Luca Pacioli and His 1500 Book De Viribus Quantitatis

Total Page:16

File Type:pdf, Size:1020Kb

Luca Pacioli and His 1500 Book De Viribus Quantitatis Universidade de Lisboa Faculdade de Ciências Secção Autónoma de História e Filosofia da Ciência LUCA PACIOLI AND HIS 1500 BOOK DE VIRIBUS QUANTITATIS TIAGO WOLFRAM NUNES DOS SANTOS HIRTH Dissertação Mestrado em História e Filosofia das Ciências 2015 Universidade de Lisboa Faculdade de Ciências Secção Autónmoa de História e Filosofia das Ciências LUCA PACIOLI AND HIS 1500 BOOK DE VIRIBUS QUANTITATIS TIAGO WOLFRAM NUNES DOS SANTOS HIRTH Dissertação orientada pelo Prof. Jorge Nuno Oliveira Monteiro da Silva Mestrado em História e Filosofia das Ciências 2015 Abstract As the field grows, History of Science has become wider-ranging than a purely progress-oriented view of the history of Science. The History of Mathematics, even though more resilient, has shown to follow the same development. The present dissertation tries to contribute to the general study by shedding some light on a book which has been belittled, misinterpreted or ignored altogether, De Viribus Quantitatis, one of the major historical recreational mathematics books, and its author Luca Pacioli. This text aims to provide a modern updated survey of the content of this book for related studies, as well as a résumé of its contents. Keywords: De Viribus Quantitatis, Luca Pacioli, Recreational Mathematics, Popular Ciênce, History of Mathematics. Resumo Com o crescimento do ramo de História das Ciências este tem vindo a desenvolver um olhar mais abrangente que a clássica visão dedicada ao progresso das ideias científicas. A História da Matemática, embora mais resiliente, também tem vindo a mostrar interesse em expandir os seus horizontes. No presente texto tentamos contribuir para o estudo geral destas disciplinas estudando um tratado que pouca atenção tem tido até ao momento, sendo até mesmo mal interpretado. Trata-se De Viribus Quantitatis, sendo este um dos maiores compêndio de matemática recreativa no seu contexto histórico. O seu autor, Luca Pacioli, sendo uma personalidade de grande interesse e mais conhecido por outras obras suas. Nestas páginas tentamos fornecer uma versão atualisada da documentação relativa ao tratado tal como um resumo dos seus conteúdos. Palavras-chave: De Viribus Quantitatis, Luca Pacioli, Matemática Recreativa, Ciência Popular, História da Matemática. Index Introduction 8 Pacioli 10 A Historiographical sketch of Pacioli’s Biography 15 THE DE VIRIBUS QUANTITATIS 17 Description 17 Historiography DVQ 19 Structure and notation used 21 I. On the Powers of Quantity 23 Algebraic Tricks 23 Numerical Games 41 II. On the virtue and strength of Geometry 58 Geometric Constructions 59 Geometric Marvels 81 III. Other Documents 100 Natura Magistra 101 DE PROBLEMATIBUS ET ENIGMATA 121 CONCLUDING REMARKS 126 BIBLIOGRAPHY 135 8 Introduction De Viribus Quantitatis1 is a unique treatise. It is one of the first (if not the first) to gather multiple mathematical recreations, magical effects and “scientific” experiments, explaining and exposing these within the spirit of its age. It is the work of a mathematician and educator, but is very different to other textbooks written in its time, due to its dedication to recreations. These recreations can be found earlier in correspondence, literature or textbooks, mostly though individually or as interludes, and the sheer size of Pacioli’s work places it in the spotlight. Like most other works of Pacioli the content is mostly mathematical at heart, but also includes other natural sciences and even, at the very end, some literary entertainment. Its discourse is guided by praise of the underlying “power” of mathematics, in its algebraic and geometric form. Various elements such motivation, disclosure, communication and education of science figure in it. The book is certainly a milestone in what today one might call “popular science”. But not only the mathematic inclined individual or the recreational mathematics enthusiast will find interest in DVQ. Many well-known effects appear on paper for the first time. This makes the book popular among magicians. The book is even named a classic of Italian prestigitation by some and even in Portugal many practitioners of the art of illusion will have heard of it. The book holds many illusionist secrets and tricks of the trade teaching many different aptitudes. It also describes and explains some seemingly-miraculous effects. The recreations present in the book take little from the scientific and historic value of its content. It is very likely that a good deal of the book’s sections were used for motivation during classes or education of a general public, while others seem present for the pure pleasure of their effect like a few pranks in the latter part of the book. The author of the DVQ, Luca Pacioli, is a historical figure, known best for his de Summa arithmetica, geometria, proportioni et proportionalita2, a