Natureglo's Escience Mathart 1 3Week & 6Week Live & Recorded

Total Page:16

File Type:pdf, Size:1020Kb

Natureglo's Escience Mathart 1 3Week & 6Week Live & Recorded Natureglo’s eScience MathArt 1­ 3­week & 6­week Live & Recorded Class Syllabus Instructor Contact Information Gloria Brooks – contact email is [email protected] Course Pre­requisites Students should bring a desire to learn about real world connections with mathematics especially in math history, geometry, art, architecture, and the natural world. Any prior knowledge will be appreciated but not required. Suggested Age Range Interested ages 8 and up for the 1 – 3­week short classes and 10 and up for the 1 – 6­week classes is suggested. Content is appropriate for upper elementary, middle and high schoolers. Classes are one price per one household family. Live & recorded Class Schedule ­ Click here and download the quick view of this year’s live and recorded MathArt classes. Middle and High School Credit Parents are the record keepers as NeS is a class/curriculum provider. Check with your state homeschool requirements for science and adjust your chosen NeS class study to those requirements. NeS lessons, class work, and live class hours can potentially be applied as credit to any high school math and science curriculum you are currently using. All NeS online classes (live or recorded) have more than enough content to fulfill work for a substantial amount of credit hours. Parents and students simply record how many hours of work are put into each lesson per course or stand­alone lesson. Class work includes total participation in the live class, viewing recorded lessons to their entirety, completing the study guides, doing the Quizlets (if provided), viewing all content given per lesson (web pages, downloads, and videos) on NeS’s Virtual Library of web resources. Credit hours can also include student completion of multiple short projects or one lengthy project per class. Student project and activity ideas are usually available per lesson taught from that lesson’s web resource page on the class NeS Virtual Library. 1 Course Description MathArt class fosters projects, discussions, and activities with student and teacher presentations centered on studying mathematics history, famous artists and architects throughout time, patterns in nature and doing art projects that reinforce areas of personal student interest. Student participation includes doing hands­on activities offline, choosing and doing projects centered on studies of personal student interest within the subject of mathematics history, including famous artists, architects and scientists, studying nature’s geometric patterns and much more. The instructor will do weekly Slideshow presentations for the LIVE classes. The instructor will provide weekly research suggestions, projects, and activity ideas for students to choose from on the NatureGlo’s eScience weekly website course lesson page. Students taking classes only by Recording Students who cannot attend most or all of the classes live can take any or all of the class content by recording. Students taking the classes completely by recording may or may not need parental guidance and assistance according to the student’s maturity and ability levels. Recorded lessons can be completed at the student’s pace with up to one year of course content access from the enrollment date. Each lesson includes a Slideshow lesson with an accompanying study guide. All lessons have You Tube video links and projects and activities students can try from the course page and class website. MathArt 1­3­week Short Classes ( Click here & download the live scheduled classes) Introduction to MathArt ­ 1­hour Live or Recorded eWorkshop Bubbleology ­ 1­hour Live or Recorded eWorkshop The Life & Mathematical Art of Leonardo da Vinci ­ 2­week Live or Recorded eWorkshop The Life & Mathematical Art of M.C. Escher ­ 2­week Live or Recorded eWorkshop 2 MathArt Fall (Jan. – Feb.) – Math Connections with the Real World – Phi & Fibonacci – Tuesdays ( Click here & download the live scheduled MathArt classes) Weekly Topics Week #1 ­ Introduction & History of the Golden Ratio and Fibonacci Numbers Week #2 ­ The Golden Number & Fibonacci in Art, Architecture & Nature Week #3 ­ Fibonacci Numbers ­ Flower Petals, Seed heads and More! Week #4 ­ History & Golden Ratio of the Great Pyramid of Egypt Week #5 ­ Quasicrystals & the Golden Ratio Week #6 ­ The Mathematics of Music MathArt Fall (Jan. – Feb.) – MathArt in Ancient Cultures ­ Wednesdays Weekly Topics Week #1 – Ancient Babylonians & Plimpton 322 Week #2 ­ Ancient Greek Math and the Platonic Solids Week #3 ­ Pythagoras and the Music of the Spheres Week #4 – Ancient India’s MathArt: Rangoli, Mandalas & The Story of 1­9 and 0 Week #5 – Zellige Moroccan Tiles & Other Tessellations Week #6 – Maya MathArt MathArt Winter (Mar. ­ April) – Mathematics in the Arts & Sciences ­ Tuesdays Week #1 – Renaissance Artist Piero della Francesco Week #2 – Aboriginal Art Week #3 – Celtic MathArt Week #4 – Patterns in Nature I Week #5 – Branching/Fractal Patterns in Nature & Technology Week #6 – Fractals in Nature & Technology II 3 MathArt Spring (Mar. – Apr.) – Mathematics