Ntlive ADN Programme UK AW.Indd

Total Page:16

File Type:pdf, Size:1020Kb

Ntlive ADN Programme UK AW.Indd Best of British theatre broadcast to cinemas around the world A Disappearing Number weaves together the story of two love affairs, separated by a century and a continent. The first happens now. The second is set in 1914. It tells of the heartbreaking collaboration between the greatest natural mathematician of the 20th century, Srinivasa Ramanujan, a penniless Brahmin from Madras in South India, and his British counterpart, the brilliant Cambridge don GH Hardy. Cast (in alphabetical order) Production Team for Stage G.H. Hardy DAVID ANNEN Associate Director DOUGLAS RINTOUL Al Cooper FIRDOUS BAMJI Producer JUDITH DIMANT Aninda Rao PAUL BHATTACHARJEE Production Coordinator ANITA ASHWICK Tabla Player HIREN CHATE Revival Lights & Technical Management MATT HASKINS Mother/University Cleaner/Dancer DIVYA KASTURI Company Stage Manager CATH BINKS Surita Bhogaita/Barbara Jones CHETNA PANDYA Technical Stage Manager ROD WILSON Ruth Minnen SASKIA REEVES Stage Managers EMMA CAMERON, IAN ANDLAW Srinivasa Ramanujan/Dancer SHANE SHAMBHU Lighting Operator RICHARD GODIN Sound Operator HELEN ATKINSON Conceived and Directed by Simon MCBurney Projection Operator MARTIN DEWAR Devised by The Company Rigging and Automation NICK CAMPBELL for Principal Projects Original Music Nitin SAWhney Rigging TONY HARVEY Design Michael Levine Automation Technician NIGEL SHILTON Lighting Paul Anderson Video Programmer SAM HUNT Sound Christopher Shutt Wardrobe Mistress DONNA RICHARDS Projection Sven Ortel Production Carpenter THOMAS PATTULLO Costume Christina CunninGham Mic Runner MARCIA ROACH Photography SARAH AINSLIE, STEPHANIE BERGER, JORIS-JAN A Disappearing Number premiered in 2007 and subsequently BOS, SUMIRON GHOSH, ROBBIE JACK toured all over the world, winning the Evening Standard Theatre Artistic Collaborator VICTORIA GOULD Award for Best Play (2007), The Critics’ Circle Theatre Award Associate Sound KAY BASSON for Best New Play (2007) and the Laurence Olivier Award for Associate Projection FINN ROSS Best New Play (2008). Maths Consultant MARCUS DU SAUTOY Complicite is an internationally acclaimed theatre company For National Theatre Live Broadcast based in London. Led by Simon McBurney the Company has won Executive Producer Nicholas Hytner over 50 major awards worldwide. Further information about the Producer david sabel company can be found at complicite.org Director for Screen NICK WICKHAM Technical Producer CHRISTOPHER BRETNALL Theatre Royal Plymouth is the largest and best attended regional Technical International Distribution Robert Borchard-YounG producing theatre in the UK and the leading promoter of theatre International Marketing and Distribution in the South West. There are two distinctive performance spaces, Julie Borchard-YounG for BY Experience, Inc. the Theatre Royal and the Drum Theatre as well as TR2, the Associate Producer EMMA KEITH award-winning theatre production and creative learning centre. Broadcast Lighting Director BERNIE DAVIS Broadcast Sound Supervisor CONRAD FLETCHER A Complicite co-production with the Barbican, London, Ruhrfestspiele, Wiener Broadcast Production Manager HARRY GUTHRIE Festwochen, Holland Festival, in association with Theatre Royal Plymouth. Find out more and sign up for email updates at In partnership with Follow us ntlive.com twitter.com/ntlive facebook.com/ntlive Find Complicite on Facebook and Twitter complicite.org Don’t miss the electric new season! Best of British theatre broadcast to cinemas around the world ‘A smashing success.’ Los Angeles Times Hamlet The Cherry 9 December King Lear Orchard Rory Kinnear takes the title 3 February 30 June role in this new production Live from the Donmar Zoë Wanamaker plays directed by Nicholas Hytner. Warehouse in Covent Garden, Madame Ranyevskaya Michael Grandage directs in Andrew Upton’s new FELA! Derek Jacobi in the title role. adaptation of Chekhov’s 13 January play. An exhilarating mix of Frankenstein dance, music and theatre 17 March based on the life of Afrobeat Academy award-winner legend Fela Anikulapo-Kuti. Danny Boyle directs this new For more information, visit play by Nick Dear, based on the novel by Mary Shelley. ntlive.com.