landmark historic textbook on Algebra. With it, Pacioli provides a very general and embracing content for the student of mathematics. The proportione: opera a tutti glingegni perspicaci e curiosi necessaria ove ciascun studioso di philosophia: prospectiva pictura, sculptura, architectura, musica e altre mathematice: suavissima sottile e admirabile doctrina consequeira: e delectarassi cõo varie questione de secretissima scientia3, is another commonly known work of his, unlike the Summa it discusses Geometry. The first treatise of this work focuses on the golden ratio giving the work its name. Although Pacioli’s works are mostly collections and lack major scientific improvement, he is by no means unoriginal, adding to most of his materials and generalizing them. Pacioli is also of great interest for his impact on scientific education and the transmission of science. Pacioli, however, is not too well known as yet, and much work is needed to get a comprehensive image of him. Jayawardene, in a review of the historiography until 19944, gives an eight point list of progress to be made to gain a greater 1 De Viribus Quantitatis shall be referred simply as MS for the Manuscript or DVQ. 2 This work has and will be referred to in short as Summa. 3 This work has and will be referred to in short as Divina. 4 Jaywardene, S.A.“Towards a Biography of Luca Pacioli”, in Luca Pacioli e la matemática del rinascimento. 9 comprehension on Pacioli. Number 2 of that list are the publication of Trattato d’Aritmética and De Viribus Quantitatis. So far studies regarding DVQ have mostly only been accessible to the Italian reading public. For such an ambitious task some editing will be needed and possibly a modernization of the notation. Any additional viewpoint would also be helpful, the book having been tackled so far mostly by mathematicians and illusionists. This dissertation envisions to aid in getting a better understanding of DVQ, by offering connections to other fields of study. Also, it tries to add to bring it into English. Further it is hoped that it may add to the field of History of Science and bring some new perspective to the topic. The content of this dissertation thus provides some analysis of DVQ’s contents in its more recreational mathematics aspects, modernizes notation and terminology, and addresses some of the issues surrounding the text. For a general understanding the DVQ a short annotated biographical chronology regarding Pacioli is given. Some of the major events in his life are listed together with some of his work. This is aided by a small historiographical sketch at the end, presenting some of the major names in the study of Pacioli. Taking as understood the introductory sketch of Pacioli the proper core of this study, the DVQ, is then tackled. To begin with some general remarks and description of the book are provided. A historiography of the book is given, followed by the description and some general structural remarks on the DVQ and notation used. Given this preliminary contextualization, the DVQ is analyzed section by section in three parts echoing those of the DVQ. Finally some concluding remarks are made regarding the book, its contents and several smaller aspects not included in the sectional analyses. 10 Pacioli Either because of the line of work and sometimes less orthodox style and content of his endeavours, or for other reasons, several controversies surround the author of DVQ. The first to is one about his name. Many different renditions have been used, for instance “Patioli”, “Paciuolo”, “Paccioli” or “Paciolus”, last is found in Latin forewords by the author himself. 5 In recent times, however, the Tuscan form “Pacioli” is commonly used, probably popularized by E. Taylor’s Royal Road.6 Within the church order of the Franciscans of the time it was not uncommon to drop the family name, keeping instead only given name and a place of origin. Thus it is no wonder to find the signature of “Lucas de Burgo” or variations of this by the same person. Luca Pacioli was born around 1445. His exact date of birth is unknown and like his name debated. In the Necrologium of the Cloister of Santa Croce of Florence his date of death at 70 is 1517. Lacking more documentation we cannot assume that his age was exact. He was born son of Bartolomeo. He was the nephew of Benedetto and had a brother named Piero, who had two children, Ambrogio and Siniperio. Little more is known about his family, and this knowledge is derived from two testaments, one from 9 of November 1508 and the other from 21 of November 1511. Borgo Of his childhood years little is known. These were spent in care of the Befolci family in Borgo Sansepolcro, now (May 2008 Census) a 16 thousand inhabitant town in the Tiber valley in the Arezzo province in Tuscany, Italy. It is asserted that in these years he had contact with Piero della Francesca (~1410 – 1492), fellow inhabitant of Borgo. Piero is often said to be one of Pacioli’s teachers or tutors.
