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Tuesday, June 25, 2013

The Joys of Symbolic Logic



Yes, this is another late post.  My apologies.  I took assessment tests at Wossamotta U. last night, and when I finished it took me awhile to consider how I wanted to write this down.  The experience was an unusual one for me.  It revolves around my plans to take algebra courses this fall.

I've taken algebra four times before.  Twice in junior high, once in high school, and once in college.  Being a gestalt learner, I tend to examine systems and how they operate as a whole to learn them.  Alas, this is not how any of my old classes were taught.

"Don't try to understand the whole thing, it's too big for you," the instructors kept saying.  "Just memorize what we tell you long enough for the test.  You're making it too hard.  Take it one piece at a time, without any context or comprehension, and just do what you're told."



Faced with what was essentially gibberish without context or intrinsic value, I found that blind memorization and regurgitation of math rituals was useless to me.  This was before widespread recognition of different learning styles (at least where I attended), so it was left to me to piece things together as best I could.  As a result, I didn't do well and walked away frustrated class after class, having learned almost nothing.  I was good at math once, I thought.  What the hell happened?

Shortly thereafter, I happened upon a book entitled Symbolic Logic, by Prof. Charles Lutwidge Dodgson.  And I can almost guarantee that you are familiar with some of his other works . . .



That is correct.  His pen name was Lewis Carroll.  His Alice works are lovely expressions of both poetry and mathematics, as well as being children's stories.  However, much as he loved the little girls for whom he wrote his stories he was first and foremost a mathematician.  Symbolic Logic  was an introduction to the philosophy and language of mathematics, the utilization of symbols as abbreviations to better condense logic problems from a purely linguistic form to a symbolic one.  I had known for years that to solve a logic problem one must be able to simultaneously look at it all at once and be able to part it out.  As I started reading his book, I realized that this was what was missing.  His book explained how higher mathematics, such as algebra, were simply linguistic tools for logical problem solving.

As you might imagine, my heart soared.  I drank down his book, seized upon the key it offered, unlocked the door and entered the garden.  It really is all a matter of perspective.  Years later, when I was homeschooling my own Magnificent Offspring, I spent quite some time working with them on symbolic logic before we started in on the algebra texts I had.  Things seemed to go well, and I think retention was good.

Fast forward a few more years to present day.  The Magnificent Offspring are now in public brick-and-mortar schools.  I, a returning student, must now take my Assessment Tests for placement in the college program.

(Yes, I'd just taken three semesters of classes, as you've already read.  It's a bit of a tangle.  Suffice it to say, in my life things often work backwards.  Roll with it.)



I took the English test first, and owned it as expected.  However, there was also the math test.  I knew that there were many things, though once considered algebra, that are now taught as basic math.  Likewise, things that were once reserved for higher college math classes are now part of high school algebra.  I therefore intended to qualify for an elementary algebra course, to be sure I had the basics down.  Then I would move through intermediate algebra to college algebra.  When I reached my 4-year campus, I would have a thorough comprehension of algebraic rules and rhythms and be well-prepared for a comprehensive approach to statistics class.  I reviewed for the test with this in mind, using the college's pre-algebra practice tests accordingly.

When I finished the English test, there seemed to be enough time left, so I started the math test.  "The better you are," I was told, "the longer it takes."  I didn't expect to take too long.

The first few questions were a little unexpected.  "That's odd," I thought.  "there was nothing like this on the practice tests . . ."

From there it went to  a few equations I hadn't worked on since I was in college last, over two decades ago.  "Hm," I thought.  "All right, I think I can figure this out . . ."



From there it quickly went to questions I had never seen before in my life.  So I spent most of the test scribbling furiously, figuring out how to solve the problems as I went.  Often I was wrong.  But since the test was multiple choice I could then deconstruct my work, find the pattern offered, and arrive at one of the listed answers.  I got enough right that the test just kept going and going.  It was even fun.

The last few questions I rushed through because the testing centre was closing - if I'd had more time, I might have gotten them correct.  But as it was, the test kicked me out just before the systems shut down for the night.  The printer buzzed and spat, showing a score that qualified me to go straight to college algebra.

This is the sound of my brain... pulse, throb, pulse, throb...



