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04 February 2012

A bestiary (3)

Rising a hundred metres or so from pure arid desert, the mesa was a geological and ecological freak of nature and a perfect research base camp. Its tip was the end of a natural water pipe: an aquifer seam from the mountains to the south, water driven along it and then upwards by the weight of their much greater height. Further north, occasional oases marked the onward route of the subterranean flow. The spring which oozed out onto the mesa's slightly concave plateau was too meagre to support a human community but it managed to maintain a miniature subsistence ecology and associated microclimate. At the apex of the mesa's food chain came a tribe of cats. Not an exotic breed of wild cats, but recognisably the feral descendants of felix catus: the common house cat.

The calls on my time by the work I had come to do were regular but short; the gaps between them long. Inside my shelter, amongst and made from the threadbare scrub, or outside it when the sun was low, I had a lot of time in which to watch the cats. They were a matriarchal tribe, ruled subtly by a medium sized, inscrutably dignified female, black with a white flash between her eyes, whom I dubbed 'QueenMum'. The males did a lot of posturing and wailing but the females, except for the brief periods when they came into season, ran the world.

Highly socialised, the adults shared food and childcare; each individual tended to have a 'best friend', so a litter of kittens generally had four adults looking out for it. QueenMum's best friend was Missy, an elderly grey; the two of them spent much of their time sitting together on a mound, surveying QueenMum's domain. They vocalised extensively amongst themselves, and even more so to the kittens, with a complex repertoire of modulation – either they were using language, or the weeks of solitude affected me more than I realised.

The one exception to this civilised state of affairs was Thug, a small white female. She spent half of her time sulking and glowering at the edge of the community, and the other half picking on its other members. I never saw Thug catch any food of her own. On a good day she would saunter up and share someone else's kill; on a bad one she would launch in and simply take it for herself. Her assaults were of such psychotic intensity that she was never resisted.

Gary was the biggest member of the tribe, an enormous tigerstripe male. On a bright night, under a nearly full moon, I watched Gary haul the carcass of a lizard, larger than himself, up the side of the mesa. It took him several hours; a cat is designed for eating at the kill, not for carrying, but he had a litter to feed. The first hint of dawn was showing on the horizon beyond the distant highway when he finally wrestled his prize over the rim onto the plateau. As he dropped it, Thug appeared from the darkness in a storm of hissing, spitting and screeching. Gary, intimidated though perhaps ten times her body weight, backed off and she started to feed. Overcome by the unfairness of it, I stood up and went to shoo her away; she stood her ground, spitting fire at me, but gave way eventually when I pushed at her with a booted foot. "There you go," I said to Gary, shoving the lizard towards him; but he made no move, just sat and watched me. One by one, the rest of the tribe appeared; they sat in a circle, unblinking eyes glittering, staring at me. It was the first time I had ever interfered in their lives, and it was a mistake. I went back to my shelter, embarrassed. The lizard lay there, uneaten, ignored, gradually eroded over the days and weeks not by Gary or his offspring but by ants and bacteria.

When I first arrived on the mesa, lying low by day and building my bivouac, the cats and other wildlife were intensely curious about me. They came and watched me, sniffed the things that I had brought with me. After a while, though, having decided that I was nothing to do with them, they ignored me. They lived, loved, fought, bred, ate, died, without acknowledging my existence. Young kittens who sought to investigate me were called back with a throaty bubbling growl when they got closer than about two metres, but there was no other acknowledgment of my existence. Even when I went and sat amongst them, the kittens between my feet, they acted as if I were nonexistent. The affair of Gary, Thug and the lizard was a unique exception; so was Bastet.

Bastet was a young piebald female, of the same generation as Thug. She was a restless spirit, often hunting or prowling the perimeter while the others sat or slept or sunned themselves. Though she joined in with the life of the community, unlike the others she seemed to have no 'best friend'. Where they killed, shared the kill, then slept, Bastet would often trot into the group with a bird or rodent in her jaws, drop it beside a litter of kittens, then disappear immediately to hunt again.

