HYPERSEEING The Publication of the International Society of the Arts, , and Architecture MAR-APR 2008 www.isama.org

Articles Exhibits Resources Cartoons Books News IIlustrations Announcements Communications HYPERSEEING

Editors. Ergun Akleman, Nat Friedman.

Associate Editors. Javier Barrallo, Anna Campbell Bliss, Claude Bruter, Benigna Chilla, Michael Field, Slavik Jablan, Steve Luecking, John Sullivan, Elizabeth Whiteley.

Page Layout. Ranjith Perumalil

mar-apr, 2008

Cover Photo: Water Holes Canyon Photo by Robert Fathauer

Articles News Article Submission

Water Holes Canyon: For inclusion in Hyperseeing, au- Form, Space, Light, and Color Cartoons thors are invited to email articles for by Nat Friedman & Robert Fathauer the preceding categories to: Theory [email protected] IV: Crossfield Geometry/ by Ergun Akleman Gridfield Space Period (1989-1964) Articles should be a maximum of by Douglas Peden eight pages. Illustrations Opening Out & Closing In by Pau Atela & Nat Friedman Illustrations by Robert Kauffmann Greg Johns: Enclosing Space by Nat Friedman Book Reviews

Charles Ginnever: Two Piece Giant Steps Resources by Nat Friedman

Announcements Water Holes Canyon: Nat Friedman & Form, Space, Light, and Color Robert Fathauer

About fifteen minutes ago I opened a result of erosion, primarily due to space, light, and color, and I have my email and there were these won- flash floods in which water carrying found them very inspirational. Note derful images of Water Holes Can- sand and rocks rushes through the that this is that you can yon that is just south of Page, Ari- narrow passageways. The chaotic experience by walking through the zona, sent to me by Rob Fathauer. nature of this process leads to com- space of the canyon. Thus the sculp- Water Holes has dramatic Navajo plex forms. The section of narrows tural experience is both visual and sandstone narrows similar to those shown in most of the images below bodily, as discussed in [1], where of the more visited, more photo- is roughly 20 feet deep and a 2-6 Richard Serra’s torqued ellipses and graphed, and more famous Antelope feet wide. torqued spirals are considered. Ser- Canyon. Both lie within the Navajo ra’s sculptures are large steel shells Nation and are tributaries of Glen These slot canyons are the ultimate that you experience by walking Canyon. These sandstone forms are natural sculpture relating form, around them both inside and out-

Robert Fathauer, Water Holes Canyon , Image 1 Robert Fathauer, Water Holes Canyon, Image 2 Robert Fathauer, Water Holes Canyon, Image 3 side. I had thought about the slot were taken with an Olympus FE- References canyons at the time and how much 280 compact electronic camera, more interesting they are since the while the last was taken with an forms, spaces, light and color, are Apple iPhone. Adjustments to the [1] Nat Friedman, Space, Hyper- so impressive. Here are a selection raw images were made using Pho- seeing, November, 2006, www. of Rob’s images. The first 9 images toShop. isama.org/hyperseeing/

Robert Fathauer, Water Holes Canyon, Image 4 Robert Fathauer, Water Holes Canyon, Image 5 Robert Fathauer, Water Holes Canyon, Image 6

Robert Fathauer, Water Holes Canyon, Image 7 Robert Fathauer, Water Holes Canyon, Image 8

Robert Fathauer, Water Holes Canyon, Image 9 Robert Fathauer, Water Holes Canyon, Image 10 IV: Crossfield Geometry/ Gridfield Space Period DOuglas peden 1989-1964

Figure 1: #156: Symphony #1: Transcendent Figure (1991) 42X89”