Recommended publications
  • Words Should Be Fun: Scrabble As a Tool for Language Preservation in Tuvan and Other Local Languages1
    Vol. 4 (2010), pp. 213-230 http://nflrc.hawaii.edu/ldc/ http://hdl.handle.net/10125/4480 Words should be fun: Scrabble as a tool for language preservation in Tuvan and other local languages1 Vitaly Voinov The University of Texas at Arlington One small but practical way of empowering speakers of an endangered language to maintain their language’s vitality amidst a climate of rapid globalization is to introduce a mother-tongue version of the popular word game Scrabble into their society. This paper examines how versions of Scrabble have been developed and used for this purpose in various endangered or non-prestige languages, with a focus on the Tuvan language of south Siberia, for which the author designed a Tuvan version of the game. Playing Scrab- ble in their mother tongue offers several benefits to speakers of an endangered language: it presents a communal approach to group literacy, promotes the use of a standardized orthography, creates new opportunities for intergenerational transmission of the language, expands its domains of usage, and may heighten the language’s external and internal prestige. Besides demonstrating the benefits of Scrabble, the paper also offers practical suggestions concerning both linguistic factors (e.g., choice of letters to be included, cal- culation of letter frequencies, dictionary availability) and non-linguistic factors (board de- sign, manufacturing, legal issues, etc.) relevant to producing Scrabble in other languages for the purpose of revitalization. 1. INTRODUCTION.2 The past several decades have seen globalization penetrating even the most remote corners of the world, bringing with them popular American exports such as Coca-Cola and Hollywood movies.
    [Show full text]
  • The Market for Luca Pacioli's Summa Arithmetica
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Sangster, Alan, Stoner, Gregory N. and McCarthy, Patricia A. (2008) The market for Luca Pacioli’s Summa arithmetica. Accounting Historians Journal, 35 (1) . pp. 111-134. ISSN 0148-4184 [Article] This version is available at: https://eprints.mdx.ac.uk/3201/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • De Divino Errore ‘De Divina Proportione’ Was Written by Luca Pacioli and Illustrated by Leonardo Da Vinci
    De Divino Errore ‘De Divina Proportione’ was written by Luca Pacioli and illustrated by Leonardo da Vinci. It was one of the most widely read mathematical books. Unfortunately, a strongly emphasized statement in the book claims six summits of pyramids of the stellated icosidodecahedron lay in one plane. This is not so, and yet even extensively annotated editions of this book never noticed this error. Dutchmen Jos Janssens and Rinus Roelofs did so, 500 years later. Fig. 1: About this illustration of Leonardo da Vinci for the Milanese version of the ‘De Divina Proportione’, Pacioli erroneously wrote that the red and green dots lay in a plane. The book ‘De Divina Proportione’, or ‘On the Divine Ratio’, was written by the Franciscan Fra Luca Bartolomeo de Pacioli (1445-1517). His name is sometimes written Paciolo or Paccioli because Italian was not a uniform language in his days, when, moreover, Italy was not a country yet. Labeling Pacioli as a Tuscan, because of his birthplace of Borgo San Sepolcro, may be more correct, but he also studied in Venice and Rome, and spent much of his life in Perugia and Milan. In service of Duke and patron Ludovico Sforza, he would write his masterpiece, in 1497 (although it is more correct to say the work was written between 1496 and 1498, because it contains several parts). It was not his first opus, because in 1494 his ‘Summa de arithmetic, geometrica, proportioni et proportionalita’ had appeared; the ‘Summa’ and ‘Divina’ were not his only books, but surely the most famous ones. For hundreds of years the books were among the most widely read mathematical bestsellers, their fame being only surpassed by the ‘Elements’ of Euclid.