I know there is a huge difference between an understanding of algebraic thought sufficient to work through a multiple-choice test, and a firm foundation in mathematical technique.  If the test had been fill-in-the-blank I would not have done nearly so well.  So in practice, I don't know that I will start out with a college-level algebra course.  I will meet with a counselor before truly deciding.  Still, it is nice to know that my analytical and problem-solving skills are in such good shape.  And it is a rare thing that, considering my ego, I manage to surprise myself in such a fashion.

Sometime again,
--Coyote.


(Kagome and Inuyasha are both characters created by Rumiko Takahashi; Coyote pic courtesy of malayna-dawn.typepad.com, combining Warner Brothers' Wile E. Coyote and the Coyote from the Medicine Cards illustrated by Angela C. Werneke; The Brain From Planet Arous was written by Ray Buffum, thanks to denofgeek.com for the picture; Alice, the Mock-Turtle, and the Griffon are of course productes of Lewis Carroll, aka Charles Dodgson.  All rights reserved by those who rightfully reserve them.)

Monday, June 17, 2013

Little Brother

It is done.

It is done it is done it is done it is done it is done.

The draft for Book III of The Order of the Four Sons series is done.  And, after a fallow period, my Esteemed Co-Author and I will go back to it, tweaking and smoothing, putting the finishing touches onto the great beast we have been laboring over all this time.

Chimera_by_josh_buchanan.jpg (500×364)

All the old characters, their stories finely woven together at last.  And new characters: Prince Leopold, his father Henri, Janus, Madeline (ah, Madeline!) and not to mention, at last, the face of Starry Wisdom.  And of course Christophe.  Readers will remember him from the end of Book II.  Christophe Ecarteur, the Beast of the Boudoirs.  Christophe Ecarteur, the Prince's inspirer.  Through the darkest nights of writing, just as JD's determination and attitude got us through Book I and much of Book II, Christophe was a beacon of randy light and gentle hope throughout our work on Book III.  I shall say little more about him, so as to avoid spoilers, save that he is decidedly one of our favorite characters ever.

There was rain today, so it was a perfect time to go out and run some errands.  I was in the Home Depot, confirming that everything I need is about six times what I expected, when an older gentleman walked past me with a cart full of lumber.  His monastic robes were of a cut I didn't recognize, and were a kind of slate grey-blue.  Interesting.  It didn't look Russian, and I think it was not Ethiopian . . .

After a moment of consideration, I flagged the gentleman down.

"Excuse me sir," I said.  "I hope you don't mind my asking, but I've never seen vestments quite like yours before--"

The older man smiled.  "Yes, I am a member of the Dominican faith.  We are the Little Brothers of the Lamb."

And of course the monk was also a carpenter, which is just cool.  That's like finding a priest of Anubis who does embalming for a living, or a druid who is also a  master brewer.  The gent who was ringing him up revealed that the lumber was for repairs and additions to his monastery, tending well to the House of his brothers.

He was a small man, compact, dark-complected, with hair that had also been dark once upon a time.  He spoke with a slight accent I could not quite place - something romantic, I think.  His eyes were gentle and strong, his face lined with laugh-wrinkles.  I would have stayed and talked to him more, but I was in a hurry - the cloud cover had vanished and time was fleeting.  As we parted ways, we exchanged names.

"Coyote," I told him.

He smiled as he shook my hand.  "I am Little Brother Christophe," he said.

I smiled back, thinking, Of course you are.



And those who know shall know.


Sometime Again,
--Coyote.


(Chimera pic courtesy of powerlisting.wikia.com; RDJ created himself and has his own rights.  All rights reserved by those who rightfully reserve them.)

Monday, June 10, 2013

Spirituality in Springtime


 











Spring is a time of renewal.  It is a time when the land and the green re-awaken.  The air is full of music, and the trees are full of beauty.  Even the wind smells like new life and desire.  There is a sense of promise in the Spring, and I think that Malvina Reynolds said it best in her song, God Save the Grass:

God bless the grass that grows thru the crack.
They roll the concrete over it to try and keep it back.
The concrete gets tired of what it has to do,
It breaks and it buckles and the grass grows thru,
And God bless the grass.

God bless the truth that fights toward the sun,
They roll the lies over it and think that it is done.
It moves through the ground and reaches for the air,
And after a while it is growing everywhere,
And God bless the grass.

God bless the grass that grows through cement.
It's green and it's tender and it's easily bent.
But after a while it lifts up its head,
For the grass is living and the stone is dead,
And God bless the grass.