Recommended publications
  • Jihadism: Online Discourses and Representations
    1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 1 Studying Jihadism 2 3 4 5 6 Volume 2 7 8 9 10 11 Edited by Rüdiger Lohlker 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 The volumes of this series are peer-reviewed. 37 38 Editorial Board: Farhad Khosrokhavar (Paris), Hans Kippenberg 39 (Erfurt), Alex P. Schmid (Vienna), Roberto Tottoli (Naples) 40 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 1 Rüdiger Lohlker (ed.) 2 3 4 5 6 7 Jihadism: Online Discourses and 8 9 Representations 10 11 12 13 14 15 16 17 With many figures 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 & 37 V R unipress 38 39 Vienna University Press 40 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; 24 detailed bibliographic data are available online: http://dnb.d-nb.de.
    [Show full text]
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
    [Show full text]
  • Eugenie Pastor-Phd Thesis Moving Intimacies
    MOVING INTIMACIES: A COMPARATIVE STUDY OF “PHYSICAL THEATRES” IN FRANCE AND THE UNITED KINGDOM EUGÉNIE FLEUR PASTOR ROYAL HOLLOWAY, UNIVERSITY OF LONDON DEPARTMENT OF DRAMA AND THEATRE A Thesis submitted as a partial fulfilment of the requirements of the degree of Ph.D. August 2014 1 DECLARATION OF AUTHORSHIP I, Eugénie Fleur Pastor, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 7 August 2014 2 ABSTRACT This thesis is an exploration of movement in contemporary “physical theatres”. I develop a renewed understanding of “physical theatres” as embodied framework to experience both spectatorship and theatre-making. I analyse how, in this type of performance, movement blurs distinctions between the intimate and the collective, the inside and the outside, thus challenging definitions of intimacy and tactility. The thesis consists of a comparative study of examples of “physical theatres”, in the 21st century, in France and in the UK. The comparison highlights that “physical theatres” practitioners are under-represented in France, a reason I attribute in part to a terminological absence in the French language. The four case studies range from itinerant company Escale and their athletic embodiment of a political ideal to Jean Lambert-wild’s theatre of “micro-movement”, from Told by an Idiot’s position in a traditional theatre context in the UK to my own work within Little Bulb Theatre, where physicality is virtuosic in its non- virtuosity. For each case study, I use a methodology that echoes this exploration of movement and reflects my position within each fieldwork.
    [Show full text]
  • A Disappearing Number
    ADisappearing Number Conceived and Directed by Simon McBurney Devised by the Company Original Music Nitin Sawhney Design Michael Levine Lighting Paul Anderson Sound Christopher Shutt Projection Sven Ortel for mesmer Costume Christina Cunningham Associate Director Catherine Alexander A Complicite co-production with Barbican bite07, Ruhrfestspiele, Wiener Festwochen, Holland Festival, in association with Theatre Royal Plymouth Full production details www.complicite.org This information pack accompanies the online video clips which explore some of the ideas behind the production and offer a glimpse of how Complicite works in rehearsal. Dive into the production polaroid on www.complicite.org and play. Workpack written by Catherine Alexander (Associate Director) Natasha Freedman (Complicite Education) Victoria Gould (Artistic Collaborator) 14 Anglers Lane London NW5 3DG T.+44 (0) 20 7485 7700 F.+44 (0) 20 7485 7701 Theatre de Complicite Education Ltd. Registered Charity 1012507 Introduction Mathematics is at the heart of Ramanujan and Hardy’s story. Many of the collaborators on A Disappearing Number had an initial fear of mathematics, but as a company we played with numbers and formulae in order to become comfortable with mathematical ideas and enhance our understanding of the subject. This process of playful exploration brought mathematics to life but the question remained as to how to convey these mathematical ideas on stage. Though the production doesn’t endeavour to understand or explain the mathematics, story telling and theatrical metaphors are used in an attempt to express mathematics through rhythm, movement patterns and scene structures. We started by playing very simple games. Mathematics is not a spectator sport George M Phillips Bringing mathematics to life on stage Exercise: Number Sequences One person stands facing the rest of the group and says a sequence of numbers out loud.