    [Show full text]
  • An Exploration of the Relationship Between Mathematics and Music
    An Exploration of the Relationship between Mathematics and Music Shah, Saloni 2010 MIMS EPrint: 2010.103 Manchester Institute for Mathematical Sciences School of Mathematics The University of Manchester Reports available from: http://eprints.maths.manchester.ac.uk/ And by contacting: The MIMS Secretary School of Mathematics The University of Manchester Manchester, M13 9PL, UK ISSN 1749-9097 An Exploration of ! Relation"ip Between Ma#ematics and Music MATH30000, 3rd Year Project Saloni Shah, ID 7177223 University of Manchester May 2010 Project Supervisor: Professor Roger Plymen ! 1 TABLE OF CONTENTS Preface! 3 1.0 Music and Mathematics: An Introduction to their Relationship! 6 2.0 Historical Connections Between Mathematics and Music! 9 2.1 Music Theorists and Mathematicians: Are they one in the same?! 9 2.2 Why are mathematicians so fascinated by music theory?! 15 3.0 The Mathematics of Music! 19 3.1 Pythagoras and the Theory of Music Intervals! 19 3.2 The Move Away From Pythagorean Scales! 29 3.3 Rameau Adds to the Discovery of Pythagoras! 32 3.4 Music and Fibonacci! 36 3.5 Circle of Fifths! 42 4.0 Messiaen: The Mathematics of his Musical Language! 45 4.1 Modes of Limited Transposition! 51 4.2 Non-retrogradable Rhythms! 58 5.0 Religious Symbolism and Mathematics in Music! 64 5.1 Numbers are God"s Tools! 65 5.2 Religious Symbolism and Numbers in Bach"s Music! 67 5.3 Messiaen"s Use of Mathematical Ideas to Convey Religious Ones! 73 6.0 Musical Mathematics: The Artistic Aspect of Mathematics! 76 6.1 Mathematics as Art! 78 6.2 Mathematical Periods! 81 6.3 Mathematics Periods vs.
    [Show full text]
  • THE ART of Puzzle Game Design
    THE ART OF Puzzle Design Scott Kim & Alexey Pajitnov with Bob Bates, Gary Rosenzweig, Michael Wyman March 8, 2000 Game Developers Conference These are presentation slides from an all-day tutorial given at the 2000 Game Developers Conference in San Jose, California (www.gdconf.com). After the conference, the slides will be available at www.scottkim.com. Puzzles Part of many games. Adventure, education, action, web But how do you create them? Puzzles are an important part of many computer games. Cartridge-based action puzzle gamse, CD-ROM puzzle anthologies, adventure game, and educational game all need good puzzles. Good News / Bad News Mental challenge Marketable? Nonviolent Dramatic? Easy to program Hard to invent? Growing market Small market? The good news is that puzzles appeal widely to both males and females of all ages. Although the market is small, it is rapidly expanding, as computers become a mass market commodity and the internet shifts computer games toward familiar, quick, easy-to-learn games. Outline MORNING AFTERNOON What is a puzzle? Guest Speakers Examples Exercise Case studies Question & Design process Answer We’ll start by discussing genres of puzzle games. We’ll study some classic puzzle games, and current projects. We’ll cover the eight steps of the puzzle design process. We’ll hear from guest speakers. Finally we’ll do hands-on projects, with time for question and answer. What is a Puzzle? Five ways of defining puzzle games First, let’s map out the basic genres of puzzle games. Scott Kim 1. Definition of “Puzzle” A puzzle is fun and has a right answer.
    [Show full text]
  • Can You Change MAN to APE? Computers Can
    Can a Computer Solve a Word Puzzle? - or - Can You Change MAN to APE? Computers can add; they can store numbers; they can solve equations. But word puzzles ask for abilities we don't usually associate with computers. Can we apply computational thinking to these unusual problems? To do so, we have to understand how we solve these puzzles, and identify those parts of our thought processes that can be \explained" to a computer. Computational Thinking In this discussion, we will look at a simple word puzzle. If we think about how we solve such puzzles, we can identify some mental pro- cesses (human thinking) that a computer would have to mimic: • memory: we need to know a lot of words; • imagination: we need to imagine possible changes to a word; • evaluation: given several possible changes, we need to choose the one most likely to take us to our goal; • backtracking: when a choice doesn't work out, we need to backtrack and search for an alternate choice; If we want a computer to solve these puzzles, we have to understand how we do them first, and then try to translate our thinking into computational thinking. DOUBLETS: Invented by Lewis Carroll DOUBLETS: Invented by Lewis Carroll Lewis Carroll, who wrote the children's book \Alice in Wonderland", was very fond of word games and puzzles. He asked a riddle that no one has solved: Why is a raven like a writing desk?. He wrote poems like Jabberwocky full of nonsense words, a few of which were absorbed into English: burbled and gallumphing.