God bless the grass that's gentle and low,
Its roots they are deep and its will is to grow.
And God bless the truth, the friend of the poor,
And the wild grass growing at the poor man's door,
And God bless the grass.



Sex is in the air, as well.  There is nothing like making love, and though there are a few things I might compare to such joys, there are none I would put above it.  The act of making love is not only an act of shared joy and ecstasy, but an expression of tenderness, affection, attraction, and trust.  It is a point where people share themselves, and souls touch.  This is a spiritual, magikal act of tremendous vitality and power, a celebration and affirmation of life itself.  Though there is no time of year where making love is out of place, Spring revitalizes it all over again.  Lovemaking is beautiful, silly, tender, rough, frightening, reassuring, and full of surprises.  Without any religious overtones to speak of, I will affirm that this is a pinnacle of spirituality.


Sometime again,
Coyote.


(The above version of the MArch Hare is of course (c) Disney; this image of the Great God Pan is courtesy of camphalfblood.wikia.com; the lovely picture of plant life rising up through concrete is courtesy of Merry Mischief on Facebook.  They also do music and you might want to check them out sometime. All rights reserved by those who rightfully reserve them.)

Monday, June 3, 2013

RCH

We are so, so close.  SO very, very close.

Nine scenes.  As of the end of our last writers' meeting, Lauren and I had nine scenes and some tweaking and seasoning to do before the draft of Book III in our series is complete.

This . . . has been a momentous undertaking.

"We are the writers.  Surrender now, and we'll see that you are well treated."




















Lauren and I first met on the set of a movie project we were both working for.  We discovered, much to our mutual delight, that we could write well together.  After the project swallowed its own head, I waited about a year for any lingering pain to subside and asked if she'd like to write together again.  To my joy, she said yes.  This was the beginning of a magnificent friendship that has since continued to grow and become richer over the last . . . is it eight years?  Wow.

So.  Our first act together was to contact the main cast, the people who had brought the characters to life for us.  There had been a lot of improvisation in front of those cameras, and we asked everyone for their blessing to use their characters and basic appearance for the story.  We lucked out: they were all very cool people and said yes.

Our second act was to create the universe.



Well, not entirely from scratch.  Lauren had been on the movie's writing team well before I signed on, and she had established a lot of the framework and back story.  I won't try to list everything she did here.  Suffice it to say that the bedrock was hers, and I contributed later.

We went through and ditched everything that had been contributed by anyone but she and I.  Then we started at the basics.  It's a magical story, so one of the first things we had to hammer out was how exactly magic works in our universe.  Further, how exactly magic differs from psionics.  The more powerful a magician in a given world is, the better an idea you have to have to keep such things consistent.  And some of these suckers were going to be pretty damned powerful.  We had to establish, for lack of better words, the physics of the story.

Then we looked at the story itself.  We knew where we wanted to start out.  Where would it finish?  And what were the vital parts in-between?  And we set to work to create our tale.  Not a book with some sequels or a book-by-book outline, you understand.  We created a single story arc of elegant complexity that spans four books.

Then we looked at the characters.  We created their back stories, established their passions and habits.  We chose names and relationships.  Then we went back and went over the universe's structure again, tweaking and smoothing so everything would fit.

There were very few absolute rules between us as we shaped and wrought, and we both agreed upon them heartily.  Here are the main ones:




First, no stupid characters!  One of our pet peeves is and has always been when a character would do something agonizingly stupid just to move the plot along - especially when the character should know better.  Worse than that is when a character has abilities that are never used because if they had been there would be no plot.  Better, we feel, to put in the extra work and have a smarter plot than have brainless characters.

This is not to say that our characters will never make silly-ass mistakes under stress.  People do.  It is something that makes them people.  But what they do has to be believable for competent characters of whatever skill level is involved.

Many has been the time that we have spent hours brainstorming over how to solve a conundrum brought on by a character being smart when it would have been easier to have them act like simple-minded dolts.  But we are both agreed: stupid people suck.  No stupid characters, no smart characters being pointlessly stupid.  Ignorant?  Sure.  Emotional?  If the situation calls.  Stupid?  Nay.  We say thee nay.

"I have mad skills and keen insights.  Why do I never use them?"





























