DOCSLIB.ORG

The Kaiser Panorama

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Kaiser Panorama r*..-r 3-0 lmaaina Past & Present A Publ~cationof National Stereoscopic Association, Inc. The Kaiser Panorama *; *; 9..* zu -2' . Shooting SanLFrancisc in 3-0 from a ~efic>fer~ byM.rLWllllrc elcome to the first install- ment of Pi@ Flawmi Finds. WNot long after I started shooting stereo images, I rew that I could combine my love of stereo photography with my fond- ness for 1950s-era styling, design and decor by collecting amateur stereo slides that were shot in the "golden age" of the Stereo Real- ist-the late 1940s through the early 1960s. These slides sometimes contain priceless images of wery- day life in that era, and the fact that they are 3-D and were often recorded on Kodachrome film.-- I whose colors today seem as fr&h Whotcouldkbatarfiw~hthc195Ostha,apWtfl#kcdbrr?A##nntly as the day the photo was taken, takmota0,~tm&thls~kkkkdonEya1953.'~#maynotk~- makes viewing these slides the i&inthe~hrre,a~s#kvicwarnncaJsmorrngcflodtcdtmasdf next best thing to hopping aboard behindthemwrmnf &olMieveistkwifeoftkphotogrPpha. 7bissWisinanoMer- a time machine! From clothing style(gmywith~cdgcJ)K~m~mocnrt.OdhasiDdafrwntksomc and hairstyles to home decor to photogmpher indude many scenes in and oround his home in Portknd, Ongon. Many of modes of transportation, these theman?bbckdwiththe~tnet~~sooutof~~IkcaadthehomeandckOW frozen moments of time show byit. Aportfrom ~~t-daykukof~~~bsdsand~its what things were really like in the ext&harctxlngrdNtbkfnnnthcwy#c#PraradhtkrrYdanca3,5O~cyp. ..........................." .... "..... ........ "" middle of the twentieth century. While collections of these ama- teur slides are interesting to view, exploring them often requires sifting through numerous shots marred by focus or exposure prob- lems, distant subjects containing minimal depth, or generic scenery that would look the same today as it did 50 years ago. Every once in a while, however, a megem is dis- covered-some unstaged moment from a tnpical day in the '50s just dripping with the colors, styles and decor of that era-in which the focus, exposure and 3-D composi- tion all come together nicely. I've often thought, upon discovering such a slide, that it would be fun to share it with other stereo and '50s enthusiasts in a publication Check out that shiny United States lunchbox/ Whik I mid expect this gem to be titkd like Stereo Wor2d. But because infor- "first Day of School," it is unfortunately unlobckd. it is in an dder-styk (gmy with red mation about the photographer edges) Kodoctm canibooni mount. Other slides from this same photogmpher show and the subjects of such slides is dotes from 1952 into the later '50sf and most of his slides were apyxrrently shot near frequently sparse or non-existent where he liwd and mrkedf in a suburb of Mihwwkeef Wxonsin. ................................................................................................................................................................ - (Conthud on pqdc 29) A-d National Stemoxopk Arsdatlon, Inc. Volume 28, Number 1 2001 NSA Board of Directors Bill C. Walton, Chairman Paula R. Fleming Lm-m Andy Criscom Dieter Lorenz Russell Norton Page 4 Page 74 Page 30 T.K. Treadwell Richard Twichell NSA Officers Mary Ann Sell, President Shab Ley, Vice President 3 Viewing the Enchanted Islands Dean Kamin, Vice President, Activities review by john Dennis Lany Hess, Secretary David Wheeler, Treasurer 2 Editor'sView Stereo World Staff Comments and John Dennis, Editor Observations 4 Shooting for 3-D Gold Lawrence Kaufman, Contributing Editor bywn Dennis Mark Willke, Art Director with David Klutho Sylvia Dennis, Subscription Manager 22 The Society by Ron lobbe Don R. Cibbs, Bock Issues Manager News from the *JmStereoxo ic How to Reach Us: LEE?" 14 The Kaiser Panorama NSA Membership (New rnernknhips, rewaIs & address changes) Phenomenon P.O. Box 86708, Portland, OR 97286 28 European Gems