in the Arts & Sciences ­ Wednesdays Weekly Topics Week #1 – Patterns in Nature: Circular Patterns Week #2 – Patterns in Nature: Animal Coat Patterns Week #3 – The Geometrics of the Universe Week #4 – Patterns in Nature: The Hexagon Week #5 – Logarithmic Beauty of the Chambered Nautilus Part I Week #6 – Logarithmic Beauty of the Chambered Nautilus Part II Student Learning Objectives/Outcomes Students are at choice to: ● Create “MathArt” drawing, journal about patterns found in nature with a mathematical correlation, attach optional photos and other artistic expressions ● Keep a hard copy portfolio of student’s best work ● Keep a student paper journal ● Note­take and or fill out the study guide during the live or recorded class ● Complete each week’s topical journal template Textbooks and Materials for Optimal Class Participation ● Slideshow & study guide per downloaded from the course lesson page each week ● Blank field journal with pencil ● MathArt class website bookmarked link (URL given by instructor upon signing up for this class ● 1 – 2” three­ring binder (suggested) ● Set of colored pencils with sharpener ● Portfolio folder for larger projects that can't fit in the binder (suggested) ● Camera phone or video recorder (suggested) Optional Student Weekly Homework It is up to each parent and student as to how much work they complete for class. Each week's suggested activities include completing the study guide and the journal template in the study guide. There are optional project and activity ideas given on each week’s web resources page. 4 Student Presentations Students are invited to participate in live class discussions about MathArt topics including geometric art, architecture, and can do either one major project per 6­week session or various smaller projects of personal interest. Students can present their topics through videos, PowerPoints, art projects, and photography on the class website course comments section or do one live presentation per 6­week session. If students choose to do a live presentation, they are given up to 10 minutes to present in the live classroom which needs to be scheduled no later than two days before the next live class. Guidelines for Student Live and Recorded Class Presentations 1). Students can create any presentation type using media of their choice from videos, PowerPoints, reports, collages, lapbooks etc. 2). Email me student materials no later than two days before the next live class. 3). Students who are taking the class by recording can simply leave a link in the lesson comment’s section to their work. Include pictures, report format and or video. 4). Students can have up to 10 minutes to present to the live class. Neutral Worldview Natureglo teaches from a neutral worldview. Instruction is non­faith based nor does she address origins in her teaching. Please be respectful of the variety of worldviews that are represented in the class and do not engage in debating/discussing worldviews/religious points­of­view during the live classes. Thank you. Grading Policy and Certificate of Completion Parents can use the study guides for grading. I will offer short non­graded feedback for reinforcement within the virtual classroom. I also can offer suggestions and guidance via email. This is an alternative education methods class and students join because they want to meet and participate. It is up to parents and students what work you complete for my classes. I do not track work completion I just offer homework opportunities. Suggested Work for State Recordings Parents can keep record of work with the study guides including the journal templates, digital journals (for students opting out of written work) hard copy portfolio, PowerPoint presentations, reports and any other projects or activities the student completes for the class. A certificate of completion can be downloaded per student upon completion of either attending live classes or making up any missed live classes by watching the recording to 5 its completion. This is an honors system. Live class attendance is recorded. Student Conduct & Discipline It is expected that students will treat the instructor and each other with kindness and respect. NeS does reserve the right to remove students from the live Zoom classroom who break classroom rules repeatedly and are disruptive to the class. Neutral Worldview Natureglo teaches from a neutral worldview. Instruction is non­faith based nor does she address origins in her teaching. Please be respectful of the variety of worldviews that are represented in the class and do not engage in debating/discussing worldviews/religious points­of­view during the live classes. Thank you. About the Teacher Gloria Brooks, aka Natureglo, is founder and director of Natureglo's eScience, an online learning center that serves homeschoolers, schoolers and teachers virtually. She holds a BA in K­12 education and certificates for completing the Kamana I and II programs from the Wilderness Awareness School. She teaches from a neutral worldview. Her non­faith based courses welcome families from all faiths and worldviews. She has been teaching K­12 since 1997 and teaching outdoor education since 2003.
