A Moving Electronic Jigsaw Puzzle
Try it. You'll either love it or hate it.
I thought it was fun.
It took me three full minutes to put it together.
See if you can beat my time.
Reports must be made using the Honor System.
When you put one of the pieces in the correct place, you will hear a sound.
After you've completed the picture it moves.
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| A fanciful clue |
I'll need more coffee before I attempt this.
ReplyDeleteDamm. It took me over 5 minutes.
ReplyDeleteGood morning, AOW,
ReplyDeleteBeing able to complete the picture is supposed to prove that you could not possibly have Alzheimer's Disease. I didn't put that in the post, because I didn't want to frighten anyone away.
So CONGRATULATIONS on having a healthy, active, well functioning mind!
Don't you love the Banana Effect? That's what i first thought the picture would turn out to be when it started to coalesce.
I put the puzzle on my Facebook page. Let's see what kind of reaction I get.
ReplyDeleteHate it.
ReplyDeleteDon't tell me you couldn't DO it, Thersites!
ReplyDeleteI couldn't believe that.
We don't want everything to be the moral equivalent of a Rubix Cube now, do we? (:-o
I did it... I just found it a puzzle governed by form instead of essence (colour - Plato, "Meno").
ReplyDeleteWell that's what jigsaw puzzles are a;; about -- fitting together seemingly disparate shapes (or forms) to make a complete picture.
ReplyDeleteErratum - "Figure" for "form", above.
ReplyDeletefrom the Jowett summary of Plato's "Meno"
Socrates reminds Meno that this is only an enumeration of the virtues and not a definition of the notion which is common to them all. In a second attempt Meno defines virtue to be 'the power of command.' But to this, again, exceptions are taken. For there must be a virtue of those who obey, as well as of those who command; and the power of command must be justly or not unjustly exercised. Meno is very ready to admit that justice is virtue: 'Would you say virtue or a virtue, for there are other virtues, such as courage, temperance, and the like; just as round is a figure, and black and white are colours, and yet there are other figures and other colours. Let Meno take the examples of figure and colour, and try to define them.' Meno confesses his inability, and after a process of interrogation, in which Socrates explains to him the nature of a 'simile in multis,' Socrates himself defines figure as 'the accompaniment of colour.' But some one may object that he does not know the meaning of the word 'colour;' and if he is a candid friend, and not a mere disputant, Socrates is willing to furnish him with a simpler and more philosophical definition, into which no disputed word is allowed to intrude: 'Figure is the limit of form.' Meno imperiously insists that he must still have a definition of colour. Some raillery follows; and at length Socrates is induced to reply, 'that colour is the effluence of form, sensible, and in due proportion to the sight.' This definition is exactly suited to the taste of Meno, who welcomes the familiar language of Gorgias and Empedocles. Socrates is of opinion that the more abstract or dialectical definition of figure is far better.
No, a normal jigsaw puzzle is not deprived of its' corresponding effluence from colour, as this one was. ;)
ReplyDelete1 minute 10
ReplyDeleteAfter you've completed the picture it moves.
ReplyDelete--------
One of the aids to a quick time is realizing it moves while you're building it and using that clue.
I do wish someone would state something not patently obvious -- so obvious that it (should) go without saying.
ReplyDeleteColor has very little to do with a jig saw puzzle. Such a puzzle could be constructed from pieces of clear glass, clear lucite, or simply of monochromatic shapes set within geometric boundaries -- i.e. a rectangle, square, parallelogram, triangle, circle, semi-circle, or trapezoid. These contrivances are most commonly set within the confines of a rectangle.
Traditionally the various pieces when put together properly form a realistic picture of a scene from nature, a dwelling, a room within a dwelling, public buildings, monuments, portraits, etc. Potential subject matter is limitless.
In more recent years, abstract paintings, "Op-Art, and Psychedelic Images have been used.
If you want to go mad, try putting together a black and white tessellated checkerboard pattern that appears in odd random waves.
Adding the element of motion made this particular offering different from other jigsaw-type puzzles. I ws able to solve it rather quickly by IGNORING the motion, and concentrating, instead, on the geometric shapes, themselves. This method would have worked had the puzzle been made of clear glass, black bakelite, natural wood, or a picture of Hansel and Gretel being taken into custody by the Wicked Witch.
It is the SHAPES that matter most -- all else is incidental when working a jigsaw puzzle -- although using a familiar picture like the Mona Lisa or van Gogh's Starry Night can be helpful, but more often the picture only confuses the issue.