“The only real voyage of discov- under “GridField Painting,” and I the April 2007 issue of Hypersee- ery consists not in seeking new refer the interested reader to that ing. The first discussed was Cross- landscapes, but in having new issue for details. The dynamics of field (or Crossphase) Geometry; eyes.” — Marcel Proust, using GFG as the foundation of the second, discovered later, was French novelist (1871-1922). my painting was far reaching when labeled Interfield (or Interphase) compared to the possibilities of the Geometry, and its artistic merit will The evolution of my painting style Cartesian approach. However, at be explored in my next article in at this time of my life was a sur- this point, I feel the necessity to Hyperseeing, outlining my V Peri- prise, not only in art, but an un- interject a personal, and hopefully od. The Cartesian grid and Euclid- expected joy in reintroducing me helpful, observation. My invention/ ean space are really one aspect, or to the world of mathematics. By discovery of GFG occurred at the variation, of GFG. With the intro- some epiphany, I made a seren- not so tender age of 56 (I am told duction of GridField Geometry, I dipitous observation that I could go that we do our best creative work, had a much more dynamic system beyond Euclidean space geometry especially in mathematics, before at my disposal, with countless geo- and the time honored straight line our 30th year); therefore, a note metric patterns; which, as of now, Cartesian grid and coordinate sys- to my colleagues who might think I have only explored a few of its tem to a totally curvilinear grid and their best days are over — as the mathematical and artistic possi- coordinate system. This new geo- old song goes, “It ain’t necessarily bilities. In this period of my artis- metric, spatial approach I have la- so.” With this introductory fanfare, tic evolution, I introduced, what I beled GridField Geometry (GFG). let’s proceed with some exam- call, a narrative approach, as hinted The basics of GFG, i.e., its struc- ples and discussion of this period. at in my previous article in Hyper- ture, were briefly explained in the Two primary geometries were es- seeing, with regards to my painting April 2007 issue of Hyperseeing tablished in GFG as presented in Dragon Wars, where my interlock- Figure 2: # 150: Sun Song (1990) 40X61”

ing dragons, i.e., mouth to mouth one’s attention, on the lower left of the autobiographical; without going figuration, would seem to imply painting. This is conceived as the intro- into the personal details, which a battle scene and story. How- duction of our shape theme – leitmotif, are by no means evident in the ever, the abstract narrative needs if you wish. If we read, episodically, like piece, it is a painting, which is in a little more explaining. For this, following stepping stones, from left to the magnitude of its size, sym- refer to my Symphony #1, Fig 1, right, our figure branches into two paths, phonic pretentions, and story in- Transcendent Figure. If we “read” one vertical and other horizontal, going tent, attempting to express a per- this painting, from left to right, through various transformations, and fi- sonal triumph. However, please a clearly defined black figure nally ending up as a single bird-like figure feel free to dispute or ignore my (described by some as a witch- in the upper right. For what it’s worth, basic design and personal inten- like figure) stands out, to attract the painting itself, is indeed somewhat tion and look at it from other

Figure 3: #152: Dream Song: Metamorphose (1990) 24X61” Figure4: #157: 3 Part Invention-Agitato/Crescendo/Diminuendo 12X89” (1991)

Figure 5: #146: Rhapsody for 9 Notes (1990) 24X61” viewpoints. For example, why its Development, which consists of vironment of color, space, line, and not read the painting from right a fragmentation of the thematic ma- rhythm. I think of my paintings as to left? Or, take it in as a whole terial and its subsequent recombin- visual music in the sense of tone po- and just enjoy it as pure abstrac- ing into the concluding figure(s) in ems that make use of mathematical tion. You might also note that the the Recapitulation and Conclusion. and esthetic relationships to inspire basic structure of the painting is Indeed, the narrative approach and/ a sense of sound, time, mood, and somewhat analogous to that of or the classical sonata division are life. However, at this point, having the sonata form in classical mu- used to inspire the structural basis discussed to some extent the impli- sic; that is, the composition can for my painting. In any case, I try to cations of sound and time, let me be divided into an Introduction or give the thematic material a life of briefly discuss the expressive factor Exposition of thematic material, its own, by interacting with its en- of mood. Here we have some analo-

