24: Godel, Escher, Kurt Halsey
|Godel, Escher, Kurt Halsey|
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Title text: I love the idea here, though of course it's not a great-quality drawing or scan.
| This explanation may be incomplete or incorrect: the bubbles, expanding text, shreds & ending are not yet explained.|
If you can address this issue, please edit the page! Thanks.
The name of the comic is a portmanteau-like play on the following:
- Gödel, Escher, Bach is a book by Douglas Hofstadter. He is an American author who has written several books about philosophy, mathematics, and science. This particular book is his most famous one, about "strange loops", self-reference, and recurring patterns, partially shown through the works of the three people in its title:
- Kurt Gödel was a 20th-century mathematician most famous for proving that in our commonly used axiomatic systems, there are true propositions that cannot be proved from the axioms. His proof used a self-referential paradox.
- M. C. Escher was a 20th-century artist most famous for mathematically-inspired engravings of tessellated animals, impossible scenes, distorted images that contained themselves, and so on.
- Johann Sebastian Bach was a German composer and musician from the Baroque Period, famous for numerous works such as the Brandenburg Concerto.
- Kurt Halsey is a comic artist from Oregon. His work often contains introspective philosophical musings.
In the first part of the comic, two people discuss the difficulty of comparing past and present generations, since the person making the comparison invariably belongs to one of the two groups.
It's unclear whether the hatted guy is Black Hat, because Randall hadn't standardized his character designs yet. The sarcastic comment suggests that it is.
The assembly of text panels found in the middle of the strip is similar to his 124: Blogofractal.
While I feel this article can't be improved with rational arguments, I believe a standalone section with different hypothesis is a great way to tackle the problem. If the goal here is not to go into subjective interpretations of the comic, then I think its better tagged as closed, because you obviously can't go any further by ignoring the symbols. (You may want to edit meta-comments out, but I wanted to make my point first). Please add to or adapt my interpretation to whatever suits you or the community here. It would be very nice if we could have a subjective section for people to explain what they interpreted out of the strips.
- The bubbles may illustrate ideas, memories or subjects that one could wonder about. In the context of the boring talk, this would mean that Randall is lost in thoughts and gradually looses focus of things going on around him. He sees the talk as mundane, as a part of so many other "subject bubbles".
- Even the comic vertical lines (and therefor the strip's structure) seems to loose their sense to Randall as they collapses and become part of the scene, eventually merging three panels into one. They later reappear for the last six panels.
- The big bubble pushing the small ones further outside may demonstrate how shallow the surface bubbles are to him or represent an infinite (or very large) amount of small bubbles.
- The quote stating "There's too much. And so little feels important." tell us that he feels overwhelmed by the world; maybe by information given in the NASA talk or by events in his life. He recognizes what is important to him, and feels it is small compared to the size of the worries of the world (or the big bubble). He may have experienced a sort of existential crisis before turning to his feeling of love in the last panels, when asking himself "What do you do?".
- Drawn during an unending NASA lecture.
- [Two people are talking, one in a hat.]
- Cueball: it's just so hard to compare kids now with kids in the past. you can't help but to belong to one group or the other.
- Cueball: and of course every generation seems awful to the one before it. look at quotes from throughout history.
- Hatted: yeah, and it sure would be nice to have some historical perspective on some of this stuff. I just don't know what to make of it.
- [Circles are appearing--maybe snow?]
- Cueball: i guess you do what you can to help the people around you and hope it turns out okay.
- Cueball: in the end, what else can you do?
- Hatted: lead a crusade?
- [We can no longer see the people, just the circles.]
- it's presentism, man. the idea that historical context is irrelevant, that we understand it
- all that we need take no warnings from the follies of the past. that we're facing something new.
- socrates couldn't imagine the internet. but people don't change.
- [We can start to see the corner of a darker circle in the lower right.]
- (The borders between the three panels on this line are cracking.)
- have you seen those collections of historical pornography? talk about historical context.
- did you know the first porn photo was bestial in.
- [inside a circle:] nature?
- at least that stuff was out of the mainstream
- [each word in one circle:]
- (the three panels have merged into one on each row.)
- i don't know about you, but
- [circled] I
- [uncircled] never
- even once seen
- [The circles are highly variable in size now, and pressed up against a larger one on the right side.]
- [There is mass of circles of different sizes, with some dark fissures in between, against the side of a large circle which we can see part of in the right half of the panel. They look like cells. There's a tiny square in the center of the giant cell.]
- [We see only the tiny square, centered. It has a few marks inside it.]
- [Closer, the square is divided into rectangles of different sizes, each of which has text in it.]
- [Much closer, we can see fragments of the text. Some are sideways, some are cut off, some are too small to read.]
- machine language translated by principles of isomorphism it is a consequence of the Church-Turing thesis that ...
- but how do you select the channel you wish to se-
- thou ... shou ... palin ... stri ... it is a ... crab ...
- [Closer still, we can just see a huge sideways s and h.]
- [Those letters are faded and mixed with a faded version of the next panel.]
- girls take boys away ...
- never be further than a phone call and a goosebumped shiver away ...
- drove all night listening to mix tapes ...
- the past is just practice
- [There is a heart at the bottom and, in the lower left, the name Kurt.]
- [The same as the previous panel, but with the words blurred out to scribbles.]
- [Jagged, shaded shapes and strands start to fall. Faint panel borders appear again. There is a person on the far right.]
- (Back to three panels per row.)
- [Cueball and Megan are standing amid the fragments.]
- Man: There's too much. And so little feels important.
- [The jagged edge of the shaded area is encroaching on the sides of the panel.]
- What do you do?
- [We see them from farther away through a rough hole in the shaded area. Bits continue to fall around them.]
- [They are holding hands.]
- This is the sixth comic originally posted on livejournal. The previous was 1: Barrel - Part 1. The next was 13: Canyon. View archive here.
- [Original title]: "Strip series"
- [Original Randall quote]: "One of a series of strips I drew during a long and boring NASA lecture. It careens wildly from intellectual to chaotic to Godel, Escher, Bach to Kurt Halsey to chaotic and sappy." This might suggest that the image on LiveJournal was only part of this strip. Unfortunately, the image link on LiveJournal is broken.