Dirac's Principle of Mathematical Beauty, Mathematics of Harmony
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Two Conceptions of Harmony in Ancient Western and Eastern Aesthetics: “Dialectic Harmony” and “Ambiguous Harmony”
TWO CONCEPTIONS OF HARMONY IN ANCIENT WESTERN AND EASTERN AESTHETICS: “DIALECTIC HARMONY” AND “AMBIGUOUS HARMONY” Tak-lap Yeung∗ Abstract: In this paper, I argue that the different understandings of “harmony”, which are rooted in ancient Greek and Chinese thought, can be recapitulated in the name of “dialectic harmony” and “ambiguous harmony” regarding the representation of the beautiful. The different understandings of the concept of harmony lead to at least two kinds of aesthetic value as well as ideality – harmony in conciliation and harmony in diversity. Through an explication of the original meaning and relation between the concept of harmony and beauty, we can learn more about the cosmo-metaphysical origins in Western and Eastern aesthetics, with which we may gain insights for future aesthetics discourse. Introduction It is generally accepted that modern philosophy can trace itself back to two major origin points, ancient Greece in the West and China in the East. To understand the primary presuppositions of Western and Eastern philosophical aesthetics, we must go back to these origins and examine the core concepts which have had a great influence on later aesthetic representation. Inspecting the conception of “harmony”, a central concept of philosophical aesthetic thought for both the ancient Greek and Chinese world, may bring us valuable insight in aesthetic differences which persist today. In the following, I argue that the different understandings of “harmony”, which are rooted in ancient Greek and Chinese thought, can be recapitulated in the name of “dialectic harmony” and “ambiguous harmony” regarding the representation of the beautiful.1 The different understandings of the concept of harmony lead to, at least, two kinds of aesthetic value as well as ideality – harmony in conciliation and harmony in diversity. -
HARMONY HAMMOND with Phillip Griffith
Art June 3rd, 2016 INCONVERSATION HARMONY HAMMOND with Phillip Griffith Harmony Hammond made her start as an artist in the feminist milieu of 1970s New York, co-founding A.I.R. Gallery, the first women’s gallery, in 1972. Her early artwork developed a feminist, lesbian, and queer idiom for painting and sculpture, especially in such celebrated works as her woven and painted Floorpieces (1973) and wrapped sculptures, like Hunkertime (1979 – 80). Since 1984, she has lived and worked in New Mexico. Her current show at Alexander Gray Associates (May 19 – June 25, 2016) showcases what she calls her “near monochrome” paintings and monotype prints on grommeted paper that Lucy Lippard has termed “grommetypes.” On the occasion of the exhibition’s opening, Hammond spoke with Phillip Griffith about martial arts, the painting body, and violence in her work. Phillip Griffith (Rail): Your paintings from this new exhibition seem appreciably different than the wrapped paintings included in your 2013 show with Alexander Gray. Harmony Hammond: Well, Things Various (2015), the earliest painting in the current exhibition, segues from the 2013 work. The visual vocabulary of grommeted straps—sometimes tied together, sometimes not—attached to the thick paint surface with pigment-covered pushpins, is the same. Only in Things Various, most of the straps hang open, untied, suggesting only the potential of connection or restraint. The new paintings continue to emphasize the material engagement of paint, but differ from the earlier work through the use of the grommeted grid as a disruptive visual strategy and the shift to what is going on beneath/below/under what we perceive as the painting surface. -
Mathematical Melodies: the Beauty of Numbers “What Are You Studying?”
