EPISTEME

implication (n.)
early 15c., “action of entangling,” from Latin implicationem (nominative implicatio) “an interweaving, an entanglement,” noun of state from past participle stem of implicare “involve, entangle; embrace; connect closely, associate,” from assimilated form of in- “into, in, on, upon” (from PIE root *en “in”) + plicare “to fold” (from PIE root *plek- “to plait”).

Meaning “that which is implied (but not expressed), inference drawn from what is observed” is from 1550s.

pragmaticism (n.)
From 1905 as a term in philosophy by American philosopher C.S. Peirce (1839-1914) in reference to the doctrine that abstract concepts must be understood in terms of their practical implications;

Abductive reasoning (also called abduction,[1] abductive inference,[1] or retroduction[2]) is a form of logical inference that seeks the simplest and most likely conclusion from a set of observations. It was formulated and advanced by American philosopher and logician Charles Sanders Peirce beginning in the latter half of the 19th century.

Abductive reasoning, unlike deductive reasoning, yields a plausible conclusion but does not definitively verify it. Abductive conclusions do not eliminate uncertainty or doubt, which is expressed in retreat terms such as “best available” or “most likely”.
While inductive reasoning draws general conclusions that apply to many situations, abductive conclusions are confined to the particular observations in question.

https://en.wikipedia.org/wiki/Charles_Sanders_Peirce

Notre-Dame Cathedral is famous for its gargoyles and other decorative figures. However, not all of them serve a functional role in water drainage.
Many of these figures, which include grotesques and chimeras, adorn the exterior. They were added during the restoration by architect E.-E. Viollet-le-Duc in the mid-19th century.
Among these creatures, the **Styrga **(also known as the Strix) stands out. Resembling a bat, it features a large head, voracious beak, wings, and horns

aspire (v.)

“strive for, seek eagerly to attain, long to reach,” c. 1400, aspiren, from Old French aspirer “aspire to; inspire; breathe, breathe on” (12c.), from Latin aspirare “to breathe upon, blow upon, to breathe,” also, in transferred senses, “to be favorable to, assist; to climb up to, to endeavor to obtain, to reach to, to seek to reach; infuse,” from ad “to” (see ad-) + spirare “to breathe” (see spirit (n.)).

The notion is of “panting with desire,” or perhaps of rising smoke. The literal sense of “breathe, exhale” (1530s) is rare in English.

https://www.sacredarchitecture.org/articles/viollet_le_duc_the_hotel_dieu_and_the_vincentians_the_transformation_of_the_parvis_of_notre_dame

The previous sacristy had not fallen victim to the usual ravages of time and weather, but to rioters in July 1830, who then came back to plunder and entirely destroy it in February. Even all the stained-glass windows got smashed. The large old Archiepiscopal Palace on site was brought down with it.

These catastrophes, in other words, occurred during and following the July Revolution of 1830—the second French Revolution—which ended the Bourbon Restoration and swept in the July Monarchy of King Louis-Philippe, who headed the Orléanist branch of the Bourbon line.

In fact, Victor Hugo published his Notre-Dame de Paris (The Hunchback of Notre Dame) in 1831, which set in motion the dynamics that led to renovating the cathedral, in the wake of this Revolution, not the first one! So, too, did Eugène Delacroix paint his iconic Lady Liberty Leading the People to the Barricades in 1830, which proudly uses the cathedral to anchor the background at the right—as the Tricolore flies high from the south tower.

