Maybe you saw the article about putting a pickle in a (cheap) beer to make the beer taste — so we are told — much better. I’ve read three articles now recommending it. To be frank, the idea utterly horrifies me, mainly because I can’t stand pickles. Also because I love beer.
However, human tastes in foods and beverages span a vast range. I suspect very few people like everything that gets put on the worldwide table. (Despite my Norwegian upbringing, I wouldn’t touch lutefisk with a ten-foot pole. It’s up there with pickles on the list of stuff I Will Not Eat.)
But apparently some love a pickle in their beer.
There is an oft-quoted line from the delightful movie, The Princess Bride. The line, by Inigo Montoya, is: “You keep using that word. I do not think it means what you think it means.”
The first time I noticed it was Rachel Maddow, enough years ago that I was still watching her show (so three or four, at least). Maddow is a Rhodes Scholar, so it caught my attention — my first thought was that I must be wrong about the word. I looked it up, and… I’m maybe slightly more right than wrong? Or, honestly, maybe it’s just a wash.
The word I’m talking about is craven.
Code master Wheatstone
Among my second tier interests are murder mysteries, detective stories, and cryptography. The first typically includes the second, but there are many detective stories that don’t involve murder. Two of my favorite detectives, Spenser (by Robert B. Parker) and V.I. Warshawski (by Sara Paretsky), often have cases not involving murder.
The third interest I listed, cryptography, doesn’t usually coincide with the first two, but it did play a role in a recent locked-room murder mystery involving the delightful amateur detective Lord Peter Wimsey (by Dorothy L. Sayers). While I’ve always enjoyed secret codes, I’d never heard of the cipher Sayers used — the Playfair cipher.
It dates back to 1854, and is kind of cool, so I thought I’d share it.
One of my earliest posts was Analog vs Digital. A few years later, I wrote about it in more detail (twice). Since then I’ve touched on it here and there. In all cases, I wrote from the perspective that of course they’re a Yin-Yang pair.
Recently I’ve encountered arguments challenging that “night and day” distinction (usually in the context of computationalism), so here I’d like to approach the topic with the intent of justifying the difference.
I do agree the grooves on a record, and the pits on a CD, are both just physical representations of information, but the nature of that information is what is night and day different.
I’ll end these posts about the configuration space metaphor where I began: in a big cube. I started the series in the Neapolitan room, a three-dimensional space where we could indicate our feelings about vanilla, chocolate, and strawberry ice cream with a single marker. From there we visited the Baskin-Robbins 31 Flavors space (which is tasty but beyond our ability to visualize).
Then I focused on spaces with only two-dimensions (which are easy to visualize). These are probably the best use of the metaphor; they turn a tug-of-war into a sensible place to stand. They also strongly differentiate “don’t care” from “care about both.”
Now let’s see what we can do with three dimensions…
My blog has such low engagement that it’s hard to tell, but I get the sense the last three posts about configuration space were only slightly more interesting than my baseball posts (which, apparently, are one of the least interesting things I do here (tough; I love baseball; gotta talk about it sometimes)).
So I’m thinking: fair enough; rather than go on about it at length, wrap it up. It’ll be enough to use as a reference when I mention configuration space in the future. (There have been blog posts where I couldn’t use the metaphor due to not having a decent reference for it. Now the idea is out there for use.)
And, at the least, I should record where the whole idea started.
It’s Science Fiction Saturday, so today I want to consider a fairly common question a fan might encounter: “Science Fiction or Fantasy?” The implication is that one tends to exclude the other. In these polarized times, it can amount to a declaration of your tribe.
One problem is there’s a spectrum from hard SF to pure fantasy with everything in between. But let’s take them as two legitimate poles and consider the question in terms of configuration space. (See posts #1 and #2 if you need to catch up.)
I think you’ll see that using a space give us a new take on the question.
Last time we considered a cube-shaped room where we could indicate our opinion about Neapolitan ice cream with a single marker. That worked well because we were dealing with three flavors and the room has three dimensions: east-west, north-south, up-down.
Later I’ll explore other examples of a 3D “room” but while we’re talking ice cream, I want to give you an idea where this goes, I want to jump ahead for a moment and consider good old Baskin-Robbins, who famously featured “31 flavors!”
So now the question is, can we set a marker for all 31 flavors?
Have you ever had (or at least seen) Neapolitan ice cream? It’s the kind with chocolate, vanilla, and strawberry, usually as separate layers in one package. As a kid, I didn’t care for the strawberry. I loved the chocolate, and was fine with the vanilla (wouldn’t usually choose it, but don’t disdain it).
That’s just my take on it: one flavor liked, one not liked, and one that’s just okay. Someone else might have the same pattern with different flavors. Or love them all equally, or want just the strawberry. Some might not like ice cream at all — any combination is possible.
What if we wanted to describe our feeling about Neapolitan as a whole?