Recommended publications
  • 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]
  • Simple Rules for Incorporating Design Art Into Penrose and Fractal Tiles
    Bridges 2012: Mathematics, Music, Art, Architecture, Culture Simple Rules for Incorporating Design Art into Penrose and Fractal Tiles San Le SLFFEA.com [email protected] Abstract Incorporating designs into the tiles that form tessellations presents an interesting challenge for artists. Creating a viable M.C. Escher-like image that works esthetically as well as functionally requires resolving incongruencies at a tile’s edge while constrained by its shape. Escher was the most well known practitioner in this style of mathematical visualization, but there are significant mathematical objects to which he never applied his artistry including Penrose Tilings and fractals. In this paper, we show that the rules of creating a traditional tile extend to these objects as well. To illustrate the versatility of tiling art, images were created with multiple figures and negative space leading to patterns distinct from the work of others. 1 1 Introduction M.C. Escher was the most prominent artist working with tessellations and space filling. Forty years after his death, his creations are still foremost in people’s minds in the field of tiling art. One of the reasons Escher continues to hold such a monopoly in this specialty are the unique challenges that come with creating Escher type designs inside a tessellation[15]. When an image is drawn into a tile and extends to the tile’s edge, it introduces incongruencies which are resolved by continuously aligning and refining the image. This is particularly true when the image consists of the lizards, fish, angels, etc. which populated Escher’s tilings because they do not have the 4-fold rotational symmetry that would make it possible to arbitrarily rotate the image ± 90, 180 degrees and have all the pieces fit[9].
    [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]
  • Leonardo Da Vinci's Study of Light and Optics: a Synthesis of Fields in The
    Bitler Leonardo da Vinci’s Study of Light and Optics Leonardo da Vinci’s Study of Light and Optics: A Synthesis of Fields in The Last Supper Nicole Bitler Stanford University Leonardo da Vinci’s Milanese observations of optics and astronomy complicated his understanding of light. Though these complications forced him to reject “tidy” interpretations of light and optics, they ultimately allowed him to excel in the portrayal of reflection, shadow, and luminescence (Kemp, 2006). Leonardo da Vinci’s The Last Supper demonstrates this careful study of light and the relation of light to perspective. In the work, da Vinci delved into the complications of optics and reflections, and its renown guided the artistic study of light by subsequent masters. From da Vinci’s personal manuscripts, accounts from his contemporaries, and present-day art historians, the iterative relationship between Leonardo da Vinci’s study of light and study of optics becomes apparent, as well as how his study of the two fields manifested in his paintings. Upon commencement of courtly service in Milan, da Vinci immersed himself in a range of scholarly pursuits. Da Vinci’s artistic and mathematical interest in perspective led him to the study of optics. Initially, da Vinci “accepted the ancient (and specifically Platonic) idea that the eye functioned by emitting a special type of visual ray” (Kemp, 2006, p. 114). In his early musings on the topic, da Vinci reiterated this notion, stating in his notebooks that, “the eye transmits through the atmosphere its own image to all the objects that are in front of it and receives them into itself” (Suh, 2005, p.