When Viollet’s spire was being raised, Baron Georges-Eugène Haussmann became the Préfect de la Seine, or chief administrator of the Paris region. This mayoral-like appointment was made in 1853 by Emperor Napoléon III (Louis-Philippe’s successor), who called for modernizing the city in a staggering slate of great works, most visible in the wide new boulevards that slashed across, and transformed, the map of Paris.

https://en.wikipedia.org/wiki/Georges-Eugène_Haussmann

Haussmann’s plan for Paris inspired the urban planning and creation of similar boulevards, squares and parks in Cairo, Buenos Aires, Brussels, Rome, Vienna, Stockholm, Madrid, and Barcelona. After the Paris International Exposition of 1867, William I, the King of Prussia, carried back to Berlin a large map showing Haussmann’s projects, which influenced the future planning of that city.^[23] His work also inspired the City Beautiful Movement in the United States. Frederick Law Olmsted, the designer of Central Park in New York, visited the Bois de Boulogne eight times during his 1859 study trip to Europe, and was also influenced by the innovations of the Parc des Buttes Chaumont. The American architect Daniel Burnham borrowed liberally from Haussmann’s plan and incorporated the diagonal street designs in his 1909 Plan of Chicago.

https://en.wikipedia.org/wiki/Eugène_Viollet-le-Duc

His writings on decoration and on the relationship between form and function in architecture had a fundamental influence on a whole new generation of architects:

Statue of Liberty

While planning the design and construction of the Statue of Liberty (Liberty Enlightening the World) sculptor Frédéric Auguste Bartholdi interested Viollet-le-Duc, his friend and mentor, in the project.^[28] As chief engineer,^[28] Viollet-le-Duc designed a brick pier within the statue, to which the skin would be anchored.^[29] After consultations with the metalwork foundry Gaget, Gauthier & Co., Viollet-le-Duc chose the metal which would be used for the skin, copper sheets, and the method used to shape it, repoussé, in which the sheets were heated and then struck with wooden hammers.^[28][30] An advantage of this choice was that the entire statue would be light for its volume, as the copper need be only 0.094 inches (2.4 mm) thick.

Viollet-le-Duc famously defined restoration in volume eight of his Dictionnaire raisonné de l’architecture française du XI au XVI siecle of 1858: “To restore a building is not to maintain it, repair it or remake it: it is to re-establish it in a complete state which may never have existed at any given moment.” 

During the entire career of Viollet-le-Duc, he was engaged in a dispute with the doctrines of the École des Beaux-Arts, the leading architectural school of France, which he refused to attend as a student, and where he taught briefly as a professor, before being pressured to depart.

De Quincy and his followers denounced the Gothic style as incoherent, disorderly, unintelligent, decadent and without taste. Viollet-le-Duc responded, “What we want, messieurs, is the return of an art which was born in our country….Leave to Rome what belongs to Rome, and to Athens what belongs to Athens. Rome didn’t want our Gothic (and was perhaps the only one in Europe to reject it) and they were right, because when one has the good fortune to possess a national architecture, the best thing is to keep it.”

https://en.wikipedia.org/wiki/Carcassonne

Its citadel, known as the Cité de Carcassonne, is a medieval fortress dating back to the Gallo-Roman period and restored by the theorist and architect Eugène Viollet-le-Duc between 1853 and 1879. It was added to the UNESCO list of World Heritage Sites in 1997 because of the exceptional preservation and restoration of the medieval citadel.^[6] 

https://en.wikipedia.org/wiki/Château_de_Roquetaillade

Charlemagne, on his way to the Pyrenees with Roland, built the first fortification there.^[2] Of this old castle, nothing remains but imposing ruins.^[1]

In 1306, with the permission of the English King Edward I, Cardinal de la Mothe, nephew of Pope Clement V built a second fortress (le Château Neuf).

This new castle was square in plan with six towers and a central keep. The entire structure was restored and transformed by Viollet-le-Duc and one of his pupils, Duthoit, between 1860 and 1870. The extraordinary interior decorations, with its furnishings and paintings, were created by Viollet-le-Duc and are listed as French Heritage.^[1]

http://chateauroquetaillade.free.fr/English/Historique du ch%e2teau -Anglais-.html

What we see today is a unique example of feudal architecture, that is to say two fortresses within the same castle walls. Roquetaillade has been home of the same family since its origins.

https://sci-hub.yncjkj.com/10.2307/767032

https://en.wikipedia.org/wiki/Sweet_Pea_(song)

A mega hit late 66 into 67, couldn’t get away from it for MONTHS!

Produced by Gary Paxton.