    [Show full text]
  • Conference Abstracts and Biographies
    Conference Abstracts and Biographies Listed in alphabetical order by contributor’s surname TaPRA2009 Organizers at the University of Plymouth: Dr Lee Miller Dr Roberta Mock Dr Victor Ramirez Ladron de Guevara www.plymouth.ac.uk/arts/theatre Siân Adieshiah (Performance Identity Community Working Group) University of Lincoln “I just die for some authority! A little touch of leadership, a bit of bracing tyranny!”: Barriers to Utopia in Howard Brenton’s Greenland Written and performed just after Margaret Thatcher’s third election victory in Britain in 1987, Howard Brenton’s final play in his Utopian trilogy, Greenland is an isolated example during this period of a Left playwright’s attempt to construct a utopian future on stage. The second act of Greenland partially resembles classical utopian fiction and in doing so, has led some commentators to dismiss the play as tedious, static and lacking in dramatic interest. The act’s absence of conflict, lack of historicism, and the contentment of its inhabitants have been cited as reasons for its alleged dullness. This interpretation to some extent concurs with the character, Severan-Severan, whose view is that misery and suffering are essential to the human condition and that liberation is a living death. However, this approach neglects a more complex engagement with utopia that is present in the play. Audiences – along with the non-utopian character, Joan – respond to Greenland in a way that can be illuminated by Frederic Jameson’s idea of the ‘terror of obliteration,’ an idea that considers our hostility to utopia to be based upon the inconceivability of altogether different notions of subjectivity available in utopia.
    [Show full text]
  • The Enchantress of Florence
    6620_enchantressofflorence_LIBV2_LayoutRBoverlay1_Layout 1 5/12/10 1:32 PM Page 1 4/2/101 2:28 PM Page 1 Salman Rushdie THE ENCHANTRESS OF FLORENCE Narrated by Firdous Bamji Few writers living or dead have received the monumental acclaim that has been accorded to Salman Rushdie for his richly textured, superbly crafted works. T The Enchantress of Florence once again demonstrates the author’s unparalleled mastery of H his craft. E In the imperial capital of the Mughal Empire, a traveler arrives at the court of E N Emperor Akbar. The traveler, Mogor dell’Amore, has a tale to tell, and as the words flow N a C out of him, the tale’s rich tapestry of power and desire begins to take on a life of its own. r S H r a Fueled by the urgency of his narrative and its growing effect on his audience, the traveler a A t l e paints a vivid portrait of faraway Florence, a beautiful enchantress, and the infamous m N d figure of Niccolò Machiavelli. T a b n y R Winner of the Booker Prize, Rushdie delights all those who revel in literature of F E R sublime achievement. Narrator Firdous Bamji matches the author’s exquisite prose with a i S r u d reading that conveys the full breadth of this lovingly detailed novel. S s o O h Narrator Firdous Bamji has appeared in numerous plays in New York and across the u s d F country and played the title role in William Shakespeare’s Othello .
    [Show full text]
  • Images of Violence in Complicite Obrazy Przemocy W Complicite
    Images of Violence in Complicite Tom 5/2017, ss. 53-60 ISSN 2353-1266 e-ISSN 2449-7983 DOI: 10.19251/sej/2017.5(4) www.sej.pwszplock.pl Tomasz Wiśniewski Uniwersytet Gdański Images of Violence in Complicite Obrazy przemocy w Complicite Abstract Abstrakt In British theatre of the last three W ciągu ostatnich trzech dekad decades, we observe a significant shift from można zaobserwować w brytyjskim teatrze the more verbal, playwright-focused model of odejście od modelu teatru opartego na słowie, theatre whose meanings are determined pri- którego znaczenia determinowane są przez marily by the literary concept of drama to the literacką koncepcję dramatu na rzecz teatru, one which exercises more profoundly artistic który korzysta w większym zakresie z auto- autonomy of theatre. Complicite is one of the nomii artystycznej teatru . Complicite to jedna leading theatre companies that are responsible z tych grup teatralnych, które stoją za tymi for this shift. In the performances of Complic- zmianami. W przedstawienich Complicite, ite, the theme of violence has been explored temat przemocy pojawia się regularnie i do frequently. The whole variety of theatre jej zaprezentowania wykorzystywany jest devices were employed in depicting images of cały wachlarz środków artystycznych. Arty- violence. The article discusses plays such as kuł omawia sztuki: Mnemonic, The Street of Mnemonic, The Street of Crocodiles, Measure Crocodiles, Measure for Measure, The Mas- for Measure and The Master and Margarita, ter and Margarita, A Disappearing Number, A Disappearing Number, Shun-kin and The Shun-kin, The Encounter i kilka innych. Encounter and mentions others. Słowa kluczowe: Complicite, Simon Keywords: Complicite, Simon McBurney, Mnemonic, The Encounter, prze- McBurney, Mnemonic, The Encounter, vio- moc, badania nad teatrem, komunikacja, lence, theatre studies, communication, semi- semiotyka otics 54 Tomasz Wiśniewski Tom 5/2017 1 .
