And then three days pass and I have enough comic strips for another essay. That’s fine by me, really. I picked this edition’s name because there’s a comic strip that actually touches on information theory, and another that’s about a much-needed mathematical symbol, and another about the ways we represent numbers. That’s enough grounds for me to use the title.
Samson’s Dark Side Of The Horse for the 19th of November looks like this week’s bid for an anthropomorphic numerals joke. I suppose it’s actually numeral cosplay instead. I’m amused, anyway.
Zach Weinersmith’s Saturday Morning Breakfast Cereal for the 19th of November makes a patent-law joke out of the invention of zero. It’s also an amusing joke. It may be misplaced, though. The origins of zero as a concept is hard enough to trace. We can at least trace the symbol zero. In Finding Zero: A Mathematician’s Odyssey to Uncover the Origins of Numbers, Amir D Aczel traces out not just the (currently understood) history of Arabic numerals, but some of how the history of that history has evolved, and finally traces down the oldest known example of a written (well, carved) zero.
Tony Cochrane’s Agnes for the 20th of November is at heart just a joke about a student’s apocalyptically bad grades. It contains an interesting punch line, though, in Agnes’s statement that “math people are dreadful spellers”. I haven’t heard that before. It might be a joke about algebra introducing letters into numbers. But it does seem to me there’s a supposition that mathematics people aren’t very good writers or speakers. I do remember back as an undergraduate other people on the student newspaper being surprised I could write despite majoring in physics and mathematics. That may reflect people remembering bad experiences of sitting in class with no idea what the instructor was going on about. It’s easy to go from “I don’t understand this mathematics class” to “I don’t understand mathematics people”.
Steve Sicula’s Home and Away for the 20th of November is about using gambling as a way to teach mathematics. So it would be a late entry for the recent Gambling Edition of the Reading The Comics posts. Although this strip is a rerun from the 15th of August, 2008, so it’s actually an extremely early entry.
Ruben Bolling’s Tom The Dancing Bug for the 20th of November is a Super-Fun-Pak Comix installment. And for a wonder it hasn’t got a Chaos Butterfly sequence. Under the Guy Walks Into A Bar label is a joke about a horse doing arithmetic that itself swings into a base-ten joke. In this case it’s suggested the horse would count in base four, and I suppose that’s plausible enough. The joke depends on the horse pronouncing a base four “10” as “ten”, when the number is actually “four”. But the lure of the digits is very hard to resist, and saying “four” suggests the numeral “4” whatever the base is supposed to be.
Mark Leiknes’s Cow and Boy for the 21st of November is a rerun from the 9th of August, 2008. It mentions the holographic principle, which is a neat concept. The principle’s explained all right in the comic. The idea was first developed in the late 1970s, following the study of black hole thermodynamics. Black holes are fascinating because the mathematics of them suggest they have a temperature, and an entropy, and even information which can pass into and out of them. This study implied that information about the three-dimensional volume of the black hole was contained entirely in the two-dimensional surface, though. From here things get complicated, though, and I’m going to shy away from describing the whole thing because I’m not sure I can do it competently. It is an amazing thing that information about a volume can be encoded in the surface, though, and vice-versa. And it is astounding that we can imagine a logically consistent organization of the universe that has a structure completely unlike the one our senses suggest. It’s a lasting and hard-to-dismiss philosophical question. How much of the way the world appears to be structured is the result of our minds, our senses, imposing that structure on it? How much of it is because the world is ‘really’ like that? (And does ‘really’ mean anything that isn’t trivial, then?)
I should make clear that while we can imagine it, we haven’t been able to prove that this holographic universe is a valid organization. Explaining gravity in quantum mechanics terms is a difficult point, as it often is.
Dave Blazek’s Loose Parts for the 21st of November is a two- versus three-dimensions joke. The three-dimension figure on the right is a standard way of drawing x-, y-, and z-axes, organized in an ‘isometric’ view. That’s one of the common ways of drawing three-dimensional figures on a two-dimensional surface. The two-dimension figure on the left is a quirky representation, but it’s probably unavoidable as a way to make the whole panel read cleanly. Usually when the axes are drawn isometrically, the x- and y-axes are the lower ones, with the z-axis the one pointing vertically upward. That is, they’re the ones in the floor of the room. So the typical two-dimensional figure would be the lower axes.