Mathematical Melodies: The Beauty of Numbers “What are you studying?” I asked a senior a couple of years ago. “Visual Art,” he replied. I said something like, “I never was good at drawing or anything like that,” and he responded, “I get that a lot,” seeming slightly annoyed. I hope that he did not think I was dismissing art simply because I am not very good at making it. In fact, I have a great appreciation for painting, sculpture, and art of all kinds. I recognize two facts: that visual art is aesthetic, and that someone with no particular gifts as an artist can appreciate it. Now I am the senior, and often when I tell someone that I study mathematics, I get a reply like, “I never could get the hang of math.” Now it is certainly fine if someone is not very good at math, but I always hope that their statement does not mean they dismiss mathematics from their life. In this article, I would like to demonstrate two facts: that mathematics is aesthetic, and that someone with no particular gifts as a mathematician can appreciate it. If I can get you to believe these two facts, then it would be just as desirable and beneficial to your life to take math seriously as it is for me to take art seriously. While it may be true that a non- mathematician cannot appreciate the beauty of mathematics as much as a mathematician can, I also doubt I can appreciate a painting as well as my artist friend can. -
The Creative Act in the Dialogue Between Art and Mathematics
mathematics Article The Creative Act in the Dialogue between Art and Mathematics Andrés F. Arias-Alfonso 1,* and Camilo A. Franco 2,* 1 Facultad de Ciencias Sociales y Humanas, Universidad de Manizales, Manizales 170003, Colombia 2 Grupo de Investigación en Fenómenos de Superficie—Michael Polanyi, Departamento de Procesos y Energía, Facultad de Minas, Universidad Nacional de Colombia, Sede Medellín, Medellín 050034, Colombia * Correspondence: [email protected] (A.F.A.-A.); [email protected] (C.A.F.) Abstract: This study was developed during 2018 and 2019, with 10th- and 11th-grade students from the Jose Maria Obando High School (Fredonia, Antioquia, Colombia) as the target population. Here, the “art as a method” was proposed, in which, after a diagnostic, three moments were developed to establish a dialogue between art and mathematics. The moments include Moment 1: introduction to art and mathematics as ways of doing art, Moment 2: collective experimentation, and Moment 3: re-signification of education as a model of experience. The methodology was derived from different mathematical-based theories, such as pendulum motion, centrifugal force, solar energy, and Chladni plates, allowing for the exploration of possibilities to new paths of knowledge from proposing the creative act. Likewise, the possibility of generating a broad vision of reality arose from the creative act, where understanding was reached from logical-emotional perspectives beyond the rational vision of science and its descriptions. Keywords: art; art as method; creative act; mathematics 1. Introduction Citation: Arias-Alfonso, A.F.; Franco, C.A. The Creative Act in the Dialogue There has always been a conception in the collective imagination concerning the between Art and Mathematics. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
The Routledge Companion to Philosophy and Music Rhythm
This article was downloaded by: 10.3.98.104 On: 23 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Companion to Philosophy and Music Theodore Gracyk, Andrew Kania Rhythm, Melody, and Harmony Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203830376.ch3 Roger Scruton Published online on: 07 Feb 2011 How to cite :- Roger Scruton. 07 Feb 2011, Rhythm, Melody, and Harmony from: The Routledge Companion to Philosophy and Music Routledge Accessed on: 23 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203830376.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 RHYTHM, MELODY, AND HARMONY Roger Scruton Music in the Western tradition is spread out in three dimensions: rhythm, mel- ody and harmony. One or other dimension might be lacking, but the possibil- ity of all three, and of music that develops simultaneously along each of the axes that they define, is both distinctive of Western art music and respon- sible for its many aesthetic triumphs. -
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. -
A Ternary Arithmetic and Logic
Proceedings of the World Congress on Engineering 2010 Vol I WCE 2010, June 30 - July 2, 2010, London, U.K. A Ternary Arithmetic and Logic Ion Profeanu which supports radical ontological dualism between the two Abstract—This paper is only a chapter, not very detailed, of eternal principles, Good and Evil, which oppose each other a larger work aimed at developing a theoretical tool to in the course of history, in an endless confrontation. A key investigate first electromagnetic fields but not only that, (an element of Manichean doctrine is the non-omnipotence of imaginative researcher might use the same tool in very unusual the power of God, denying the infinite perfection of divinity areas of research) with the stated aim of providing a new perspective in understanding older or recent research in "free that has they say a dual nature, consisting of two equal but energy". I read somewhere that devices which generate "free opposite sides (Good-Bad). I confess that this kind of energy" works by laws and principles that can not be explained dualism, which I think is harmful, made me to seek another within the framework of classical physics, and that is why they numeral system and another logic by means of which I will are kept far away from public eye. So in the absence of an praise and bring honor owed to God's name; and because adequate theory to explain these phenomena, these devices can God is One Being in three personal dimensions (the Father, not reach the design tables of some plants in order to produce them in greater number. -
Pattern, the Visual Mathematics: a Search for Logical Connections in Design Through Mathematics, Science, and Multicultural Arts
