#anagrams of belated

[postanagramgenerator]

its a little belated, and im not sure how accessible itll be on mobile, but ive gone ahead and made a rules/faq page. please check it out while youre here!

also, for anyone with some money to spare whos feeling particularly moved by my art, ive set up a humble ko-fi account. shoot me a few dollars and in return you get to see a special exclusive anagram (of the little blurb in my about-me section on there) (its sort of a one-time reward but maybe its good enough youll want to tip twice to see it again)

[unscramblerer]

Todays English word of the day is: Belated

[draculas-husband]

Presenting:

The cold case, Detective Frog travels to Ishgard.

Written by Amara Haunchsack (which is an anagram for Nashu Mhakaracca)

"The intensity and suspense left me wanting more!"

-Tataru taru

(Edmont is the villain because Nashu obviously thinks the mustache makes him look like one 😂)

(Happy belated birthday darling 💖)

Ahem: adkfjhkdjsghsldghkalgjalghlkasjdhskjdghskd

I told @count-dadcula it was my birthday, made a joke about a present, and left to do family stuff with my twin all day, passed out, and woke up to THIS majestic nonsense a day later.

Why do I get the feeling that Detective Frog is going to be solving this case all by herself without any help from her femme fatale(gn). Obviously Edmont is the villain. smh. Drac, honestly.

[markrosewater]

Technically it ended an hour and a half ago, but could I possibly get some belated birthday trivia on chronatog, or atogs in general?

The first one was a red creature in Antiquities that liked to eat artifacts (Atogs is an anagram of "goat".) I was a huge fan of Atog so when I realized that a green creature in Mirage was essentially a green Atog, I changed it into an Atog and named it Foratog. I then created a cycle of Atogs one in each color over the next year. Then in Odyssey development, Randy Buehler, the lead developer, asked if I could make a cycle of allied-colored Atogs so I did. I also gave him Atogatog, a five-color Atog I'd designed for the unreleased Unglued 2.Happy Belated Birthday!

[supersonicart]

The Supersonic Interview: Al Diaz of SAMO©.

If you’re looking to define the word “original,” you could easily use Al Diaz as an example: Al began a storied graffiti career in 1971 in New York City as BOMB-1, making him eponymous with the beginnings of the now flourishing art movement. It just so happens, also, that Al was half of the greatest graffiti collaboration to have ever taken place: SAMO©.

The SAMO© tag -- Pronounced Same-oh and meaning “Same Old Shit” -- was formed alongside his friend and artistic icon Jean-Michel Basquiat during their days in High School.  The now legendary moniker accompanied poetic, thought-invoking sayings scrawled on countless surfaces across downtown New York City and created a remarkable amount of confusion, buzz and excitement.  By the late 1970s the two had tagged so many locations that Jeffrey Deitch remarked “you couldn't go anywhere interesting in Lower Manhattan without noticing that someone named SAMO© had been there first.”

The two went their separate ways in 1980, tagging throughout New York City that “SAMO© IS DEAD” but, thanks to Donald Trump’s presidency, Diaz has resurrected the iconic tag, filling his Instagram with numerous incredible, never before seen photographs of him and Jean-Michel as well as brand new poetic sayings and collaborations, many of which he has released as limited edition prints with House of Roulx.

I was given the opportunity to send Al a few questions about his life, SAMO© and more which he kindly answered with wonderful tidbits of information and history, you can read them in full below:

What are your first memories of Jean-Michel?

I first met JMB at a mutual friend’s house in Brooklyn Heights.  I had seen him at City As a School but did not speak with him until this occasion.  He seemed perhaps a little shy, if only just soft spoken.  Maybe slightly uncomfortable in the presence of a bunch of Graffiti Artists and Skateboarder kids.  I would soon afterwards learn that he was quite a confident individual. 

What were your artistic aspirations growing up?

I was exposed to art early in life (grammar school).  I have pretty much always wanted to live my life creating.  Using my ability to “make stuff” from any available materials, write and draw.

Do you have a favorite memory of you and JMB?

Me and JMB once climbed up the side of a building in the West Village just to cut a huge banner down and remove it for no particular reason.  We had a few friends below who helped us roll it up and carry it away.  It was later abandoned at a girlfriend’s house.  The banner read: “Frank Langella As DRACULA at the CHERRY LANE THEATER.”  It must have been at least 12’ x 18’. Huge.

Could you explain a bit about how the United States' current administration made you decide to bring back SAMO©?

I revived SAMO©… a few hours after the election this past November.  It seemed appropriate.  I had been making my WET PAINT sign anagrams for a few years and I was ready to add to or change my repertoire. SAMO was the obvious vehicle.

Could you tell me a bit about your early graffiti works?

I began writing graffiti in 1971.  I wrote BOMB-1.  I was one of the very first writers to import Graf Culture to the Lower East Side.  I was influenced by SNAKE-1, STITCH-1, and other Writers Corner 188 (Washington Heights) writers as well as Cool Cliff 120 and the writers from Harlem.  I first noticed this phenomena during my visits to my cousins house in Washington Heights and art classes I took in Spanish Harlem.  I was totally impressed and wanted to be part of it.

Do you spend much time thinking of what you're going to write, or is it more spur of the moment?  Are the locations planned?