Figure 6: #163: Behold, I Do A New Thing (1991) 24X60” Figure 7: #154: Halloween (1990) 40X61” gies to music. For example, loud or with the intention to calm the male be deemed as a rather romantic pe- soft sounds in music used to bol- psyche. However, this ploy doesn’t riod — Transcendent Figure would ster a mood would be analogous to always work, sometimes what I certainly fit the category. And, if we bright or subdued color intensities think I am expressing isn’t quite look at another example of this pe- in painting; and, the close spac- interpreted as such; in other words, riod, Figure 3, #155, Dream Song: ing of lines or shapes might evoke the final interpretation is, of course, Metamorphose, a precursor to Tran- a sense of speed or activity as in always in the eyes/mind of the be- scendent Figure (#156), we find a sound events per unit of time com- holder. For example, I painted Sun similar link with its lush colors and pared to visual events per unit of Song, Figure 2, in the key of orange languid rhythms, and the same bird- space — all of which can contrib- to simply express the physical plea- ute to the dynamic sense of mood. sure in the warmth of the sun. The And color itself can certainly be piece is musically contrived in an a major factor, particularly in the abstract manner, using a leitmotif emotional sense. The use of a color composed of 6 shapes; and, basi- key, which is analogous to the same cally designed, in the underlying term and “feel” of the sound quality geometry and shapes, to express a in music, is used to express an over- pleasant, harmonic situation. How- all mood of the composition and/ ever, when it was first exhibited, I or the expressiveness of individual was told that a friend of mine — a shapes. For example, the key of or- retired English teacher, academ- ange, might be the dominate color ic, and poet — upon viewing the scheme expressing warmth; or, per- work, judged it to be distressingly haps, a dominate redness to express erotic! Now, I’ll admit, it was done violence, blue as cold, or green to at a rather “interesting” time in my express calm. Indeed, I haven’t as life, but really! However, after re- yet seen a hospital room painted viewing some of the work done Figure 8: #147: Climbing Clown (1990) red; nor a woman dressed in red during this period, it could easily 24X18” Figure 9: # 144: Etude #3 (1989) 32X57” like figure in evidence. However, amples of Crossfield Geometry. The imply a story; but, in fact, was titled let me point out that Figures 2 & 3 next four pieces are also just mu- after its completion — perhaps be- are more indicative of this time in sically conceived with no narra- cause of its mood expressed in the the narrative approach; whereas, tive approach in mind — in music cooler Fall-like colors, and shapes Sun Song would seem to have less parlance, program music. Figure that could be seen depicting fall- an effect in directing the eye on any 5, Rhapsody for 9 Notes, # 146, ing leaves. Whether others feel this particular path — less a “story,” makes use of the individual cells relationship is pure speculation; in- and more an attempt at pure physi- as analogous to the black notes in deed, I must confess that many of cal feeling through the abstract ele- a music score. The notes are ar- my paintings were titled after com- ments of form and color. And even in ranged in a specific relationship pletion — for the most part by my my next painting, Figure 4, #157, 3 to each other in the full, complete wife — the verbal side of the fam- Part Invention: Agitato/Crescendo/ statement of the visual theme. ily. Figure 8, Climbing Clown, # Diminuendo, a musically conceived Note also that the thematic mate- 147, is a less complicated work, in exercise, the bird-like figure is still rial is played against a rhythmic terms of its wave grid configuration seen, though of much less visual background pattern using, in part, and theme. It is a relatively small importance; here, it would seem to a cusped wave configuration. Fig- painting, which could be considered be just an unconscious interjection. ure 6, Behold, I Am Doing A New analogous to a short musical inter- Some readers might also be inter- Thing, # 163, also makes use of lude — a bagatelle perhaps. One ested to know that the decision to the cusped wave shape; but, rather might note that here I have made paint this piece was initiated by the than individual cells describing the use of a rhythmic juxtaposition of simple fact that I had an 89 X 12 theme, we have groups of cells con- straight lines as an added dynamic. inch (approximate) strip of canvas figured to describe separate shapes. Another piece using linear rhythms left over from the previous painting; The shapes are then arranged as and thematically derived shapes is so, being a frugal chap of Scottish a full thematic statement as was illustrated in Figure 9, Etude # 3. heritage, I used it to paint my opus done in previous examples. Figure My next article, Period V, will be #157. However, let us not stray, and 7, Halloween, # 154, has a more concerned with the more convolut- return to the primary purpose of this complicated wave train pattern and ed gridfield of Interfield Geometry. paper, which is examining some ex- theme design, and by its title could Opening out & Pau Atela & closing in Nat Friedman