Stereoviews from by Dr. Dieter Lorenz Questions Concerning Old Europe and the Stereo World Subscr~pttons Stories Behind Them P.O. Box 86708, Portland, b~97286 e-mail: strwld@ele rt.com or: [email protected] 24 Hyper Active Shootin San Francisco in 3-D Stereo World Back Issue Service 33 View-Master (Write lor mihbility & prkes.) Information on from a 19elicopter NSA, 23575 C.R. 77, Calhan, CO 80808 the Reel Workl by Robeft hber9 Stereo World Editorial Office Lrncnb (Letten to the editor, ort~k& cokdar listings) 5610 SE 71st Ave., Portland, OR 97206 36 NeHNiews (503) 771-4440 30 3-D in Chaos e-mail: [email protected] Current Information on Stereo Today by LeeLane by~Storknkln Stereo World Advertising &john Dennis (Chssified & display ads) 561 0 SE 71 st Ave., Portland, OR 97206 (503) 771 -4440 38 Classified 34 A Magical Stereo Handbook e-mail: [email protected] Buy, Sell, or (Insen Rycn & auction ads) Tradelth reviAvbyCeorge7kmdis Jeffrey Kraus PO Box 99, Modena, NY 12548-0099 (845) 255-791 3 e-mail: jkrausC31dsl.net Stcreo (ISSN 0191-4030) published bimonthly by the National Oliver Wendell Holmes Stereoscopic Asmiation, Inc., PO Box Fmt Cover: Stereoscopic Research Library 86708, Portland, OR 97286. en ti^ David E. Klutho at the 2000 Olympics rowing venue with RBT X3 with (Afiliated with the Nationd Stemscq~hs~iation) contents 02001, all rights reserve 3665 Erie Ave., Cincinnati, OH 45208 Material in this publication may n.. 2Omm lenses and another RBT x3 with 7 OOmm lenses. On the monopod e-mail: vmmaselkinti.net be reproduced without mitten per- are dual Nikon f4 wmems with dual Nikon 80-200 f 2.8 lenses and three mission of the NU Inc. Printed in UU. A subscription to Stereo World is Hash Wizard synchmizoth units. For more about David Klutho and his Stereoscopic Society of America Dart of NSA membershio. Annual wwk on Sports Illustrated anaglyphic 3-0 issues, see the feature "Shooting (Affiliatedwith the Nutianal Stemxqk AIsccmhMJ bembtnhip dues: $26 third class I' Shab Levy, Membership Secretary $38 f ot class LS. $38 Canada a1 for 3-0 Cdd" by Ron Lobbe on page 4. (stem by DIM s-) 6320 SW 34th Ave., Portland, OR 97201 foreign wrface, $56 international a e-mail: [email protected] mail. Annual memberships include six issues of Stereo World, a plastic Back cow: lorgnette viewer, and a membership Stereo World on the Web directory. "Cmzy Maze" is one of the more cohnful of seveml computer generated Mrmkr, fractal desgns featured in the article "3-0 in Chaos" by Lee Lane on IntmationalStereoscopic Union page 30. This issue is dedicated to the memory of Erin Elizabeth Borst. Comments and Observations john Dennis There's Change ... the study and presentation of his- For better or worse, the world- very few years, it's time for a torical stereoscopic images, Stereo wide response and resulting chain change. Readers of magazines World can both urge the documen- of events from security measures to tation of events related to this situ- war will affect much of the planet Earen't generally the people who ation and provide a venue for the for a long time. Both the best and find this logic compelling, but it publication of such stereoscopic the worst of human responses can seems to be a necessary form of documentation. be documented with more impact therapy for those who produce This means much more than through stereoscopy than most publications-from the National printing views of the actual other means, and we will make the Geographic to Sunset. The new look destruction in New York that may pages of Stereo World available for on the cover of this SW issue isn't have been taken, although those those capturing both the inspiring designed to boost newsstand sales could of course be included. Any and the depressing images result- (we don't have any), but to allow full stereo documentation of the ing from this wrenching turn of more flexibility in the way we historical impact could also history. ma feature images from various stereo include