    [Show full text]
  • FOR IMMEDIATE RELEASE August 18, 2015
    FOR IMMEDIATE RELEASE August 18, 2015 MEDIA CONTACT Emily Kowalski | (919) 664-6795 | [email protected] North Carolina Museum of Art Presents M. C. Escher, Leonardo da Vinci Exhibitions and Related Events Raleigh, N.C.—The North Carolina Museum of Art (NCMA) presents two exhibitions opening in October 2015: The Worlds of M. C. Escher: Nature, Science, and Imagination and Leonardo da Vinci’s Codex Leicester and the Creative Mind. The Worlds of M. C. Escher features over 130 works (some never before exhibited) and will be the most comprehensive Escher exhibition ever presented in the United States. The Codex Leicester is a 500-year-old notebook handwritten and illustrated by inventor, scientist, and artist Leonardo da Vinci—the only manuscript by Leonardo in North America—that offers a glimpse into one of the greatest minds in history. “This is going to be an exciting fall at the Museum—an incredibly rare opportunity for our visitors to see not only centuries-old writings and sketches by Leonardo da Vinci, but also the work of M. C. Escher, another observer of nature and a perfect modern counterpart to Leonardo,” says NCMA Director Lawrence J. Wheeler. “These exhibitions will thrill art lovers and science lovers alike, and we hope that all visitors leave with a piqued curiosity, an ignited imagination, and a desire to more closely observe the world around them.” The Worlds of M. C. Escher: Nature, Science, and Imagination October 17, 2015−January 17, 2016 Comprising over 130 woodcuts, lithographs, wood engravings, and mezzotints, as well as numerous drawings, watercolors, wood blocks, and lithographic stones never before exhibited, The Worlds of M.
    [Show full text]
  • Tessellations Hardscape Creations Inspired by the Works of M.C
    Tessellations Hardscape Creations Inspired by the works of M.C. Escher © Chris Belthoff CSB Enterprises, 2013 December 2013 Proprietary 1 Contents Origin What inspired the efforts to produce my hardscape designs Construction How I created the first examples of pavers based on the designs December 2013 2 The Inspiration Ever since I was a child I’ve been fascinated by mathematics In particular, I was always interested in symmetry and patterns…. © Chris Belthoff Enterprises, 2013 December 2013 Proprietary 3 Symmetry and Patterns Have Existed Since Before Man Nature exhibits them all the time: © Chris Belthoff Enterprises, 2013 December 2013 Proprietary 4 ….and Humans Have Creatively Employed Symmetry and Patterns for Centuries © Chris Belthoff Enterprises, 2013 December 2013 Proprietary 5 So what is ‘Tessellation’ A tessellation is the tiling of a plane using one or more geometric shapes, with no overlaps and no gaps Tessellation or tiling is the branch of mathematics that studies how shapes, known as tiles, can be arranged to fill a plane without any gaps. More formally: a tessellation or tiling is a partition of the Euclidean plane into a countable number of closed sets called tiles, such that the tiles intersect only on their boundaries. These tiles may be polygons or any other shapes. Many tessellations are formed from a finite number of prototiles; all tiles in the tessellation are congruent to one of the given prototiles. If a geometric shape can be used as a prototile to create a tessellation, the shape is said to be able to tessellate or to “tile the plane”. Mathematicians have found no general rule for determining if a given shape can tile the plane or not, which means there are many unsolved problems concerning tessellations.