    [Show full text]
  • Leonardo Universal
    Leonardo Universal DE DIVINA PROPORTIONE Pacioli, legendary mathematician, introduced the linear perspective and the mixture of colors, representing the human body and its proportions and extrapolating this knowledge to architecture. Luca Pacioli demonstrating one of Euclid’s theorems (Jacobo de’Barbari, 1495) D e Divina Proportione is a holy expression commonly outstanding work and icon of the Italian Renaissance. used in the past to refer to what we nowadays call Leonardo, who was deeply interested in nature and art the golden section, which is the mathematic module mathematics, worked with Pacioli, the author of the through which any amount can be divided in two text, and was a determined spreader of perspectives uneven parts, so that the ratio between the smallest and proportions, including Phi in many of his works, part and the largest one is the same as that between such as The Last Supper, created at the same time as the largest and the full amount. It is divine for its the illustrations of the present manuscript, the Mona being unique, and triune, as it links three elements. Lisa, whose face hides a perfect golden rectangle and The fusion of art and science, and the completion of the Uomo Vitruviano, a deep study on the human 60 full-page illustrations by the preeminent genius figure where da Vinci proves that all the main body of the time, Leonardo da Vinci, make it the most parts were related to the golden ratio. Luca Pacioli credits that Leonardo da Vinci made the illustrations of the geometric bodies with quill, ink and watercolor.
    [Show full text]
  • Kepler's Cosmos
    science and image Kepler’s cosmos Copernicus’s system of the Universe was revolutionary but his method of representing it on paper was anything but. It was left to Kepler to apply Renaissance techniques of spatial visualization to make the theory come alive. Martin Kemp icolaus Copernicus’s programme to 8 purge the Ptolemaic model of the Uni- Nverse of its growing burden of disfig- uring complications was driven not least by what we would call aesthetic considerations. The architecture of his heliocentric system reinstated the geometrical integrity that the Greek astronomers had sought: “At rest... in the middle of everything is the sun. For in this most beautiful temple, who would place this lamp in another or better position than that from which it can light up the whole thing at the same time?” Although Copernicus’s “temple” obeyed the principles of harmonically unified design advocated in the Renaissance, his conventionally diagrammatic representa- tion of his scheme in 1543 as a flat series of concentric circles did not avail itself of the new spatial vision inherent in the buildings and paintings of the Renaissance masters. It was more than 50 years later that Johannes Kepler, fervent Copernican and Platonist, allied the new visual forms with the new astronomical vision. Among the many testimonies to Kepler’s extraordinary powers of spatial visualiza- tion, none is more remarkable than the great cosmological model he illustrated in a fold- out plate in his Mysterium Cosmographicum of 1596. We know how the scheme came to be envisaged. He tells how, when he was teach- ing his “students the way Great Conjunc- tions jump eight signs at a time”, he drew Kepler’s “Model of the Orbits of the Planets” “many triangles, or quasi triangles, in the from Mysterium Cosmographicum, 1596 (above).
    [Show full text]
  • On the 10Th November 1494, Luca Pacioli's Summa De Arithmetica, Geometria, Proportioni Et Proportionalità Is Published; Leona
    640. D’Amore B. (2008). Leonardo and the lunula. Testo di presentazione della cartella realizzata da Giunti Editore come omaggio ai partecipanti al convegno internazionale: ICMI 1908/2008. The First Century of the International Commission on Mathematical Instruction. Reflecting and Shaping the World of Mathematics Education. 5-8 marzo 2008. Roma. Accademia dei Lincei e Istituto della Enciclopedia Italiana. Il testo è uscito anonimo. On the 10th November 1494, Luca Pacioli’s Summa de Arithmetica, Geometria, Proportioni et Proportionalità is published; Leonardo buys a copy straight away that he orders from Milan and pays 119 soldi (as he annotates, with his usual precision, in the Atlantic Code, f. 104 r). He studies it and draws thousands of inspirations till he summarizes the chapters relative to the theory of proportions in the Madrid Code (8936). But he is fascinated mainly by geometry and in particular by the squaring of the circle and the theory of the lunulae. The real meeting between Leonardo and Luca takes place in Milan in 1496, when the latter is entrusted by the Duke as a public teacher of mathematics. The interest for geometry, already so rooted in Leonardo, grows out of all proportions as Luca reveals it to him… His geometry becomes more learned, the problems proposed to himself as a challenge are almost always drawn from Pacioli’s work, often in turn drawn from Euclid. Leonardo, in particular, falls in love of the golden section, the “divine proportion”, and of “geometry’s classical problems”; for example he faces the so called Delos problem, i.e.