images of everything from formats. public events around the U.S. and Previous cover designs (the arch- the world to pictures of individuals top frame and later the rounded- responding in their own ways. comer square frame of recent When years) have required that both cur- an event changes every- rent and historic images be forced thing everywhere, the possibility into a rigid format shapt-requir- for stereographic coverage becomes ing some brutal cropping of the equally wide. original picture in many cases. By I eliminating a frame altogether, images can be used in ways that best suit them. Many Realist for- mat shots can be presented on covers as "full bleed" images filling the page, while vintage views can be reproduced as an enlargement of a full half card without cropping into any part of the image. This will also allow the repro- duction of other formats in their original shape, such as View-Mas- U.S. membership mailed third class ($26). ter, 6 X 13 glass views, and video or movie frames. In short, it will U.S. membership mailed first class for faster delivery ($38). be the images that determine the C] Foreign membership mailed surface rate, and first class to Canada ($38). look of the cover rather than the other way around. Foreign membership mailed international airmail ($56). And Then There's CHANGE... Just as this issue was being com- pleted, the September 11 attacks on New York and Washington D.C. took place. Exactly how much that day will change everything remains to be seen, but the poten- tial is more than just big, it's omi- nous. As a publication devoted to Viewing the I Enchanted Islands well researched information the 3-D tour takes us inland for as Mark Blum's previous some fascinating views of the Mark e books. The only real differ- islands' volcanic geology and their I ence is that this one covers seven vegetative zones, from moss- I a specific location rather es to cactus.
Load more

Recommended publications
  • College of Fine and Applied Arts Annual Meeting 5:00P.M.; Tuesday, April 5, 2011 Temple Buell Architecture Gallery, Architecture Building
    COLLEGE OF FINE AND APPLIED ARTS ANNUAL MEETING 5:00P.M.; TUESDAY, APRIL 5, 2011 TEMPLE BUELL ARCHITECTURE GALLERY, ARCHITECTURE BUILDING AGENDA 1. Welcome: Robert Graves, Dean 2. Approval of April 5, 2010 draft Annual Meeting Minutes (ATTACHMENT A) 3. Administrative Reports and Dean’s Report 4. Action Items – need motion to approve (ATTACHMENT B) Nominations for Standing Committees a. Courses and Curricula b. Elections and Credentials c. Library 5. Unit Reports 6. Academic Professional Award for Excellence and Faculty Awards for Excellence (ATTACHMENT C) 7. College Summary Data (Available on FAA Web site after meeting) a. Sabbatical Requests (ATTACHMENT D) b. Dean’s Special Grant Awards (ATTACHMENT E) c. Creative Research Awards (ATTACHMENT F) d. Student Scholarships/Enrollment (ATTACHMENT G) e. Kate Neal Kinley Memorial Fellowship (ATTACHMENT H) f. Retirements (ATTACHMENT I) g. Notable Achievements (ATTACHMENT J) h. College Committee Reports (ATTACHMENT K) 8. Other Business and Open Discussion 9. Adjournment Please join your colleagues for refreshments and conversation after the meeting in the Temple Buell Architecture Gallery, Architecture Building ATTACHMENT A ANNUAL MEETING MINUTES COLLEGE OF FINE AND APPLIED ARTS 5:00P.M.; MONDAY, APRIL 5, 2010 FESTIVAL FOYER, KRANNERT CENTER FOR THE PERFORMING ARTS 1. Welcome: Robert Graves, Dean Dean Robert Graves described the difficulties that the College faced in AY 2009-2010. Even during the past five years, when the economy was in better shape than it is now, it had become increasingly clear that the College did not have funds or personnel sufficient to accomplish comfortably all the activities it currently undertakes. In view of these challenges, the College leadership began a process of re- examination in an effort to find economies of scale, explore new collaborations, and spur creative thinking and cooperation.