A 5 x 5 x 5 Cubic square face and exits through an cube is shown in adjacent face making a 90° turn at Figure 1. It consists the center of the cube. This cube of 125 small cubes was on display at an Art/ Math that are connected installation entitled “Mathemati- by a piece of elas- cal Sculptures” at Smith College, tic cord that passes Northampton, MA, March 1-30, through each cube 2008, curated by Pau Atela. The once. Thus the “Cubic cubes” were realized by small cubes are students Juan Li, Xiaoyin Zhang strung along the and Min Zheng in 2006. cord and they alter- nate in color (black The exciting experience is slowly white black). They opening up the large cube and are all identical, the feeling the complexity of the in- cord enters a cube terior coming apart, as shown in at the center of a Figure 2 for example. The trick Figure 1. Smith College, 5 x 5 x 5 Cubic Cube

Figure 2. An Opening Out Figure 3. An Opening Out Figure 4. Three 3 x 3 x 3 examples

is to then close in the small cubes in their unique positions so as to obtain the final 5 x 5 x 5 cube. There are lots of ways of opening the large cube. An- other opening out is shown in Figure 3.

The 3 x 3 x 3 case

Three 3 x 3 x 3 cases were mounted on a wall in the in- stallation, as shown in Figure 4.

Figure 5. Wire path and corresponding stringing In the lower right of Figure 4 is a wire path for threading the 27 small cubes in one of the cases. This wire path is shown in Figure 5 with the beginning of the corresponding stringing of the 27 cubes: 3 down, 1 left, 1 up, 2 back, 1 left, …

Opening outs of two 3 x 3 x 3 cases in Figure 4 are shown in Figure 6. It is probably best to start with the 3 x 3 x 3 case, which already requires a path for stringing the 27 cubes. One can then move on to the 4 x 4 Figure 6. Opening outs of two 3 x 3 x 3 cases x 4 and 5 x 5 x 5 cases. Greg Johns: Nat Friedman Sculptures Enclosing Space

Figure 1. Greg Johns, Squared Circle I, 1985, Corten steel, h 350 cm, Collection Carrick Hill, Adelaide, Australia

Introduction they are ideal sculptures for hyperseeing. lowing for a 90° rotation before This can be appreciated on Greg John’s joining. The view in Figure 1 is Greg Johns is an Australian website www.gregjohnssculpture.com, that viewpoint where the middle sculptor who works in steel. I where the first three sculptures can be opposite corners appear to touch. have written two articles on his seen rotating. This makes for an interesting im- work [1,2]. Here I would like to possible figure. As one moves to discuss six sculptures that are Squared Circle I the left, the space opens up and related since they are each con- the inner perimeter takes vari- structed with six modules and The sculpture Squared Circle I in Figure able shapes. It is interesting to they each enclose a space that 1 consists of six modules, each being an try to guess what some of these changes shape dramatically de- L-shape with a curved inner boundary. variable shapes look like before pending on the viewpoint. Thus Each end has a square cross-section al- viewing the rotating images on Figure 2. Greg Johns, Pattern III, 1997, Corten steel, Figure 3. Greg Johns, Rhythmic Circle, 1982, h 300 x w 300 x d 300 cm, Commissioned for PLC/DBL, Warwick Corten steel, Large Version, h 330 cm, Holmes and Court Collection, West Australia

