides of competition, like for example where it is leading to things as exploitation or monoculture – this can be very problematic and I think a more critical view on competition as such may be at place.

It is of course more or less unavoidable to take part in competitions and unfortunately one has to go through quite some competitions in order to have a saying. Grades in school already constitute a “competition”. And again in this example a competition serves as an agent for “evaluation”.

On the other hand this example already makes it also clear that the above mentioned major aspects of a competition can at least partially be transferred to other means. That is an evaluation can also be done by purely measuring capabilities/competences, i.e. the competitive aspect of being compared to others can be reduced. Likewise motivation can be driven by interest, social connectivity etc. In short competition may not even be a necessary condition for efficiency. On the contrary if the competition and “optimization of efficiency” is too strong competition can be counterproductive (see e.g. the last Toyota crisis). Last but not least the “filtering” aspect of competitions may lead to a blindness for other “filtering” criteria. Thus if for example “fast profit” dominates the “value scale” for a competition other possible criteria, like social conditions etc. are going to be neglected. Moreover the conditions for filtering may be unfair/too restricted etc. (read also this randform post about competition in the academic world).

So yes my comment in the blog post was referring to all that but it was also expressing a subjective discomfort with competition, in particular for me competition is usually not the most motivating force. For example in school sports I was especially slow if I had to run with others. I do not object to evaluation, on the contrary a regular feedback is important for me, however I do not always need the comparision to others. The comparision to others may impose quite an extra stress, rather than motivation. This can go as far as this: If I notice that someone wants to challenge me for a competition I sometimes prefer to completely step back. In particular there are people who want to make everything into a competition. I find that unpleasant, since in these cases one has not only to decide about the issue in question, but also about the aspect, wether one is up for a competition.

I took part in this design competition mentioned in the blog post, because I actually would have liked to discuss my chair with others and get critics about the design etc. and eventually connect to people who might be interested in building a prototype (if you put your design just into a forum or on your blog than the response is usually not very big). So unfortunately in this competition nothing like that happened. Thats in part what I do not like about these usual competitions. Moreover there are more and more competitions, where you have to pay an entrance fee (apart from postage etc.) in order to present your work. I think this is crazy. Who is taking part in these competitions?

There had been quite a discussion about love, religion, religious sects etc. in the comment section of the randform post about dripping pans. Here an older music piece by the band tonrand on that issue.
-> “I’m in love with a DJ” (music: Nico Lai) on last.fm

addition 26.02.13: The tonrand profile on last.fm had been erased. The music is no more available.

via create digital music . Quote from there:

Thanks to Patrick Flanagan for the tip. Patrick predicts that “this is the beginning of steamfunk.”

There had been quite a discussion on mathematics blogs about a recent request of the very well-known mathematician Alexandre Grothendieck. Amongst others he is a recipient of the fields medal – a kind of Nobel prize (since there exist also the Abel prize should one now say NoAbel Prize?) for mathematics. Since quite some time he lives secluded and disconnected from the mathematical world.

Alexandre Grothendieck is the author of a lot of very influential mathematical works. Unfortunately these works are in an area of mathematics I do not know much about, so I can’t really say much about his work. However, there are a lot of mathematicians who think that some of the older prints should be typeset again (which rarely happens for mathematical papers) and there are projects for that – in particular a project where the socalled Séminaire de Géométrie Algébrique du Bois Marie (short SGA) is typeset in LaTeX by many volunteers and which made parts of the SGA available on the electronic preprint arxiv (an archive, which makes it possible to provide math and physics preprints for free). Partly these SGA were published in a book, as well. As the Wikipedia page about the project says:

Legal permission to reprint the works was obtained from every author except Alexander Grothendieck himself, who cannot be contacted; it was decided to proceed without his explicit agreement.

Given the information provided by the mathematical blog “The secret blogging seminar” , what apparently happened now was that suddenly on a webpage for part 4 of the SGA the sentence:

Alexandre Grothendieck a malheureusement souhaité que cessent les travaux de réédition de SGA. Les pages qui étaient consacrées sont donc closes.
Dernière actualisation : 2 février 2010.

appeared. After that it became clear that this sentence was probably based on a letter which Alexandre Grothendieck wrote on Jan. 2 of this year. Here is the direct link to this (french) letter (typeset version of it) as made available on the secret blogging seminar (there is also an english translation in that blog post) .

In this letter he writes among others (modulo mistakes of readability):

Je n’ai pas l’intention de publier, ou de republier, aucune œuvre ou texte dont je suis l’auteur, sous quelque forme que ce soit, imprim´ee ou ´electronique, que ce soit sous forme int´egrale ou par extraits, textes de nature scientifique, personnelle ou autres, ou lettres adress´ees `a quiconque – ainsi que toute traduction de textes dont je suis l’auteur.

So this came as a shock to a lot of mathematicians (the partially quite emotional discussion on the blogs displays this rather vividly), as it seems to indicate that Alexandre Grothendieck doesn’t give the permission to republish his works!

Consequently the reaction of the SGA project was to terminate the project of reediting the SGA (see above sentence). Summarizing it seems the already done voluntary work of a lot of people is lost, moreover the availability of the SGA will be reduced.

When I read all this I missed the discussion about one point in his letter. May be this is due to my poor knowledge of the french language, though. Let me explain this – maybe someone french can comment on this.