    [Show full text]
  • Marlana Dugger
    Dugger 1 East Texas Baptist University School of Humanities Department of English Infinite Perception: William Blake‟s Marriage of Heaven and Hell By Marlana K. Dugger Dugger 2 Introduction William Blake is often referred to as the first of the British Romantics. The Romantic period was relatively short (1785-1830) and was fueled in part by two of the most important movements for independence in history, the French and American revolutions. The self-assertion that provided the foundation for the Romantic period led to the questioning and eventual rejection of long-established social hierarchies, political institutions, and religious traditions and organizations. The Romantic artists, too, rejected the established literary forms and thematic concerns of their predecessors and sought new ways of expressing themselves. These artists emphasized the nobility and importance of common experiences and, to a certain extent, a common language accessible to all, not just the educated classes. By extension, they championed the imagination as the higher faculty and believed the natural world more moral, spiritual, and ordered than the world of men. William Blake was this movement‟s English pioneer. He was born in London, England in 1757 and was reared in a middle-class family. Blake did not receive a formal academic education although he did attend the royal Academy of Arts and made a fairly good living as an engraver. It is also important to note that from the age of four, Blake experienced visions, most of which were religious in nature. These visions inspired most, if not all, of Blake‟s literary and artistic pieces.
    [Show full text]
  • Fictional Illustration Language with Reference to MC Escher and Istvan
    New Trends and Issues Proceedings on Humanities and Social Sciences Volume 4, Issue 11, (2017) 156-163 ISSN : 2547-881 www.prosoc.eu Selected Paper of 6th World Conference on Design and Arts (WCDA 2017), 29 June – 01 July 2017, University of Zagreb, Zagreb – Croatia Fictional Illustration Language with Reference to M. C. Escher and Istvan Orosz Examples Banu Bulduk Turkmen a*, Faculty of Fine Arts, Department of Graphics, Hacettepe University, Ankara 06800, Turkey Suggested Citation: Turkmen, B. B. (2017). Fictional illustration language with reference to M. C. Escher and Istvan Orosz examples. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 4(11), 156-163. Available from: www.prosoc.eu Selection and peer review under responsibility of Prof. Dr. Ayse Cakır Ilhan, Ankara University, Turkey. ©2017 SciencePark Research, Organization & Counseling. All rights reserved. Abstract Alternative approaches in illustration language have constantly been developing in terms of material and technical aspects. Illustration languages also differ in terms of semantics and form. Differences in formal expressions for increasing the effect of the subject on the audience lead to diversity in the illustrations. M. C. Escher’s three-dimensional images to be perceived in a two-dimensional environment, together with mathematical and symmetry-oriented studies and the systematic formed by a numerical structure in its background, are associated with the notion of illustration in terms of fictional meaning. Istvan Orosz used the technique of anamorphosis and made it possible for people to see their perception abilities and visual perception sensitivities in different environments created by him. This study identifies new approaches and illustration languages based on the works of both artists, bringing an alternative proposition to illustration languages in terms of systematic sub-structure and fictional idea sketches.
    [Show full text]
  • Deal to Halt Bombing
    Planned Parenthood Unit Okay Seen by Fund SEE STORY BELOW Sunny, Mild HOME FINAL THEBMLY * * * Mostly sr-ny and mild today. Clear and cool tonight. Fair, cooler tomorrow. Home Delivery (See Delall! Pace 3) 45 Cents Per Week Monmouth {'ounty's Home Newspaper lor H9 Yearn VOL. 90, NO. 226 RED BANK, N. J., FRIDAY, MAY 17, 1968 -TEN^CESTS- Deal to Halt Bombing PARIS (AP) - Informed Thousands of truck loads of not talked about anything in The more hopeful U.S. and French and American diplo- men and supplies per month such a way that we can get French diplomats believe a mats- expect-a compromise -eouldpour into South Vietnam - at-the-subjecUand-agree-to- .compromise would_probably_ deal between the United States without interruption, they say, it" but had-thrown out ideas take the. form of a.secret un- and North Vietnam to end the if attacks were stopped without ''in a propaganda way. derstanding that if Johnson bombing of the North in spite North Vietnamese de-escala- Says Opposite True would "unconditionally" stop of the apparent stalemate in tion, they say. Recon- "They have criticized our the bombing and . "all other the Paris peace talks. naissance flights over the violation of the demilitarized acts of war" North Vietnam The North Vietnamese ap- North would be stopped, cut- zone," Harriman continued, would then scale down military pear at present to be trying ting off vital information. Ar- "when the facts are they are operations. to rally world opinion against tillery shelling and aerial the ones that violated first. It Behind this