    [Show full text]
  • The Birthday Party at A.C.T. Encore Arts San Francisco
    SAN FRANCISCO’S PREMIER NONPROFIT THEATER COMPANY THE BIRTHDAY PARTY JAN 2018 SEASON 51, ISSUE 4 BY QUI NGUYEN DIRECTED BY JAIME CASTAÑEDA Vietgone is not your typical how-Mom- met-Dad story. Not unless they hit it off at a refugee camp in Arkansas. But that’s the story of playwright Qui Nguyen’s parents, who fell in love against all odds. Fleeing war-torn Vietnam, Tong and Quang navigate the unfamiliar landscape of 1970s America. As they learn more about the culture of this new land, they ponder what “home” really means. Is home a place, a person, a feeling? Bending genres and breaking rules, Nguyen’s cheeky retelling of his own family story skips through time and “A raucous, immensely moving comedy.” Charles Isherwood, The New York Times BEGINS FEBRUARY 21 A.C.T.’S STRAND THEATER act-sf.org/vietgone | 415.749.2228 “Hip, high-wire theatricality . sultry sexiness . quirky playfulness.” The Seattle Times bounces between borders, cracking Winner of the 2016 Harold and Mimi jokes along the way. Director Jaime Steinberg/American Theatre Critics Castañeda, who’s known Nguyen for Association New Play Award, Vietgone years, calls this play “uniquely Qui— was an off-Broadway hit at Manhattan he takes what seems like a traditional Theatre Club and sold out shows at immigrant story and turns it into this 2016’s Oregon Shakespeare Festival. wild, epic road-trip fantasia with fights This all-new production—complete and music and dancing and sex.” with kick-ass ninja fights and an original rap-inspired score—will burst Set to an original soundtrack that mixes into The Strand this February.
    [Show full text]
  • A Disappearing Number SIMON MCBURNEY COMPLICITE
    A Disappearing Number SIMON MCBURNEY COMPLICITE BD SEPTEMBRE – C OCTOBRE © Robbie Jack 1 A Disappearing Number “Au théâtre, nous sommes tils pour opérer des transformations. Simon McBurney comme des pies voleuses” Lesgensdeviennentdesmarionnettes, Complicite Entretien avec Simon McBurney les visages des masques, les gestes une chorégraphie. Pour transformer Durée : 1h50 sans entracte Avec Complicite, vous avez été l'un lequotidienenmerveilleux,pourfaire En anglais surtitré en français des pionniers d'un théâtre « multi- denosactesdetouslesjoursungeste Conception et mise en scène, média », utilisant la technologie et épique. Afin d’y parvenir, nous avons Simon McBurney Spectacle conçu par la Compagnie favorisantlapluridisciplinarité :quel besoin de contrôler nos outils. Savoir sens donnez-vous à votre travail manipuler une marionnette, savoir Musique originale, Nitin Sawhney porter un masque – tout cela, au ser- Scénographie, Michael Levine aujourd'hui,oùcegenredepratiques Lumière, Paul Anderson s’est beaucoup répandu, et où le vice de l’histoire racontée. Son, Christopher Shutt développementdesnouveauxmédias Pour raconter une histoire, j’utilise Vidéo, Sven Ortel pour Mesmer induit de nouveaux modes de récep- aussi tout ce qui se trouve à portée Costumes, Christina Cunningham Assistant - metteur en scène pour la reprise, tion des œuvres d'art ? de main. Quel que soit l’outil, quelle Douglas Rintoul Votrequestionencontientuneautre : que soit la technologie – vidéo, son Traduction des surtitres, Isabelle Famchon qu’est-ce que la technologie ? Qu’est- enregistré,lumièreélectrique.Maisce (avec la collaboration d’Andrea Jacobsen) ce que la “pluridisciplinarité”? Mon qui est essentiel ici, c’est que la tech- Avec David Annen, Firdous Bamji, père était archéologue, il faisait con- nologieenelle-mêmen’estpasimpor- Paul Bhattacharjee, Hiren Chate, Divya stamment référence aux avancées tante.