Gary was involved in stuff with Kim Fowley:

https://en.wikipedia.org/wiki/Kim_Fowley

https://en.wikipedia.org/wiki/Gary_S._Paxton

SONGS FROM MY YOUTH #5

https://en.wikipedia.org/wiki/A_Man_Could_Get_Killed **

The film introduced the melody of “Strangers in the Night” by German composer Bert Kaempfert.

The score for A Man Could Get Killed was composed by Bert Kaempfert, with the assistance of Herbert Rehbein, and recorded under the musical direction of Universal’s Joseph Gershenson. It introduced the melody of the song “Strangers in the Night“, which was initially to be sung by Melina Mercouri, but she insisted that her voice would not fit to the melody and it should be given to a man. Eventually, the version by Frank Sinatra became a global number one hit and is now considered a standard of easy listening music. The tune, listed in the original sound track as “Beddy Bye”, permeates the movie and won the 1967 Golden Globe Award for “Best Original Song in a Motion Picture”, beating “Un homme et une femme” by French orchestra leader Francis Lai, “Born Free” by John Barry, which won the 1966 Academy Award for Best Original Song, “Alfie” by Burt Bacharach, and “Georgy Girl” by Tom Springfield, all from the eponymous movies, the latter two also having been Oscar nominees in 1966.

The song started life as an instrumental piece by Bert Kaempfert called ‘Beddy Bye’ which was used in a 1966 film called ‘A Man Could Get Killed’. The film starred James Garner and Melina Mercouri. When Jimmy Bowen, Sinatra’s producer, heard it, he suggested that Sinatra record a vocal version of the track if suitable lyrics could be written. The first 2 attempts at lyrics were rejected before the final ones for ‘Strangers In The Night’ were produced. The writers took inspiration from a scene in the film. It should be noted that authorship of the song has been contested by a number of different people, including a guy called Avo Uvezian and singer Ivo Robic both claiming to have written the music but it seems that there has been no official legal challenge. Before Sinatra recorded the song, Bobby Darin, Jack Jones and Al Martino had all recorded versions. Glen Campbell would play guitar on the track. It would be the 6^th song to top the UK, US and South African charts.

** Filmed scenes with Jenny Agutter, then 14, did not appear in the final cut.

Where does it seem to come from?

ED JOHNSON

9 MAR 2024

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https://en.wikipedia.org/wiki/Vettius_Valens

Vettius Valens (120 – c. 175) was a 2nd-century Hellenistic astrologer, a somewhat younger contemporary of Claudius Ptolemy.

“Although Ptolemy, the astronomer, mathematician, astrologer of ancient Alexandria and author of Tetrabiblos (the most influential astrological text ever written), was generally regarded as the colossus of Hellenistic-period astrology in the many centuries following his death, it is most likely that the actual practical astrology of the period resembled the methods elaborated in Valens’ Anthology. Modern scholars tend to counterpoise the two men, since both were roughly contemporary and lived in Alexandria; yet Valens’ work elaborated the more practical techniques that arose from ancient tradition, while Ptolemy, very much the scientist, tended to focus more on creating a theoretically consistent model based on his Aristotelian causal framework. The balance given by Valens’ Anthology is therefore very instructive. No other Hellenistic author has contributed as much to our understanding of the everyday, practical astrological methods of the early Roman/late Hellenistic era.”

PTOLEMY: Alexandrian scholar Claudius Ptolemy (c. AD 90–c. AD 168).

“Ptolemy’s Almagest was an authoritative text on astronomy for more than a thousand years, and the Tetrabiblos, its companion volume, was equally influential in astrology, the study of the effects of astronomical cycles on earthly matters. But whilst the Almagest as an astronomical authority was superseded by acceptance of the heliocentric model of the Solar System, the Tetrabiblos remains an important theoretical work for astrology.

Besides outlining the techniques of astrological practice, Ptolemy’s philosophical defense of the subject as a natural, beneficial study helped secure theological tolerance towards astrology in Western Europe during the Medieval era. This allowed Ptolemaic teachings on astrology to be included in universities during the Renaissance, which brought an associated impact upon medical studies and literary works.