The locations for the WET PAINT signage and collaborative “outlaw” installations with Jilly Ballistic are definitely mapped out beforehand. Sometimes even “Site Appropriate.”  This does not generally apply to the SAMO graffiti, it’s more about the immediate opportunity.

Have you revisited areas you remember tagging as a teenager?  How was 1977 different art-wise to 2017?

Let me count the ways… The most significant differences (to sum this question up) are A, I was 18 in 1977 and I will be 58 on June 10th, 2017…. B, there were no cell phones, computers were the size of a Volkswagen and NYC was still an affordable city to live in, etc.

Do you have a favorite SAMO© phrase that you've come up with? 

I do not have a particular FAVORITE SAMO although I have always liked “SAMO©… AS AN END 2 MASS PRODUCED INDIVIDUALITY.”  I must say I do really enjoy coming up with the RHYMING SAMOs. 

You're an integral part of Art History, I'm curious if that's something you ponder on?

I have read my name in quite a few books and every now and then I think to myself: “What a ridiculous life I’ve lived.”  Honestly, though, I guess I do feel flattered and have a sense of pride about it. 

Tell me a bit about your years as a musician?  Wild stories?

Around 1979, when Basquiat and I took separate paths, I began making and playing PERCUSSION INSTRUMENTS.  Brazilian, African and Caribbean type instruments.  It was a trend for many artists to experiment with different mediums.  Film and music included.  I eventually played live shows and recorded with a variety of notable folks such as: Liquid Liquid, Elliot Sharp (ISM), KONK and a mostly female “Naive Rhythm” band named DOG EAT DOG.  After a decade or so the late night lifestyle ultimately took its toll on me and many of my associates.

Any closing thoughts?  Advice?

As far as advice I can give:  Make your work the most important aspect of your life.  Love, money and opportunities will follow.  Also to reiterate what Patti smith so eloquently said: “Be happy, take care of your teeth.”

Al Diaz, NYC, 06/07/17 

---

(Happy Belated Birthday Al!)

House of Roulx

Al Diaz

[pharaohdynamic]

Belated Father's Day post 😄😄😄❤️❤️❤️ #fathersday is an anagram of 'dey trash af'

[6dfb]

"Ut Tensio Sic Vis": Introducing the Hooke Graph

Or, The Return of Spring

By John Ladd

A 2004 portrait of Robert Hooke by Rita Greer, via Wikimedia Commons. Note the spring by his left elbow.

In A Description of Helioscopes and some other Instruments (1676), the natural philosopher Robert Hooke promised to publish a theory of elasticity sometime in the future and teased his readers with a frustrating (if pleasingly alphabetical) anagram: ceiiinosssttuu.

Thankfully, nothing in the current Six Degrees interface is quite so obscurantist, but there are parts of the site that have somewhat puzzling names. Right now in our visualization view, you can search for a "network," and the result is a very specific kind of graph: a force-directed network visualization. These force-directed graphs are the dominant mode of visualized networks, the collection of nodes and links that you're used to seeing everywhere. Here's our friend Robert Hooke's graph as an example:

(Go to the live version of this graph on Six Degrees)

This familiar arrangement is not the only way to display a network. Networks, after all, are made of data---edge tables or adjacency matrices that can be visualized in any number of ways (see below). And we have more visualizations in store for our redesign: circular layouts, timelines, and other schemes are in the works.

Examples from the web of other visualization layouts, from left to right: arc diagram, chord diagram, adjacency matrix, and hierarchical graph drawing1

But we quickly ran into a problem. Since we plan to present more than one type of visualization to the user, it's no longer suitable to refer to these original graphs simply as "networks." Internally, we started calling them force-directed graphs to differentiate, but this name didn't seem right for our site---it's a bit vague and potentially confusing to the newly-initiated. In a force-directed graph, what kind of force is doing the direction?

This brings us back to Hooke and his mysterious anagram. Two years after A Description of Helioscopes, Hooke published the answer to his puzzle in Lectures de potentia restitutiva, or of spring. The anagram stood for "Ut tensio sic vis," a principle that describes the behavior of springs. Basically it states that "a spring's extension or displacement from its neutral position is directly proportional to the force applied."2 This principle became known as Hooke's Law, and can be used in conjunction with other forces to produce network graphs in which there are "as few edge crossings as possible."3 That is to say, Hooke's Law helps create visualization algorithms that make network graphs readable. This is why force-directed visualization algorithms are often referred to as "spring layouts."

We found the combination of a seventeenth-century scientific principle and modern network visualization impossible to resist, so we've rechristened our force-directed graphs "Hooke graphs," in honor of the man himself. Look for the newly-redesigned Hooke graphs when the new site is released, and happy (belated) first day of Spring.

Arc diagram: screenshot from this D3 visualization by Matthew Clemens; Chord diagram: cropped screenshot of Wikiviz datatelling project, original image prepared by Jen Lowe; Adjacency matrix: from Wikimedia Commons; Hierarchical graph drawing: from Wikimedia Commons, prepared by user Tehnick with Graphviz software ↩︎

Patri J. Pugliese, ‘Hooke, Robert (1635–1703)’, Oxford Dictionary of National Biography, Oxford UP, 2004; online edn, May 2006 http://www.oxforddnb.com/view/article/13693, accessed 7 April 2017. Above information about Hooke also comes from this article. ↩︎

If you're interested in the math, I recommend this very detailed Wikipedia article which includes many good references. ↩︎