    [Show full text]
  • Framing Environmental Justice: from American to Global Perspectives
    Framing Environmental Justice: From American to Global Perspectives By Ali Brox Submitted to the graduate degree program English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Byron Caminero-Santangelo ________________________________ Lawrence Buell ________________________________ Giselle Anatol ________________________________ Paul Outka ________________________________ Paul Stock Date Defended: July 3, 2013 ii The Dissertation Committee for Ali Brox certifies that this is the approved version of the following dissertation: Framing Environmental Justice: From American to Global Perspectives ________________________________ Chairperson Byron Caminero-Santangelo Date approved: July 3, 2013 iii Abstract This dissertation contests the idea that environmental justice discourse emerges solely from the United States. It creates dialogue between texts that represent a traditional American environmental justice frame and those that depict situations of environmental injustice outside of U.S. borders. It identifies eight coordinates that are crucial components of what can be considered environmental justice discourse. These characteristics become a rubric for establishing a traveling theory of environmental justice and include: issues of scale, types of knowledge and the institutions that produce it, anthropocentric and ecocentric perspectives, realist and constructivist representations, individual and societal responsibilities, identity constructions like race and class, particularist and totalizing representations, and genre considerations. Analysis of Spike Lee’s When the Levees Broke, Ken Saro-Wiwa’s A Month and a Day, Indra Sinha’s Animal’s People, and Amitav Ghosh’s The Hungry Tide reveals that certain coordinates that comprise environmental justice discourse are more fraught than others. I focus on the role of the American activist as reader or character in the texts and how the authors emphasize the coordinates to varying degrees.
    [Show full text]
  • October 15 — March 16 INKHEART: WHAT IF EVERY Book YOU READ… BECAME REAL?
    octOBER 15 — march 16 INKHEART: WHAT IF EVERY book YOU READ… BECAME REAL? New theatre season: Shakespeare, Beckett, Complicite and more James Benning’s Greatest Hits From Safe to Space: new exhibitions Jim Allen: A Retrospective PICK ME UP & TAKE ME HOMEBOOK NOW AT HOMEmcr.org or call 0161 200 1500 1 COntents see more, 4 quick season guide save 6 PEOPLE AND PLACES money! – JAMES BENNING dear reader: 10 october 14 november 16 Still Relevant AfteR All These Years When you work on – Jim Allen 18 december Ticket Saver a building project 19 january Book top price tickets for three different theatre shows at the same 20 february time and save 20%. Look for the such as HOME it’s easy ticket saver stamp on eligible shows. 21 our home is your home Offer does not include previews, 22 AL and AL: £5 student super advance tickets INCIDENTS OF TRAVEL or £10 tickets. The same amount to think that the of tickets must be purchased IN THE MULTIVERSE for each show and all tickets must be purchased at the same 26 HOME & the Chinese time. Subject to availability and opening date marks Film Forum UK cannot be used retrospectively or in conjunction with other 28 march discounts or offers. 30 Times, tickets the end; that your & where to find us Great theatre 31 next issue from just £10 (or less!) job’s done once the Most of our theatre shows have seats priced from £10. Students can also take advantage doors are open... of super advance tickets for most theatre shows and film screenings, priced at just £5.
    [Show full text]
  • THEATER REVIEW | 'A DISAPPEARING NUMBER' Human (And Mathematical) Equations
    July 17, 2010 THEATER REVIEW | 'A DISAPPEARING NUMBER' Human (and Mathematical) Equations By CHARLES ISHERWOOD Zeroes, ones, twos and threes glide and slide, shimmy and leap before your eyes in the quietly mesmerizing play “A Disappearing Number,” a production from the British company Complicite that plays through Sunday as part of the Lincoln Center Festival. The familiar little digits we use for all sorts of mundane purposes, like marking time and counting money, slowly begin to acquire talismanic power as they swim across the video screens onstage or blink from a clock in the corner. They get inside your head too. By the conclusion of this engrossing inquiry into the beauty of mathematics and the equations that bind human destinies, even the most casual numerical series — your phone number, say, or that cabby’s ID — may begin to take on mystical significance. Don’t worry about bringing scratch paper and a No. 2 pencil. Math-phobes need have no fear that the play will feel like a statistics lecture or an evening of enforced Sudoku. Sure, there is some daunting talk of string theory and convergent series and the cosine of half pi Z, not to mention the varieties of infinity. But “A Disappearing Number,” which is conceived and directed by Simon McBurney, and which snapped up all the major new- play awards in London when it was first produced in 2007, is lucid, dynamic and continuously engaging. It’s not fundamentally about numbers, either, but about the search for meaning and the consoling satisfaction of finding the patterns that define and describe both the physical universe and individual human lives.
    [Show full text]