Second, consistency!  A person's abilities might have variables to a limited extent, that's just realistic.  Even Tiger Woods doesn't always play a perfect game.  But again, when the suspension of disbelief is shaken or shattered because suddenly a basic ability or aspect of a character or the universe's physics defrauds itself . . . no.

For example, in Marvel Comics' X-Men, there was a story line where the X-Men were facing an army of vampires.  In one arc within that story, vampires were dead meat puppets without souls or real minds of any kind.  Person dead, soul fled.  In the next arc, Wolverine was killed and turned into a vampire after his healing factor was secretly turned off.  Tests after death showed no human cell activity.  Then Cyclops turned Wolvie's regeneration back on and he was instantly up, no longer undead, and kicking vampire ass as usual.

Under the rules established in the previous arc, this was impossible.  If undead is just dead, Wolverine would have moved on to his eternal rest.  Then again, it was established years ago that his healing factor cannot create life from lifelessness and would not prevent vampirism.  But since Marvel has apparently ditched everything regarding their particular brand of vampirism in favor of something from the Buffy-verse anyway, character consistency apparently didn't matter either.  Another pet peeve.  And again, we say thee nay.

Yeah, we're boned.
































Thirdly, research!  This is a close blood-cousin to the second point, but it bears mentioning.  There are too many stories where any reader's understanding of history, or the local color of a place, tears the suspension of disbelief apart.  This is not one of them.  If you live in Excelsior Springs, you'll recognize the places our heroes visit there.  If you know the history of ancient Egypt, the Catholic church, 19th century Britain or the Old West, you'll see how we have meticulously woven our world's threads among those of history's own pages.  We took advantage both of legend and of those pages in history where accident and war have washed time's writings away.  And ladies and gentlemen, it was a lot of fun.  If you are no historian, you'll still enjoy the story.  But if you love history, you will see the game we have created with history's characters.  And you are invited to play.

You are correct.
We used our WABAC Machine.















Fourth: the don't kill the succubus, but don't describe the sewers.  This is a delicate balance, and a bit of explanation is probably due.  In the movie Constantine, there was originally a character who was designed as a kind of friends-with-benefits for the main character.  The only problem was, she was a demon.   She really helped hold several scenes and one plot point together.  But she was deleted out at the last minute, because they thought having a sexual partner didn't make the main character lonely enough.  Odd.  I rather think having a demon be the only person who you could be with would emphasize loneliness.  Did she advance the plot?  Not exactly, but she added to its depth.  When they took her out, the movie suffered for it.

On the other hand, in Les Miserables, there is a scene where the protagonist is being chased by his nemesis and they duck into the sewers.  The action is fast, the tension mounts . . . and then there is a chapter describing the sewers, their construction, and their history through the ages.  By the time the reader gets back to the chase, the momentum is lost.  I haven't read it, but those who have have assured me that the sewers are a major drag.

Chantelle.  Beautiful.  Evil.  A demon in John's debt.
Some days, the closest thing to a friend  he had.








Without her scenes, the sprinkler scene is awkward
and later ones feel contrived.  All to avoid this: 
https://www.youtube.com/watch?v=-i-9AHgOSKs 






























And yes, I am meandering.  But I am giddy at the prospect of what is at hand.

Consider the following.  When we first started in 2006, we were working on Books I and II more-or-less simultaneously, with occasional work on III.  Then we were working on Books II and III with some work on IV.  Now we're wrapping up having worked on Book III with occasional work on IV.  And Book III, Where Flap the Tatters of the King, is a monster.  Our most ambitious work to date, it is the point where the threads we wove through Books I and II come together and in a sense it's been almost eight years in the making.  We've woven plot throughout all four books, and we know exactly where we're headed.  And we are nearly done!

To celebrate, we are offering The Order of the Four Sons, Book I, as a free download on Smashwords.  So tell your friends, and feel free to join us.  It has been a hell of a ride.  We've been creating whole worlds for you to explore, and we look forward to sharing them with you.



Non Serviam,
--Coyote.




(Don Quixote pic by G.A. Harker; All Buffy characters were created by Joss Whedon; Calvin & Hobbes was created by Bill Watterson; Wolverine is (c) Marvel Comics; Peabody and Sherman were created by Ted Key; John Constantine and Chantelle are both (c) Vertigo Comics, which is a division of DC.  All rights reserved by those who rightfully reserve them, and all that.)