    [Show full text]
  • The Deep Space Mission That Might Trigger a Multidisciplinary Scientific Revolution by Judy Hodgkiss
    II. Scientific Revolutions Will Shape the Future The Deep Space Mission that Might Trigger a Multidisciplinary Scientific Revolution by Judy Hodgkiss President Trump insists he wants the U.S. to lead Is There a Fundamental Principle of the world in scientific and technological develop- Development in the Universe? ment. He instinctively understands that the key to In 1921, Albert Einstein went beyond his relativity doing that is resuscitating and upgrading the U.S. theory, and put forward a theory of the cosmos, what he space program. called the concept of a “finite but unbounded” universe. As an example of the fundamentals of physical In a lecture that year before the Prussian Academy of economy, Lyndon LaRouche frequently pointed out Sciences, he asked the audience to consider a new met- how John F. Kennedy’s Apollo Project space mission aphor: He described the physical universe as a finite had provided the impetus for explosive growth of the number of shadows projected from different kinds of “Silicon Valley,” the previously higher-order geometries. He chal- bucolic rural area near San Jose, lenged the audience to not only California, which became Ameri- imagine the unseen geometries, ca’s high-tech center in the 1960s. but to imagine novel yardsticks LaRouche always insisted that that could measure them. Such a space exploration must be the universe would be bound only by point-on-the-spear in terms of the principles of development that scientific R&D. If the nation’s characterized it.1 frontier missions in space are ap- Einstein would be delighted propriately defined and fully- today to see examples of scien- funded, they not only provide tists in such fields as physics, spin-off benefits in innovative chemistry, or electronics, discov- ALMA technologies in obviously related Proto-planetary disc surrounding the young ering, to their amazement, that fields, but, even more impor- stellar object, Elias 2-27, 450 light-years away.
    [Show full text]
  • Unit Name: Powers and Multiples of 10
    Dear Parents, We will begin our next unit of study in math soon. The information below will serve as an overview of the unit as you work to support your child at home. If you have any questions, please feel free to contact me. I appreciate your on-going support. Sincerely, Your Child’s Teacher Unit Name: Powers and Multiples of 10 Common Core State Standards: 5.NBT.1 Recognize that in a multi-digit number, a digit in one place represents 10 times as much as it represents in the place to its right and 1/10 of what it represents in the place to its left. 5.NBT.2 Explain patterns in the number of zeros of the product when multiplying a number by powers of 10, and explain patterns in the placement of the decimal point when a decimal is multiplied or divided by a power of 10. Use whole-number exponents to denote powers of 10. Essential Vocabulary: place value decimal number powers of 10 expanded form Unit Overview: Students extend their understanding of the base-ten system by looking at the relationship among place values. Students are required to reason about the magnitude of numbers. Students should realize that the tens place is ten times as much as the ones place, and the ones place is 1/10th the size of the tens place. New at Grade 5 is the use of whole number exponents to represent powers of 10. Students should understand why multiplying by a power of 10 shifts the digits of a whole number that many places to the left.
    [Show full text]
  • Towards Van Der Laan's Plastic Number in the Plane
    Journal for Geometry and Graphics Volume 13 (2009), No. 2, 163–175. Towards van der Laan’s Plastic Number in the Plane Vera W. de Spinadel1, Antonia Redondo Buitrago2 1Laboratorio de Matem´atica y Dise˜no, Universidad de Buenos Aires Buenos Aires, Argentina email: vspinadel@fibertel.com.ar 2Departamento de Matem´atica, I.E.S. Bachiller Sabuco Avenida de Espa˜na 9, 02002 Albacete, Espa˜na email: [email protected] Abstract. In 1960 D.H. van der Laan, architect and member of the Benedic- tine order, introduced what he calls the “Plastic Number” ψ, as an ideal ratio for a geometric scale of spatial objects. It is the real solution of the cubic equation x3 x 1 = 0. This equation may be seen as example of a family of trinomials − − xn x 1=0, n =2, 3,... Considering the real positive roots of these equations we− define− these roots as members of a “Plastic Numbers Family” (PNF) com- prising the well known Golden Mean φ = 1, 618..., the most prominent member of the Metallic Means Family [12] and van der Laan’s Number ψ = 1, 324... Similar to the occurrence of φ in art and nature one can use ψ for defining special 2D- and 3D-objects (rectangles, trapezoids, ellipses, ovals, ovoids, spirals and even 3D-boxes) and look for natural representations of this special number. Laan’s Number ψ and the Golden Number φ are the only “Morphic Numbers” in the sense of Aarts et al. [1], who define such a number as the common solution of two somehow dual trinomials.
    [Show full text]