Lost in an art—the art of translation. Thus, in an elegant anagram (translation = lost in an art), Pulitzer Prize-winning author and pioneering cognitive scientist Douglas Hofstadter hints at what led him to pen a deep personal homage to the witty sixteenth-century French poet Clément Marot.”Le ton beau de Marot” literally means ”The sweet tone of Marot”, but to a French ear it suggests ”Le tombeau de Marot”—that is, ”The tomb of Marot”. That double entendre foreshadows the linguistic exuberance of this book, which was sparked a decade ago when Hofstadter, under the spell of an exquisite French miniature by Marot, got hooked on the challenge of recreating both its sweet message and its tight rhymes in English—jumping through two tough hoops at once.In the next few years, he not only did many of his own translations of Marot's poem, but also enlisted friends, students, colleagues, family, noted poets, and translators—even three state-of-the-art translation programs!—to try their hand at this subtle challenge.The rich harvest is represented here by 88 wildly diverse variations on Marot's little theme. Yet this barely scratches the surface of Le Ton beau de Marot, for small groups of these poems alternate with chapters that run all over the map of language and thought.Not merely a set of translations of one poem, Le Ton beau de Marot is an autobiographical essay, a love letter to the French language, a series of musings on life, loss, and death, a sweet bouquet of stirring poetry—but most of all, it celebrates the limitless creativity fired by a passion for the music of words.Dozens of literary themes and creations are woven into the picture, including Pushkin's Eugene Onegin, Dante's Inferno, Salinger's Catcher in the Rye, Villon's Ballades, Nabokov's essays, Georges Perec's La Disparition, Vikram Seth's Golden Gate, Horace's odes, and more.Rife with stunning form-content interplay, crammed with creative linguistic experiments yet always crystal-clear, this book is meant not only for lovers of literature, but also for people who wish to be brought into contact with current ideas about how creativity works, and who wish to see how today's computational models of language and thought stack up next to the human mind.Le Ton beau de Marot is a sparkling, personal, and poetic exploration aimed at both the literary and the scientific world, and is sure to provoke great excitement and heated controversy among poets and translators, critics and writers, and those involved in the study of creativity and its elusive wellsprings.

A celebration of mankind which illustrates how no artificial intelligence will ever be capable of the complexity, grace and subtlety of human thought.

Argues that the key to understanding ourselves and consciousness is the "strange loop," a special kind of abstract feedback loop that inhabits the brain.

Shows how analogy-making pervades human thought at all levels, influencing the choice of words and phrases in speech, providing guidance in unfamiliar situations, and giving rise to great acts of imagination.

Hofstadter's collection of quirky essays is unified by its primary concern: to examine the way people perceive and think.

Hosftadter and his colleagues at The Fluid Analogies Research Group have developed computer models that help describe and explain human discovery, creation and analogical thought. The key issue of perception is investigated through the exploration of playful anagrams, number puzzles, word play and fanciful alphabetical styles, and the result is a survey of cognitive processes. This text presents the results.

Set in Paris in the mid-1960s, Lucile, a young, rootless woman, finds herself torn between a fifty-year-old businessman and a thirty-year-old hot-blooded, impulsive editor; and, in a companion to the novel, the translator describes the process of rewritin

Along with many small improvements, this revised edition contains van Yzeren's new proof of Pascal's theorem (§1.7) and, in Chapter 2, an improved treatment of order and sense. The Sylvester-Gallai theorem, instead of being introduced as a curiosity, is now used as an essential step in the theory of harmonic separation (§3.34). This makes the logi cal development self-contained: the footnotes involving the References (pp. 214-216) are for comparison with earlier treatments, and to give credit where it is due, not to fill gaps in the argument. H.S.M.C. November 1992 v Preface to the Second Edition Why should one study the real plane? To this question, put by those who advocate the complex plane, or geometry over a general field, I would reply that the real plane is an easy first step. Most of the prop erties are closely analogous, and the real field has the advantage of intuitive accessibility. Moreover, real geometry is exactly what is needed for the projective approach to non· Euclidean geometry. Instead of introducing the affine and Euclidean metrics as in Chapters 8 and 9, we could just as well take the locus of 'points at infinity' to be a conic, or replace the absolute involution by an absolute polarity.

Humorous verse presents capsule versions of the world's outstanding works of fiction, poetry, and drama