    [Show full text]
  • 1990 Cern School of Computing
    CEKN 91-05 14 May 1991 ORGANISATION EUROPÉENNE POUR LA RECHERCHE NUCLÉAIRE CERN EUROPEAN ORGANIZATION FOR NUCLEAR RESEARCH 1990 CERN SCHOOL OF COMPUTING Ysermonde, Belgium 2-15 September 1990 PROCEEDINGS GEMEVA 1991 © Copyright CERN, Genève, 1991 Propriété littéraire et scientifique réservée Literary and scientific copyright-i r^-tw^d în pûui tous les pays du mund», Ge document ne nil cnuutrie* at the world. This report, or peut être reproduit ou traduit en tout DU en any part of it, may not be reprinted or trans­ partie sans l'autorisation écrite du Directeur lated wiLliHxit written permission of the copy­ littéral du CERN, titulaire du droit d'auteur. right holder, tile Director-General of CERN, Dans les cas appropriés, et s'il s'a.{pt d'utiliser However, permission will be freely granted for le docu un- il l & îles fins lion commerciales, cet te appropriate non-commercial use autorisation sera volontiers accordée- If any patentable invention or registrable Le OEKN ne revendique pas In propriété des design is described in the report. CERN makes inventions brevelables et dosum ou modèles no claim t« properly rights in it but oirer» ft susceptible* de dépôt qui pour™enl être for the free use of research institutions, man­ décrits dans le présent document; ceux-ci peu­ ufacturers and others. CERN, however, may vent être libn-ini-iil utilisés par les institut» de oppose any attempt by n user to claim any H'du-! du-, las industriel» et autre* intéressés. proprietary Or patent rights in such invention* Cependant, l« CERN se réserve le droïi de or designs as may be deMnrilwd in the present s'opposer & toute revendication qu'un Usager document.
    [Show full text]
  • The George-Anne Student Media
    Georgia Southern University Digital Commons@Georgia Southern The George-Anne Student Media 10-27-2003 The George-Anne Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/george-anne Part of the Higher Education Commons Recommended Citation Georgia Southern University, "The George-Anne" (2003). The George-Anne. 3032. https://digitalcommons.georgiasouthern.edu/george-anne/3032 This newspaper is brought to you for free and open access by the Student Media at Digital Commons@Georgia Southern. It has been accepted for inclusion in The George-Anne by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. ^^H ■■■^^■■i ^^^mm HB^^BHHH 1 •.siannsnc Covering the campus like a swarm of gnats I he (Mficial Student Newspaper of Georgi iniversit Volleyball wins trio of matches to stay perfect at home SPORTS ^ Page 6 NEWS More on the events www.stp.georgiasouthern.edu that shaped Homecoming 2003 Page 9 or * or et THE END 11- 4 ■ J OF AN ERA By Eli Boorstein [email protected] Iff s the old adage says, "All good things must come I to an end." 7 The only problem is, that phrase is not supposed > » i to apply to Georgia Southern. The No. 19 Eagle football team, after storming back to take the lead, saw The Citadel respond late to win 28-24, spoiling Homecoming festivities at Paul- son Stadium Saturday afternoon. :ss With the loss, their fourth of the season, the Ea- • gles' streak of six straight postseason berths will likely :ss be coming to an end.
    [Show full text]
  • Some Common Themes in Visual Mathematical Art
    BRIDGES Mathematical Connections in Art, Music, and Science Some Common Themes in Visual Mathematical Art Robert W. Fathauer Tessellations Company Tempe, AZ 85281, USA E-mail: [email protected] Abstract Mathematics and art are two seemingly disparate fields according to contemporary views, but there are a number of visual artists who make mathematics a focus of their work. There are several themes that have been widely used by mathematical artists. These include polyhedra, tessellations, impossible figures, MObius bands, distorted or unusual perspective systems, and fractals. Descriptions and examples are provided in this paper, which is intended to some degree as an fntroduction to the Exhibit of Visual Mathematical Art held as part of Bridges 2001. 1. Introduction Historically, mathematics has played an important role in visual art, particularly in perspective drawing; i.e., the means by which a three-dimensional scene is rendered convincingly on a flat canvas or piece of paper. Mathematics and art are two seemingly disparate fields according to contemporary views, the first often considered analytical and the second emotional. Mathematics does not play an overt role in most contemporary art, and in fact, many artists seldom or never employ even -perspective drawing. However, there are a number of contemporary visual artists who make mathematics a focus of their work. Several notable figures in history paved the way for these individuals. There are obviously no rules or limits on themes and ideas in mathematical art. However, there are a number of themes that have been widely used by mathematical artists. Some of these are described here, with examples.