In german the word publication is “Veroeffentlichung”. However a preprint doesn’t count as a “Veroeffentlichung” (at least not in mathematics) that is, it is considered as a prepublication. In his letter Alexandre Grothendieck explicitly underlined the terms retirer du commerce that is, he explicitly says that he does not wish that his works turn into a/another commercial product. So may it be possible that the word “republication” should be seen as ambiguous, i.e. that he would tolerate (or accept) a “pre”-republication of his works as open access documents?

Remark: Even if if one knows a lot about licence agreements, open access etc. so that one could have formulated this more precisley one could still wish to keep the “fuzzy” formulation of “publication”. Why? It just occurred to me that nobody really knows what would happen to all the preprints in the arxiv.org if the university system shouldn’t be able to sustain it anymore. What would happen to orphan preprints? Maybe Alexandre Grothendieck prefers to be able to say that he never agreed even with a “pre”publication.

Another side remark: You may think that the assumption that the arxiv may go down is far-fetched. This could well be, but on the other hand I find the arxiv looks a bit untended. That is for example the searches are still a bit uncomfortable and the upload procedures are very tedious, especially if you have a lot of pictures. I don’t want to think what happenes if one would like to upload an article which includes an interactive applet. Maybe I should say at this place that I tried in vain to upload my thesis to the arxiv with Tims help (who is quite a LaTeX wizard). The problem was that the upload program at the arxiv automatically deleted some necessary files. After many emails forth and back with the arxiv people we finally gave up. In addition I proposed to the people at arxiv to introduce a closed pre-preprint section for the arxive for timestamping works (something I am going to talk about later in more detail) and heard nothing about that proposal since then.

Concluding: If there is any slight chance that the term “republication” in Alexandre Grothendiecks letter could be interpreted as ambiguous, one should think about this. It is completely acceptable that he would wish that his works are not to be made into a commercial product (Similar things can be said about the works of Grigori Perelman). One can make this understandable even by “capitalistic” standards, i.e. imagine a soup kitchen where volunteers cook (unfortunately this voluntary work is seen by some politicians not as “work”…) hand out food to poor people and someone fetches some of the food and sells it around a corner. I know this comparision is a bit drastic, but still.

Our friend Sohaila Abdulali is a writer. Her first novel “The madwoman of Jogare” was shortlisted for the Crossword Award in 1998. Her second novel “Year of the Tiger” will be launched on:

Thursday 18 February 2010 at 7:00 p.m. at Crossword Bookstore, Ground Floor, Mohammed Bhai Mansion, Kemps Corner (below the flyover) N. S. P. Marg, Bombay, India
Kalki Koechlin and Anahita Uberoi will read and be in conversation with the author.

RSVP: Vivat Chandok (Crossword) or Harish Shenoy (Penguin India)

I couldnt resist buying the above fashion item from a bargain-bin in Fukuoka, since it is on one hand a refreshing example of language use, but secondly because it displays an interesting connection between garment and power (here in a highly agressive way though). The T-shirt had been made by a factory called Slap Stick.

In an earlier randform post, the distribution of surplusses was discussed, among others it was proposed to simulate a different way of distributing surplusses in a game-like environment. There were some comments to this:
Sabrina Says:” why don’t you make a business model out of that game prototype?”
Victor Says:
“if you have these dangerous ideas to abolish banks or let them go bankrupt, this is communism!
And
“did you fit in all your parameters?!”

Here a reply to the comment by Victor “if you have these dangerous ideas to abolish banks or let them go bankrupt, this is communism !” :

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Vlad Alexeev had created a website called Impossible World which collects “impossible figures”, from Vlad Alexeev’s website:

Since some time I became interested in such artworks and figures that look usual at a first sight, but there is something wrong with them if you look at them more attentively. For me, the most interesting such figures are “impossible figures” which make an impression that they cannot exist in a real world.

I wanted to know more and tried to find some information about these figures in the Internet. I found numerous sites containing three or four different impossible figures, but there was no site devoted exclusively to the study of impossible figures. During this pursuit I made the acquaintance of impossible figures of Swedish artist Oscar Reutersvärd and images of Dutch artist M.C. Escher.

It has been icy and cold the last days in Berlin with a lot of snow (see above image from today). In an earlier randform post I indicated that there is quite a lot to tell about badly built US houses. Like, when living in New England, it happened one cold day that the dishwasher didnt work. It took us quite a while to find the reason. The reason was that a pipe, which was INSIDE the house, however too close to the outer wall, froze. Yes you understood correctly – the insulation of the house was so sparsely that this pipe froze inside the house!

But back to the image – if you ever wondered what these strange signs on lamp posts and trees in Germany may mean (like the blue sign in the image above which you see if you follow the arrow). These signs are giving a detailled description of hydrants and facilities for water, natural gas, district heat and electricity use. So the above sign in the image should indicate a water gate (SCHIEBER in german). This sign methodology makes it considerably easy to detect frozen and/or broken pipes in the soil. Hopefully there will be a change in the US regarding the saving of energy, otherwise one should may be think about developping a sign methodology for frozen pipes inside US houses…

ranform wishes all its clients a happy new year and not a happy new ear !

Again on new years eve we will try to avoid the inner districts of Berlin since the roads in Berlin usually feel almost like being in a war at that evening.

Below are some images from the Nishinihon firework show in Ohori Park, Fukuoka from over a year ago. Here firework specialists are creating an amazing firework with high precision. The specialists are even able to rather scientifically predict the height and time of detonation in such a way that they are able to create little images like a smilie or a heart (please see below). Where it should be said that a heart which is poetically dropping down from the skies is of course hilarously kitchy.

Remark: The images were made with a small canon without a tripod.

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