Figure 4. Greg Johns, Whirling Mandala, 2004, Austen steel, h 132 x w 110 x d 30 cm, The McClelland Gallery and Sculpture Park, Langwarren, Victoria John’s website. Note that the circle modules having a square cross- sculpture very active. The interac- sculpture has half-turn rotational section. The modules are joined in an al- tion with space is reminiscent of about a vertical axis ternating manner with relative 90° turns Eduardo Chillida’s work. through the center. Thus the view between joined modules. The resulting Mandala is a powerful sculpture. and the view directly opposite form has a very interesting shape. The will be the same as one walks center space will have a perimeter that Black Fractal Mandala around the sculpture. will open and close as one walks around the sculpture. This can be seen in the Black Fractal Mandala is shown The sculpture Pattern III in Fig- images of the rotating sculpture on the in Figure 6. The module here is a ure 2 consists of six modules, website. variation on the module in Fractal each being a quarter disc. Mandala with one C-shape open- The view in Figure 2 is that view- Whirling Mandala ing and two narrower openings. point where the inner perimeter is Note that the pointed shapes are the outline of a Jewish Star. There Whirling Mandala is shown in Figure 4. shadows. This sculpture is also will also be a viewpoint where the Here the module is an S-form with ends quite active and powerful. center corners will touch, mak- that have a square cross-section allowing ing for another impossible figure. 90° rotation between joined modules. Here one’s eye level must be at This sculpture has a strong curvy pres- References the same height as the center cor- ence. It is definitely whirling. ners. This sculpture also has half- [1] Nat Friedman, Greg Johns: turn rotational symmetry about a Fractal Mandala Curves in Space, Hyperseeing, vertical axis through the center. December, 2006. Fractal Mandala is shown in Figure 5. Rhythmic Circle The module here is more intricate. There [2] Nat Friedman, Greg Johns: are a pair of C-shapes that are grasping Geometric Sculpture, J. of Math- The sculpture Rhythmic Circle space. The six pairs of C-shapes grasp ematics and the Arts, 1,3, Sep- in Figure 3 consists of six semi- space in different directions making the tember, 2007.

Figure 5. Greg Johns, Fractal Mandala, Austen steel, Figure 6. Black Fractal Mandala, 2002, h 124 x w 110 x d 40 cm, Shanghai Art Fair, 2004 Austen Steel with Burnt Redgum, h 131 x w 116 x d 40 cm Charles Ginnever: Nat Friedman Two-Piece Giant Steps

Introduction

Charles Ginnever’s hypersculp- ture Giant Steps was discussed in the January/February issue of Hy- perseeing. Here we show five ex- amples of two-piece sculptures, where each piece is a Giant Steps sculpture. That is, the two pieces are congruent (same form in two different positions). In each case there is a vertical sculpture on the left and a horizontal sculpture on the right. These two-piece configurations were suggested by Henry Moore two-piece re- clining figures. The configura- Figure 1 tions were chosen so that the two

Figure 2 pieces relate via angles of edges and sur- faces, as well as the shape of the gap be- tween the two pieces.

C o n c e r n i n g terminology, the word sub- sculpture can be introduced in the sense that a multi- piece sculpture consists of re- lated subsculp- tures. Thus these two- piece sculp- tures consist of two congru- ent Giant Step Figure 3 subsculptures.

Figure 4 Figure 5

Figure 6 Full Size Giant Steps with Pau Atela news

TO INFINITY AND BEYOND: tion of art inspired by mathemat- Mel Bochner, Squeak Carnwath, MATHEMATICS IN ics, and the exhibition scripting will Roz Chast, Rupert Deese, Grace CONTEMPORARY ART illuminate the sources of the work DeGennaro, Pedro De Movellan, as found in symbols, formulas and Agnes Denes, M.C. Escher, Alfred graphs. Approximating a pictorial Jensen, Jasper Johns, Donald Judd, The Hecksher Museum of Art in visualization of abstract concepts, Micha Lexier, Sol Lewitt, Anthony Huntington, New York, will be fea- To Infinity and Beyond will reveal McCall, Manfred Mohr, Sharon turing an exhibit of mathematical art the profound impact that these dia- Molloy, Francois Morellet, Olivia from now until 22 June 2008. grams and patterns have had on the Parker, Rosamond Purcell, Rick artists who create today’s visual Purdy, James Sanborn, Tom Shan- The intent of To Infinity and Be- environment, and demonstrate that non, Stephen Sollins, Bernar Venet, yond is to describe the ideas that mathematicsbecause of its abstract- Julian Voss-Andreae, Ouattara drive mathematics---numbers, ge- nessis the international language of Watts, Melvin Way, Rebecca Welz, ometry, pattern, and so on---and to exact thought. Kevin Wixted and Richard Yarde. demonstrate how artists have ex- pressed these topics. The exhibition Artists to be featured include: Please visit http://www.heckscher. will include an international selec- Richard Anuskiewicz, Max Bill, org for more information.