And, unlike the others, Bastet often visited me in the shelter. I would wake from sleeping through the heat of the day to find her also asleep, inches from my face; or awake, watching me. She investigated every item I had brought with me, vomiting copiously after sampling the can of lubricating oil. She looked in at me the wrong way through the lens of the camera, rushing round to cuff the camera each time it clicked. She prodded and sniffed with particular interest at the seismographs. She sampled my food; I had nothing to obviously interest an obligate carnivore, but she developed a surprising fondness for peanuts and for spiced fried lentils. She delivered her first litter of kittens in my sleeping bag while I was out, then moved them to my spare underwear leaving the bloody placenta behind for me to find later. Within a few days, though, she moved both kittens and underwear outside where she could tap into the community childcare network.

The other regular visitor to my shelter was Jerry, a small mouse of some species unknown to me. Like Bastet, he took whatever food was on offer and showed no fear; my supply of dried fruit and mixed grain muesli bought me hours of amusement at negligible cost. After a while, his fondness for currants dyed his nose and whiskers purple. Occasionally, Jerry and Bastet would be in the shelter at the same time; this made me nervous at first, but some kind of truce seemed to exist within my space. Outside, though he was too small to merit a deliberate hunt, Bastet would have eaten Jerry if he had crossed her path. Inside, they ignored each other.

In preparation for my departure from the mesa, my work completed, I methodically obliterated all signs of my stay: equipment and waste packed up, shelter dismantled and scattered, latrine pit not just filled in but planted over with scrub cuttings. Bastet sat and watched me, unblinking, as I went out all of this. On the final night, as I descended the western slope through the rushing wind to the waiting truck, Bastet trotted surefooted beside me. As we loaded my gear under the tarpaulin, she watched intently.

Before departure I signed a sheet confirming that the summit was clean of my presence, returned to the state in which I had found it, but in fact I had broken the rule in two small ways. Beneath the patch of scrub where my shelter no longer nestled, I had left one last meal of spiced fried lentils; and into Jerry's burrow I had poured a quantity of muesli and dried currants.

28 January 2012

mathStatica 2.5

Last reviewed by me in version 2, mathStatica sees impressive developments with this upgrade – both in its own right and in its utilisation of new features in Wolfram Mathematica 8 (which it requires). According to the documentation, these are built on a 60 per cent expansion in the code base; I have to take that on trust, but the resulting benefits are empirically verifiable without any special effort.

[more]

Puck amongst the pollen

I've spent the past couple of hours chuckling over Julie Heyward's delightfully pin point comment to yesterday's "Cross-pollinations" post:

Cross-pollination is interesting because there are actually two evolutionarily diverse, equally important components to the process: first the male/female thing has to happen, but then the seed has to be moved, usually by being eaten and then shat out by some cooperative creature at a suitable distance. We thank you.

As always, she knows exactly how to deflate the pomposity of my self agrandisement.

When I used the cross pollination metaphor, I had in mind the literal, restricted meaning of the term: where a transmission vector (the cross pollinator) intervenes in "the male/female thing", transferring pollen from one location “to fertilize ... another flower or plant” (OED). A sort of Puck figure, a "shrewd and knavish sprite" scrambling the DNA before the formation of the gamete, in other words, rather than a sort of nature's own FedEx truck distributing the gamete to a new geographic location after it has become.

Secretly, I had a more specifically cuddly image of myself. Not just any old transmission vector, me: not just biotic, but apis mellifera, a cheery if somewhat dim honey bee. There I am, in the photograph (courtesy of Judith Acland) above left: entomophilously bumbling through the stamens of one flower to emerge disreputably covered in pollen. Moving on to another where I lurch carelessly against the stigma. Usually leaving a mess behind me but, just sometimes, every now and then, accidentally producing the circumstances in which a new flower can be born...

A self image which, of course, thoroughly deserved to be punctured by laughter.