The historical importance of the Tetrabiblos is seen by the many ancient, Medieval and Renaissance commentaries that have been published about it. It was copied, commented on, paraphrased, abridged, and translated into many languages. The latest critical Greek edition, by Wolfgang Hübner, was published by Teubner in 1998.”

https://en.wikipedia.org/wiki/Tetrabiblos

Valens’ chronology was first worked out by Otto Neugebauer during the process of writing the book Greek Horoscopes with H. B. van Hoesen.

https://en.wikipedia.org/wiki/Otto_E._Neugebauer

‘Otto Eduard Neugebauer (May 26, 1899 – February 19, 1990) was an Austrian-American mathematician and historian of science who became known for his research on the history of astronomy and the other exact sciences as they were practiced in antiquity and the Middle Ages. By studying clay tablets, he discovered that the ancient Babylonians knew much more about mathematics and astronomy than had been previously realized. The National Academy of Sciences has called Neugebauer:

“the most original and productive scholar of the history of the exact sciences, perhaps of the history of science, of our age.”

“In 1988, by studying a scrap of Greek papyrus, Neugebauer discovered the most important single piece of evidence to date for the extensive transmission of Babylonian astronomy to the Greeks and for the continuing use of Babylonian methods for 400 years even after Ptolemy wrote the Almagest. His last paper, “From Assyriology to Renaissance Art”, published in 1989, detailed the history of a single astronomical parameter, the mean length of the synodic month, from cuneiform tablets, to the papyrus fragment just mentioned, to the Jewish calendar, to an early 15th -century book of hours.”

“In 1986, Neugebauer was awarded the Balzan Prize “for his fundamental research into the exact sciences in the ancient world, in particular, on ancient Mesopotamian, Egyptian and Greek astronomy, which has put our understanding of ancient science on a new footing and illuminated its transmission to the classical and medieval worlds. For his outstanding success in promoting interest and further research in the history of science” (Motivation of the Balzan General Prize Committee). Neugebauer donated the prize money of 250,000 Swiss francs to the Institute for Advanced Study.”

“Neugebauer began his career as a mathematician, then turned to Egyptian and Babylonian mathematics, and then took up the history of mathematical astronomy. In a career which spanned sixty-five years, he largely created modern understanding of mathematical astronomy in Babylon and Egypt, through Greco-Roman antiquity, to India, the Islamic world, and Europe of the Middle Ages and the Renaissance.”

https://en.wikipedia.org/wiki/Brown_University

As of March 2022, 11 Nobel Prize winners have been affiliated with Brown as alumni, faculty, or researchers, as well as 1 Fields Medalist, 7 National Humanities Medalists^[b] and 11 National Medal of Science laureates. Other notable alumni include 27 Pulitzer Prize winners,^[c] 21 billionaires,^[d] 1 U.S. Supreme Court Chief Justice, 4 U.S. Secretaries of State, over 100 members of the United States Congress,^[24] 58 Rhodes Scholars,^[25] 22 MacArthur Genius Fellows,^[e] and 38 Olympic medalists.^[26]

https://e-a.brown.edu/announcements/celebrating-otto-neugebauer

“ Neugebauer was unquestionably the most important historian of ancient science of the twentieth century…”

“Unusually, he was active in three schools, the School of Mathematics, the School of Humanistic Studies (later Historical Studies), and the School of Natural Sciences during his long affiliation with the Institute.”

https://web.archive.org/web/20130329235445/http://library.ias.edu/finding-aids/neugebauer

https://archive.org/details/O.NeugebauerDemoticHoroscopes1943/mode/1up?view=theater

https://archive.org/details/sim_proceedings-of-the-american-philosophical-society_1989-09_133_3/page/392/mode/1up?view=theater

https://sci-hub.yncjkj.com/10.1007/bf00327233

‘On the Need to Rewrite the History of Greek Mathematics’, by SABETAI UNGURU