Rochester Institute of Technology RIT Scholar Works Theses 6-1-1996 Pattern, the visual mathematics: A search for logical connections in design through mathematics, science, and multicultural arts Seung-eun Lee Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Lee, Seung-eun, "Pattern, the visual mathematics: A search for logical connections in design through mathematics, science, and multicultural arts" (1996). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. majWiif." $0-J.zn jtiJ jt if it a mtrc'r icjened thts (waefii i: Tkirr. afaidiid to bz i d ! -Lrtsud a i-trio. of hw /'' nvwte' mfratWf trawwi tpf .w/ Jwitfl- ''','-''' ftatsTB liovi 'itcj^uitt <t. dt feu. Tfui ;: tti w/ik'i w cWii.' cental cj lniL-rital. p-siod. [Jewy anJ ./tr.-.MTij of'irttion. fan- 'mo' that. I: wo!'.. PicrdoTrKwe, wiifi id* .or.if'iifer -now r't.t/ry summary Jfem2>/x\, i^zA 'jX7ipu.lv z&ietQStd (Xtrma iKc'i-J: ffocub. The (i^piicaiom o". crWx< M Wf flrtu't. fifesspwn, Jiii*iaiin^ jfli dtfifi,tmi jpivxei u3ili'-rCi luvjtv-tzxi patcrr? ;i t. drifters vcy. Symmetr, yo The theoretical concepts of symmetry deal with group theory and figure transformations. Figure transformations, or symmetry operations refer to the movement and repetition of an one-, two , and three-dimensional space. (f_8= I lhowtuo irwti) familiar iltjpg . -
What Is Mathematical Beauty? Teaching Through Big Ideas and Connections
What is Mathematical Beauty? Teaching through Big Ideas and Connections Jo Boaler, Professor of Mathematics Education, co-director of youcubed Jen Munson, Doctoral Candidate, Mathematics Education Cathy Williams, co-director of youcubed Stanford University Mathematics is a beautiful subject. Ask mathematicians and others what they love about the subject and they will talk about the amazing connections that thread through the terrain, unifying the diferent ideas. There are not many facts or methods to remember in mathematics but there are a few really big and important ideas that are connected to each other and that infuse the subject. Yet when we ask students what they think math is, most will say that it is a lot of diferent rules and methods. This is really unfortunate as students who believe mathematics is a set of methods to be remembered are the lowest achieving students, worldwide, as revealed by PISA data (Boaler & Zoido, 2016). So, why do so few students, or teachers, see mathematics as a set of rich ideas and connections? One of the reasons is that teachers are given sets of standards to teach and no matter how good the standard writers are, they all cut mathematics up into small pieces and give teachers small atomized content areas – usually a set of methods – to teach. The connections disappear – teachers cannot see them and they are lost from students’ learning pathways. Instead, teachers see the lists of content – often 100 or more methods in a year – and work systematically through them. This often leads teachers to skim through content quickly as when mathematics is disconnected and ofered in small sections there is a lot to get through in any year. -
Reflections on Mathematics and Aesthetics
rivista on-line del Seminario Permanente di Estetica anno VIII, numero 1 Reflections on Mathematics and Aesthetics John L. Bell My work has always tried to unite the true with the beautiful and when I had to choose one or the other, I usually chose the beautiful. Hermann Weyl I am interested in mathematics only as a creative art. G. H. Hardy 1. Mathematics as embodying intelligible beauty The association of mathematics with the Beautiful was first explicitly made by Plato (through the words of Socrates). In the Philebus Socrates says: I do not mean by beauty of form such beauty as that of animals or pictures... but ... under- stand me to mean straight lines and circles... for these I affirm to be not relatively beautiful, like other things, but eternally and absolutely beautiful. For Plato the essence of mathematical beauty was its absoluteness, its resistance to change and fashion. Some four centuries later, Plutarch asserts: «The purpose of geometry is to draw us away from the sensible and the perishable to the intelligible and eternal». The word «intelligible» has two meanings. First, of course, the usual meaning of «comprehensible» or «capable of being understood». But the word also has an older meaning, namely, «capable of being apprehended only by the intellect, not by the sens- es»; in this guise it serves as an antonym to «sensible». It is, I believe, precisely with this signification that Plutarch uses the word «intelligible» in this quotation. Plutarch doesn’t mention «beauty» here, but he does link «sensible» with «perisha- ble2 and «intelligible» with «eternal». -
Fibonacci P-Codes and Codes of the “Golden” P-Proportions: New Informational and Arithmetical Foundations of Computer Scienc
British Journal of Mathematics & Computer Science 17(1): 1-49, 2016, Article no.BJMCS.25969 ISSN: 2231-0851 SCIENCEDOMAIN international www.sciencedomain.org Fibonacci p-codes and Codes of the “Golden” p-proportions: New Informational and Arithmetical Foundations of Computer Science and Digital Metrology for Mission-Critical Applications Alexey Stakhov1* 1International Club of the Golden Section, Canada. Author’s contribution The sole author designed, analyzed and interpreted and prepared the manuscript. Article Information DOI: 10.9734/BJMCS/2016/25969 Editor(s): (1) Wei-Shih Du, Department of Mathematics, National Kaohsiung Normal University, Taiwan. Reviewers: (1) Santiago Tello-Mijares, Instituto Tecnológico Superior de Lerdo, Mexico. (2) Danyal Soybas, Erciyes University, Turkey. (3) Manuel Alberto M. Ferreira, ISCTE-IUL, Portugal. Complete Peer review History: http://sciencedomain.org/review-history/14921 Received: 28th March 2016 Accepted: 2nd June 2016 Original Research Article Published: 7th June 2016 _______________________________________________________________________________ Abstract In the 70s and 80s years of the past century, the new positional numeral systems, called Fibonaссi p-codes and codes of the golden p-proportions, as new informational and arithmetical foundations of computer science and digital metrology, was considered as one of the most important directions of Soviet computer science and digital metrology for mission-critical applications. The main advantage of this direction was to improve the information reliability of computer and measuring systems. This direction has been patented abroad widely (more than 60 patents of US, Japan, England, France, Germany, Canada and other countries). Theoretical basis of this direction have been described in author’s books "Introduction into the Algorithmic Measurement Theory" (1977), and "Codes of the Golden Proportion" (1984).