    [Show full text]
  • Estimular El Crecimiento De Bacterias Para Mejorar Los
    BIOLOGÍA Los investigadores vieron el cambio de contar con los dedos Los hallazgos permiten un soporte empírico más fuerte para la en el momento de empezar a basarse en la memoria cuando existencia de teorías sobre el desarrollo de las matemáticas, en repitieron el experimento un año después con los niños. En palabras de Jessica Cantlon, neurocientífica cognitiva en la esta segunda vez, los niños contaban menos con los dedos y Universidad de Rochester, en Nueva York. Pero añade que: “no APRENDIENDO A SUMAR hacían menos movimientos labiales (como contando en voz sabemos qué información es la que pasa entre el hipocampo alta) que la primera vez. Para poder saber qué pasa realmen- y el neocórtex”. Una manera de demostrar esta cuestión sería DE CABEZA: ¿QUÉ OCURRE te en el cerebro mientras se efectúa una tarea así, se recurrió extender el estudio a niños con el hipocampo dañado o con a la imagen por resonancia magnética funcional (FMRI, por alguna discapacidad en el aprendizaje de las matemáticas. EN EL CEREBRO? sus siglas en inglés). Básicamente, con esta técnica se puede Por Cristóbal Rodero ver qué zonas del cerebro se utilizan más en un determinado Menon sugiere que la maduración del hipocampo y sus conexio- momento en función de la cantidad de sangre que llegue, y nes esconden probablemente no solo el desarrollo de habilida- Recuerdo que en el colegio, para sumar primero me enseñaron en el caso del experimento que estamos comentando, el ele- des matemáticas basadas en la memoria, sino también algún otro con objetos físicos, de ahí a escribir palitos en el papel, lue- gido fue el hipocampo.
    [Show full text]
  • Art of Burning Man 2013 Art of Burning Man 2013
    Art of Burning Man 2013 Art of Burning Man 2013 The playa is a tabula rasa, a blank canvas upon which many a fantastic vision has been realized. Submarines, gigantic ducks, swimmers, fire-breathing thistles, serpents, chan- deliers, grandfather clocks and balsa wood temples have emerged from the playa. The projects featured in this guide were selected as Honorarium projects for 2013. Ev- ery year Burning Man allocates a percentage of its revenue from ticket sales to funding select art projects that are collaborative, community-oriented and interactive. We do this in order to support the Burning Man art community, and to facilitate the creation of outstanding art for Black Rock City. The vast majority of art installations on the pla- ya, however, are not funded. In 2013, a percentage of your hard-earned ticket money BLACK ROCK CITY helped to fund the following art installations, for all Burning Man participants to enjoy. GO CU This guide was put together using availble information on the web and references ma- CAR LT terials that origninate from the artists’ websites, fundraising projects and press. Photos used are also from these sources and may not credit the original photographer (please forgive us for that!). We hope this guide will illuminate the artists’ vision, and illustrate the immense amount of work that goes into bringing their magic cargo to the playa. 2013 Come visit the Artery in BRC at 6:30 and Esplanade to pick up self-guided tour maps that make a great companion to this guide. Cover and design by LoopyLou. Guide compiled by the ARTery.
