Mundy Reimer

“In the heaven of the great god Indra is said to be a vast and shimmering net, finer than a spider’s web, stretching to the outermost reaches of space. Strung at the each intersection of its diaphanous threads is a reflecting pearl. Since the net is infinite in extent, the pearls are infinite in number. In the glistening surface of each pearl are reflected all the other pearls, even those in the furthest corners of the heavens. In each reflection, again are reflected all the infinitely many other pearls, so that by this process, reflections of reflections continue without end.”
― David Mumford, Caroline Series, David Wright

“These rules, the sign language and grammar of the Game, constitute a kind of highly developed secret language drawing upon several sciences and arts, but especially mathematics and music (and/or musicology), and capable of expressing and establishing interrelationships between the content and conclusions of nearly all scholarly disciplines. The Glass Bead Game is thus a mode of playing with the total contents and values of our culture; it plays with them as, say, in the great age of the arts a painter might have played with the colors on his palette. All the insights, noble thoughts, and works of art that the human race has produced in its creative eras, all that subsequent periods of scholarly study have reduced to concepts and converted into intellectual property on all this immense body of intellectual values the Glass Bead Game player plays like the organist on an organ. And this organ has attained an almost unimaginable perfection; its manuals and pedals range over the entire intellectual cosmos; its stops are almost beyond number. Theoretically this instrument is capable of reproducing in the Game the entire intellectual content of the universe.”
― Hermann Hesse, The Glass Bead Game

“the Game of games had developed into a kind of universal language through which the players could express values and set these in relation to one another. Throughout its history the Game was closely allied with music, and usually proceeded according to musical or mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement. A Game, for example, might start from a given astronomical configuration, or from the actual theme of a Bach fugue, or from a sentence out of Leibniz or the Upanishads, and from this theme, depending on the intentions and talents of the player, it could either further explore and elaborate the initial motif or else enrich its expressiveness by allusions to kindred concepts. Beginners learned how to establish parallels, by means of the Game’s symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations.”
― Hermann Hesse, The Glass Bead Game

“If we the portrait alphabet of our many-faced Maker cease our restless aim, that means the First Mover, the One Who aimed across a darkness no being had senses tuned to see, will someday Move no more.”
― Ada Palmer, Perhaps the Stars