It mght be fund to take the same rectangle cut up into the same odd interlocking shapes, replicate it five or ten times using a radically different PICTURE in each replication.
How long might it take someone of normal intelligence working these puzzles to catch on to the gimmick?
If they conentrate on the PICTURE, they might not catch in at all. If they concentrate on the SHAPES, it should become apparent rather quickly.
And thus I say that effigies (f.i.g.'s) of things,
ReplyDeleteAnd tenuous shapes from off the things are sent,
From off the utmost outside of the things,
Which are like films or may be named a rind,
Because the image bears like look and form
With whatso body has shed it fluttering forth-
A fact thou mayst, however dull thy wits,
Well learn from this: mainly, because we see
Even 'mongst visible objects many be
That send forth bodies, loosely some diffused-
Like smoke from oaken logs and heat from fires-
And some more interwoven and condensed-
As when the locusts in the summertime
Put off their glossy tunics, or when calves
At birth drop membranes from their body's surface,
Or when, again, the slippery serpent doffs
Its vestments 'mongst the thorns- for oft we see
The breres augmented with their flying spoils:
Since such takes place, 'tis likewise certain too
That tenuous images from things are sent,
From off the utmost outside of the things.
For why those kinds should drop and part from things,
Rather than others tenuous and thin,
No power has man to open mouth to tell;
Especially, since on outsides of things
Are bodies many and minute which could,
In the same order which they had before,
And with the figure of their form preserved,
Be thrown abroad, and much more swiftly too,
Being less subject to impediments,
As few in number and placed along the front.
For truly many things we see discharge
Their stuff at large, not only from their cores
Deep-set within, as we have said above,
But from their surfaces at times no less-
Their very colours too. And commonly
The awnings, saffron, red and dusky blue,
Stretched overhead in mighty theatres,
Upon their poles and cross-beams fluttering,
Have such an action quite; for there they dye
And make to undulate with their every hue
The circled throng below, and all the stage,
And rich attire in the patrician seats.
And ever the more the theatre's dark walls
Around them shut, the more all things within
Laugh in the bright suffusion of strange glints,
The daylight being withdrawn. And therefore, since
The canvas hangings thus discharge their dye
From off their surface, things in general must
Likewise their tenuous effigies discharge,
Because in either case they are off-thrown
From off the surface. So there are indeed
Such certain prints and vestiges of forms
Which flit around, of subtlest texture made,
Invisible, when separate, each and one.
(cont)
ReplyDeleteAgain, all odour, smoke, and heat, and such
Streams out of things diffusedly, because,
Whilst coming from the deeps of body forth
And rising out, along their bending path
They're torn asunder, nor have gateways straight
Wherethrough to mass themselves and struggle abroad.
But contrariwise, when such a tenuous film
Of outside colour is thrown off, there's naught
Can rend it, since 'tis placed along the front
Ready to hand. Lastly those images
Which to our eyes in mirrors do appear,
In water, or in any shining surface,
Must be, since furnished with like look of things,
Fashioned from images of things sent out.
There are, then, tenuous effigies of forms,
Like unto them, which no one can divine
When taken singly, which do yet give back,
When by continued and recurrent discharge
Expelled, a picture from the mirrors' plane.
Nor otherwise, it seems, can they be kept
So well conserved that thus be given back
Figures so like each object.
Now then, learn
How tenuous is the nature of an image.
And in the first place, since primordials be
So far beneath our senses, and much less
E'en than those objects which begin to grow
Too small for eyes to note, learn now in few
How nice are the beginnings of all things-
That this, too, I may yet confirm in proof:
First, living creatures are sometimes so small
That even their third part can nowise be seen;
Judge, then, the size of any inward organ-
What of their sphered heart, their eyes, their limbs,
The skeleton?- How tiny thus they are!
And what besides of those first particles
Whence soul and mind must fashioned be?- Seest not
How nice and how minute? Besides, whatever
Exhales from out its body a sharp smell-
The nauseous absinth, or the panacea,
Strong southernwood, or bitter centaury-
If never so lightly with thy [fingers] twain
Perchance [thou touch] a one of them
Lucretius, "De Rerum Natura"
It is the SHAPES that matter most
ReplyDelete"Figures" in Socratic vernacular. ;)
Musical figures, anyone? ;)
ReplyDeleteYou must be from Kadebostany, Speedy. ;)
ReplyDeleteFor you are most certainly a horse of a different colour!
ReplyDeleteThe Merry Widow completed this puzzle in 2 minutes. She's one of those master jigsaw puzzle workers and always has a jigsaw puzzle on the table at her house.
ReplyDelete