Journal of Mathematics and the Arts

The Journal of Mathematics and the Arts is a peer ciplinary mathematics and arts educators and class- reviewed journal that focuses on connections between room use. mathematics and the arts. It publishes articles of inter- • Mathematical techniques and methodologies of in- est for readers who are engaged in using mathematics terest to practice-based artists. in the creation of works of art, who seek to understand • Critical analysis or insight concerning mathematics art arising from mathematical or scientific endeavors, and art in historical and cultural settings. or who strive to explore the mathematical implications of artistic works. The term ”art” is intended to include, The Journal also features exhibition reviews, book but not be limited to, two and three dimensional visual reviews, and correspondence relevant to mathematics art, architecture, drama (stage, screen, or television), and the arts. prose, poetry, and music. The Journal welcomes Papers for consideration should be sent to the Editor at mathematics and arts contributions where technol- the address below: ogy or electronic media serve as a primary means of expression or are integral in the analysis or synthesis Gary Greenfield - Mathematics & Computer Science, of artistic works. The following list, while not exhaus- University of Richmond, Richmond VA 23173, USA; tive, indicates a range of topics that fall within the Email: [email protected]. scope of the Journal: For information, see www.tandf.co.uk/journals/ • Artist’s descriptions providing mathematical context, titles/17513472.asp analysis, or insight about their work. • The exposition of mathematics intended for interdis- Relationships between Art and Mathematics

April 26, 2008, University at Albany, Humanities 354, 10 AM – 5 PM

Speakers

Pau Atela, Smith College, Northampton, MA Davide Cervone, Union College, Schenectady, NY Benigna Chilla, Berkshire Community College, Pittsfield, MA Nat Friedman, University at Albany, Albany, NY , Independent Sculptor, Chestertown, NY Stan Wagon, Macalester College, St. Paul, Minnesota

David Chamberlain, Robert Longhurst, Arabesque 29, Cold Hands, Warm Heart, Bubinga Wood Breckenridge, Colorado, Snow Sculpture, 2008 Stan Wagon, Team leader Registration is free, but please email Nat Friedman at [email protected] to advise of your attendance BRIDGES LEEUWARDEN 2008

Celebrate the 110th Birth Year of M.C. Escher in His Birthplace during the 11th Annual Bridges Conference July 24-28, 2008 (Excursion on Saturday July 26) July 29 Mathematical Art Public Activity Day Five days of Bridges Conference activities (July 24-28) including an Escher Day on July 28, are followed by a Family Math/Art Day (July 29).

Bridges 2008 will be held July 24- The Bridges Conferences, running conferences, in addition to formal 28 in Leeuwarden, The Netherlands, annually since 1998, brings togeth- presentations, are hands-on work- the birthplace of M.C. Escher. It in- er practicing mathematicians, scien- shops, gallery displays of visual art, cludes presentations, workshops, a tists, artists, educators, musicians, working sessions with artists who visual art exhibit, a musical event, writers, computer scientists, sculp- are crossing the mathematics-arts an excursion, and a special Escher tors, dancers, weavers, model build- boundaries, and musical/theatrical day. Detailed information is avail- ers in a lively atmosphere of ex- events in the evening. able at http://www.bridgesmathart. change and mutual encouragement. org Important components of these

New York Times, Sunday Bat Country Magazine, April 20, 2008

Gwen Fisher and Paul Brown are planning to create a The Green Issue , Bat Country, a 21 ft tall Sier- Lettering by Gyongy Laky pinski tetrahedron made of 364 baseball bats.

See http://batcountry.liquid.net for more details on the See http://www.nytimes.com/pages/magazine/ project. Donations are welcomed. knot theory Ergun Akleman illustrations ROBERT Kauffmann BOOK reviews

Paul Calter, Squaring the Circle: Geometry in Art and Architecture, 2008, Key College Publishing.