If you haven't looked since yesterday, by the way, Julie has since put up another two Euclid propositions.

A wordle in your ear

These days, it seems, everyone who is anyone must have a Wordle (especially if they are to any extent involved in education) and some of my readers have been pointedly commenting on my lack of this essential accessory.

So, here is a wordle based on a recent atom feed from The Growlery (as always, click it you want to see a larger view).

Interestingly, "Ray" of JSB fame appears prominently but not "Girvan" ... the queen of Unreal Nature, on the other hand, reverses this with "Heyward" immediately spottable but not "Julie". why that should be, I've been too lazy to investigate ... Dr C (but without the "C") nestles between the "T" and the "o" of the word "Toss".

Update, 2012/01/29: Just to show what an exciting life I lead ... this is a Wordle compiled not from text but from the first ten thousand digits of π.

Tomorrow, the heady delights of the exponential function, e... [only joking]

27 January 2012

Cross-pollinations

As a self declared generalist* I am always delighted to find transgressions of the (po faced, spurious and entirely imaginary) boundaries between fields of human endeavour. For two different perforations of the membrane between mathematics and the visual/plastic arts, thank you to...


*My own metaphor for the generalist in a specialist world is "cross pollinator". I also, however, wear with pride two descriptions bestowed on me by others: "busking academic" (thank you, Martin-Peter, wherever you now are) and "academic odd job man" (my sister in law, B, who is wise and perceptive in so many ways).

26 January 2012

A bestiary (2)

[by special request from Julie Heyward...]

In my early childhood, before either of my brothers, was a blue and green budgerigar called Toss.

My mother hated cages, so Toss could often be seen trilling from chair backs and picture rails or swooping between them. If I stayed motionless for long enough Toss would sometimes alight on my head, claws latching into hair. The sudden scratching at my scalp was alarming at first, but I soon got used to it.

Usually very fastidious about returning to his cage and conducting personal hygiene needs from the dowel perch onto his sandpaper floor, Toss made one mistake. On a parabolic transit from one picture rail to another, he whirred between us across the dinner table. My father sat, frozen with fork halfway to mouth, staring at the black and white puddle which had blossomed in his plate of stew.

Some years later, in Australia, I was agog with excitement. It was from here that Toss's ancestors had come; here, budgerigars flew wild! I roamed the countryside at the abrupt edge or our town, looking for them, without success. Eventually I discovered, to my disappointment, that here they were not in the brilliant colours of Toss; those I found in the wild wore a quieter camouflage livery, reminiscent of the European sparrow.

There were, however, plenty of other brilliantly coloured birds to compensate. Out in the bush they were everywhere: large, small, flying jewels. Parakeets, in particular, flaunted their riotous plumage openly across the bush. In a valley where we sometimes went to picnic at weekends, wild kilometres out into the bush, they filled the sky with their raucous chatter. One of this flock, obviously escaped from captivity back to the wild, repeatedly called in an unmistakable Yorkshire accent: “Eeeee ... who's a silly bugger?”

22 January 2012

Today

More foe furren

Following yesterday's "Foe furren" post and its updates, I saw the following today:

It's not the same (Metrolox) font. It uses the same capital Sigma for an "E", but replaces "U" with V and "I" with capital Phi, neither of which Metrolox does.

Despite the V/U replacement (which suggests Latin) the obvious intent is to look Greek ... despite the reference to Turkey ... both my Greek and Turkish friends will be equally horrified...

There is, of course, a lot of overlap in archaeological terms; many of the Greek islands are, though under Greek soverignty, logically Turkish in geography.

21 January 2012

Foe Furren

I've just chanced to see the opening credits of the film Enemy of the state. They employ a variation on the "faux Cyrillic" (or more generally, "faux foreign") theme ... but, unlike Ray Girvan's examples or mine, I'm not sure what the point is.

