by Dilip D’Souza

Here’s a factoid that, over a century later, still stuns: In 1914, the mathematician Srinivasa Ramanujan published an academic paper in which he spelled out 17 – yes, seventeen – formulas to calculate π (pi).
This is remarkable on many levels. Most of us run into π in school, via an approximation. That’s usually 3.14, or 22/7. We learn that it is the ratio of a circle’s circumference to its diameter, and those approximations are usually close enough to the actual value of π for most purposes we might encounter in school. At some point we might even have come across Aryabhata’s approximation:
Add 4 to 100, he said, and multiply the result by 8. Add 62,000. Divide the result by 20000. The answer, he said, approaches the ratio between the circumference and diameter of a circle. [My free and easy translation of his words.]
And that answer is 3.1416, which is π accurate to four decimal places. Which is π good enough for most calculations most of us would attempt. After all, it differs from π by about 0.0002 percent, which percentage by itself is hard to comprehend – though the word “approaches” fits well.
Now if you are interested in precision engineering, or in travelling into space, you will want more decimal places. 15 is the number NASA used in its calculations for the Voyager I mission it launched in 1977. That intrepid spacecraft is now sailing through interstellar space about 26 billion km from the Earth, so it’s safe to say the 15 digit calculations have served it, and NASA, well.
More recently – well, as I write this! – Artemis 2 is on its way to the Moon carrying four astronauts. Its path to our satellite is a tribute to careful, intricate calculations. I say that because there is really no sense in which the four astronauts in that spacecraft are piloting their voyage to the Moon. Instead, they are following a precisely-determined path. π was certainly part of that determination – so if the value used was accurate to four decimal places, would that have been enough? Read more »

Sughra Raza. Fungal Abstractions. March 2022, Vermont.








I find myself increasingly unable to read anything resembling AI text, that is, anything seemingly preformed, readymade, or mass produced, like an IKEA chair; but even as I write this, I think to myself—why an IKEA chair? Why does this object, or rather, this unit of language—IKEA chair—come to me unbidden? “IKEA” as signifier of anonymous, impersonal and practical furniture, and “chair” as typical illustrative example—Wittgenstein’s theory of family resemblances as shown by how the concept of “chair” functions in language, for example—combining to form the perfect analogy: IKEA chair is to furniture as AI text is to human writing; and yet, when I visualize an IKEA chair, or rather, when I see myself walking through the showroom in Burlington, Ontario, I see many chairs of all shapes and sizes, some hard and made of wood, some soft and upholstered, some big and roomy, some ergonomic and sleek, and I realize that, in fact, IKEA makes a wide variety of chairs, and perhaps my analogy is flawed.