This is an excellent text that covers both geometry, art, and architecture extensively. Each chapter introduces basic geometric concepts and then relates them to art and architecture. There are many excellent exercises.

a sample of WEB REsources

[1] www.kimwilliamsbooks.com [8] www-viz.tamu.edu/faculty/ergun/research/to- Kim Williams website for previous Nexus publications pology. Topological mesh modeling page. You can on architecture and mathematics. download TopMod.

[2] www.mathartfun.com [9] www.georgehart.com Robert Fathauer’s website for art-math products in- George Hart’s Webpage. One of the best resources. cluding previous issues of Bridges. [10] www.cs.berkeley.edu/ [3] www.mi.sanu.ac.yu/vismath/ Carlo Sequin’s webpage on various subjects related to The electronic journal Vismath, edited by Slavik Art, Geometry and Sculpture. Jablan, is a rich source of interesting articles, exhibits, and information. [11] www.ics.uci.edu/~eppstein/junkyard/ Geometry Junkyard: David Eppstein’s webpage any- [4] www.isama.org thing about geometry. A rich source of links to a variety of works. [12] www.npar.org/ [5] www.kennethsnelson.com Web Site for the International Symposium on Non- Kenneth Snelson’s website which is rich in informa- Photorealistic Animation and Rendering tion. In particular, the discussion in the section Struc- ture and Tensegrity is excellent. [13] www.siggraph.org/ Website of ACM Siggraph. [6] www.wholemovement.com/ Bradfrod Hansen-Smith’s webpage on circle folding.

[7] http://www.bridgesmathart.org/ The new webpage of Bridges. ISAMA VALENCIA 2008 June 16-20, 2008, Universidad Politécnica de Valencia

CONFERENCE IMPORTANT DATES CALL FOR PAPERS ISAMA’08 will be held at Jan.15, 2008 Submission system open Paper submissions are encour- Universidad Politécnica de Mar. 1, 2008 Paper and short paper submission deadline aged in arts, mathematics and Valencia, in Valencia, Spain. Apr. 1, 2008 Notification of acceptance or rejection architecture. In particular, The purpose of ISAMA’08 is May. 1, 2008 Deadline for camera-ready copies we specify the following to provide a forum for the dis- and related topics that either semination of new mathemati- explicitly or implicitly refer to cal ideas related to the arts and Submission mathematics: Painting, Draw- architecture. We welcome Authors are requested to submit papers in PDF format, not ing, Animation, Sculpture, teachers, artists, mathemati- exceeding 10 MB. Papers should be set in ISAMA Conference Storytelling, Musical Analysis cians, architects, scientists, and Paper Format and should not exceed 10 pages. LaTeX and Word and Synthesis, Photography, engineers, as well as all other style files will be available. The papers will be published as the Knitting and Weaving, Gar- interested persons. As in previ- Proceedings of ISAMA’08. ment Design, Film Making, ous conferences, the objective Dance and Visualization. Art is to share information and RELATED EVENTS forms may relate to topology, discuss common interests. We Exhibition: There will be an exhibit whose general objective is to dynamical systems, algebra, have seen that new ideas and show the usage of mathematics in creating art and architecture. differential equations, ap- partnerships emerge which Instructions on how to participate will be posted on the confer- proximation theory, statistics, can enrich interdisciplinary ence website. probability, graph theory, research and education. Workshops: There will be workshops. Instructions on how to discrete math, , chaos, participate will be posted on the conference website. algorithmic methods, and visualization.

The Hemispheric by Santiago Calatrava at the Ciutat de les Arts i les Ciències in Valencia, Spain. Photograph taken by David Iliff with a Canon 5D and 85mm f/1.8 lens. This is a 2x6 segment panorama created by David Iliff. From http://commons.wikimedia. org/wiki/Image:Hemispheric_-_Valencia%2C_Spain_-_Jan_2007.jpg

Details of ISAMA VALENCIA 2008 are at www.isama.org.