The letter "E" is replaced by "Σ" (Greek capital sigma), "A" by " Λ" (Greek capital lambda). So, for instance, the credit for Gene Hackman is rendered:

I've seen the E/Σ substitution before, as a ham fisted over-egging (excuse the accidental food theme...) of faux Cyrillic, but here it becomes faux Greek. Which might make sense if there was any Greek connection in the film ... but there isn't ... Enemy of the state is set in the US, with Will Smith's African American lawyer pitted primarily against a US intelligence agency and secondarily against Italian American mobsters.

To further confuse matters, "Y" is replaced with something that resembles the currency symbol for the Japanese yen ( ¥). What's that all about?

Most odd...


Update: in a comment to this post, Ray has identified the font as Metrolox, which is available as a TTF font download (thanks for that, Ray). What its pseudo Greek references have to do with anything in the film is still a mystery.

However, there turns out to be another twist to this story. Having downloaded the font to look at, I opened the author's documentation file, the open sentences of which are:

Metrolox is loosely based on the titling of the Enemy of the State movie. I say "loosely" because the movie titling showed only so many letters, and the lab's final version turned out so big.

So Metrolox was born of Enemy of the state, rather than the other way around, which is interesting.

Apart from the specifics of relevance in the case of this film and font, I also wonder about the reasoning behind uses to which typography is put.

The role of "fancy" fonts is, generally, to capture attention; they are suited to signage, labels, short headlines (the examples Ray offered are perfect). They are not well suited to conveying textual information, since the very quality which makes them effective eye catchers (the fact that reading is momentarily interrupted, the eye tripping up, so to speak, over unexpected elements) becomes a barrier to extended reading.

It could be argued, perhaps, that the names of actors in a film, superimposed one at a time over its opening scenes, are not continuous textual information but a form of bulleted headline. I also concede that I probably paid more attention to the names depicted than I might otherwise have done ... so perhaps that's the point.


Yet another update: in a second comment to this post, Ray has made a good suggestion about the rationale for the use of the font, which I find convincing:

Could the allusion be to the villains of the film being in the NSA: in the field of cryptography, security and surveillance of foreign communications? That could explain the mixed foriegn characters; and the "O" looks very like the keyhole of a 180 degree toolbox cylinder key.

20 January 2012

A bestiary (1)

Olly the tawny owl was rescued by Karen, elder sister of my schoolfriend Dave when I was fourteen. Finding him unfledged and half dead on the road in daylight, she took him home and weaned him from milk to household scraps. By the time I met him, he was a young adult with an established place in the household.

Olly had, despite Karen's best educative efforts, never learnt to fly. The nearest he got to it was a frantic fluttering as he descended from his favourite perch atop the stairpost just inside the front door. Getting to this perch was a laborious matter of climbing first the stairs (gripping the carpet with claws and beak, falling back often), then an ottoman and the back of an upholstered chair on the landing. By this process he reached the top stairpost, from which a scrabbled slipsliding descent of the bannister led (barring frequent accidents) back down to the lower one. Watching this process, I understood how Robert the Bruce felt about his never-say-die spider. When Karen came into the house, Olly would fling himself off the post in a tumble of feathers. As long as she was at home, he would waddle about the house in faithful pursuit of her. When she left the house he started the long trek up the stairs and down the bannister, back to his perch.

Karen fed Olly on raw meat scraps. Since Olly had never learned how to stand on one claw and eat with the other, as owls are supposed to do, these scraps had to be placed at just below beak level; a modified shoe rack sat in the kitchen, for this purpose.

At some level, Olly knew that he was a bird. If Karen was in the downstairs living room during daylight hours he would scrabble his way up onto the window seat, then the sill. Through the window he watched the starlings pecking industriously at the lawn. On fine evenings the family took him out into the garden where he waddled about, taking the air and fluffing his wings. After a while, on these outings, he invariably stopped and examined the ground fixedly for several minutes. Then he tried to peck at it like a starling, fell on his face, couldn't get up, and had to be rescued.