    [Show full text]
  • Capturing Infinity Reed Mathematics Professor Thomas Wieting Explores the Hyperbolic Geometry of M.C
    ‰march 2010 Capturing Infinity Reed mathematics professor Thomas Wieting explores the hyperbolic geometry of M.C. Escher’s Angels and Devils. Capturing Infinity The Circle Limit Series of M.C. Escher BY THOMAS WIETING In July 1960, shortly after his 62nd birthday, the graphic artist M.C. Escher completed Angels and Devils, the fourth (and final) woodcut in his Circle Limit Series. I have a vivid memory of my first view of a print of this astonishing work. Following sensations of surprise and delight, two questions rose in my mind. What is the underlying design? What is the purpose? Of course, within the world of Art, narrowly interpreted, one might regard such questions as irrelevant, even impertinent. However, for this particular work of Escher, it seemed to me that such questions were precisely what the artist intended to excite in my mind. In this essay, I will present answers to the foregoing questions, based upon Escher’s articles and letters and upon his workshop drawings. For the mathematical aspects of the essay, I will require nothing more but certainly nothing less than thoughtful applications of straightedge and compass. The Dutch artist Maurits C. Escher (1898–1972) Escher completed CLIV, also known as Angels and Devils, in 1960. 22 Reed magazine March 2010 Regular Division III (1957) demonstrates Escher’s mastery of tessellation. At the same time, he was dissatisfied with the way the pattern was arbitrarily interrupted at the edges. Day and Night (1938) is the most popular of Escher’s works. Capturing Infinity would not permit what the real materials of In 1959, Escher described, in retrospect, a his work shop required: a finite boundary.
    [Show full text]
  • Drawing Hands. the Themes of Representation in Steinberg and Escher's Images †
    Proceedings Drawing Hands. The Themes of Representation in Steinberg and Escher’s Images † Edoardo Dotto Università di Catania, Struttura Didattica Speciale di Architettura, 96100 Siracusa, Italy; [email protected] † Presented at the International and Interdisciplinary Conference IMMAGINI? Image and Imagination between Representation, Communication, Education and Psychology, Brixen, Italy, 27–28 November 2017. Published: 24 November 2017 Abstract: Despite the obvious differences between the work of Dutch graphic artist M.C. Escher and that of Romanian draftsman S. Steinberg, with a closer look is possible to trace strong affinities between some of their works and many of the themes they handled, such as the drawing of metamorphoses, the figure-background relationship, and the intercourse between reality and representation space. In spite of a general mood difference between their respective graphic narrations, the work of the two authors appears to be based on the same kind of anxieties that have crossed the twentieth century, involving different fields of knowledge. Keywords: impossible figures; incompleteness theorems; Escher; Steinberg 1. Introduction Few draftsmen, among the graphic artists of the twentieth century, may appear as distant as Maurits Cornelis Escher (Figure 1) and Saul Steinberg (Figure 2). Steinberg has built his own career as a humorist, developing, since years of collaboration with the Milanese magazine Il Bertoldo, to the mature works on New Yorker’s pages, a caustic, fulminant, sometimes even moving spirit. Escher, devoted to a lonely and coherent search work on certain precise themes—from the regular division of the plane to the anamorphosis–, was perceived as “the absurd draftsmen”, appreciated by mathematicians and crystallographers for the precision with which, by applying complex geometric principles, has managed to shape the images that are often described paradoxically and imaginatively.
    [Show full text]
  • An Introspective Look at the Use of Art in Teaching Geometry Elizabeth Heskett
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Eastern Michigan University: Digital Commons@EMU Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2007 Thinking Outside the Box: An Introspective Look at the Use of Art in Teaching Geometry Elizabeth Heskett Follow this and additional works at: http://commons.emich.edu/honors Part of the Science and Mathematics Education Commons Recommended Citation Heskett, Elizabeth, "Thinking Outside the Box: An Introspective Look at the Use of Art in Teaching Geometry" (2007). Senior Honors Theses. 155. http://commons.emich.edu/honors/155 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. Thinking Outside the Box: An Introspective Look at the Use of Art in Teaching Geometry Abstract Geometry is typically thought of as a discipline in mathematics that is taught using formulas and basic shapes, but this idea is only the beginning. Geometry can be combined with art to enhance mathematical lessons for students. Educators must realize that visual representations of different mathematical concepts are a wonderful way to teach children geometry in a meaningful way. The f“ undamental notion that integrating the arts into one’s teaching can help facilitate learning in the mathematics classroom, as the arts can recapture the wonder of learning mathematics. The onnec ction between instruction and imagination is bridged and learning becomes play, and play becomes learning” (Muller and Ward 22).
    [Show full text]