    [Show full text]
  • How a Mathematician Started Making Movies 185
    statements pioneers and pathbreakers How a Mathematician Started Making Movies M i ch e l e e M M e R The author’s father, Luciano Emmer, was an Italian filmmaker who made essentially two—possibly three—reasons. The first: In 1976 I feature movies and documentaries on art from the 1930s through was at the University of Trento in northern Italy. I was work- 2008, one year before his death. Although the author’s interest in films ing in an area called the calculus of variations, in particular, inspired him to write many books and articles on cinema, he knew he ABSTRACT would be a mathematician from a young age. After graduating in 1970 minimal surfaces and capillarity problems [4]. I had gradu- and fortuitously working on minimal surfaces—soap bubbles—he had ated from the University of Rome in 1970 and started my the idea of making a film. It was the start of a film series on art and career at the University of Ferrara, where I was very lucky mathematics, produced by his father and Italian state television. This to start working with Mario Miranda, the favorite student of article tells of the author’s professional life as a mathematician and a Ennio De Giorgi. At that time, I also met Enrico Giusti and filmmaker. Enrico Bombieri. It was the period of the investigations of partial differential equations, the calculus of variations and My father, Luciano Emmer, was a famous Italian filmmaker. the perimeter theory—which Renato Caccioppoli first intro- He made not only movies but also many documentaries on duced in the 1950s and De Giorgi and Miranda then devel- art, for example, a documentary about Picasso in 1954 [1] oped [5–7]—at the Italian school Scuola Normale Superiore and one about Leonardo da Vinci [2] that won a Silver Lion of Pisa.
    [Show full text]
  • Fractals: a Resonance Between Art and Nature
    Fractals: A Resonance between Art and Nature Richard Taylor, Ben Newell, Branka Spehar and Colin Clifford Physics and Psychology Reveal the Fractal Secrets of Jackson Pollock’s Drip Paintings The discovery of fractal patterns was an interesting advance in the understanding of nature [1, 2]. Since the 1970s many natural scenes have been shown to be com- posed of fractal patterns. Examples include coastlines, clouds, lightning, trees, rivers and mountains. Fractal patterns are referred to as a new geometry because they look nothing like the more traditional shapes such as triangles and squares known within mathematics as Euclidean geometry. Whereas these shapes are composed of smooth lines, fractals are built from patterns that recur at finer and finer magnifications, generating shapes of immense complexity. Even the most common of nature’s fractal objects, such as the tree shown in Figure 1, contrast 53 sharply with the simplicity of artificially constructed objects such as buildings. But do people find such complexity visually appealing? In particular, given peo- ple’s continuous visual exposure to nature’s fractals, do we possess a fundamental appreciation of these patterns – an affinity independent of conscious delibera- tion? The study of human aesthetic judgement of fractal patterns constitutes a rela- tively new research field within perception psychology. Only recently has research started to quantify people’s visual preferences for (or against) fractal content. A useful starting point in assessing people’s ability to recognize and create visual pat- ternsistoexaminethemethodsusedbyartists to generate aesthetically pleasing images on their canvases. More specifically, in terms of exploring an intrinsic ap- preciation of certain patterns, it seems appropriate to examine the Surrealists and their desire to paint images which are free of conscious consideration.
    [Show full text]
  • A Mathematical Analysis of Knotting and Linking in Leonardo Da Vinci's
    November 3, 2014 Journal of Mathematics and the Arts Leonardov4 To appear in the Journal of Mathematics and the Arts Vol. 00, No. 00, Month 20XX, 1–31 A Mathematical Analysis of Knotting and Linking in Leonardo da Vinci’s Cartelle of the Accademia Vinciana Jessica Hoya and Kenneth C. Millettb Department of Mathematics, University of California, Santa Barbara, CA 93106, USA (submitted November 2014) Images of knotting and linking are found in many of the drawings and paintings of Leonardo da Vinci, but nowhere as powerfully as in the six engravings known as the cartelle of the Accademia Vinciana. We give a mathematical analysis of the complex characteristics of the knotting and linking found therein, the symmetry these structures embody, the application of topological measures to quantify some aspects of these configurations, a comparison of the complexity of each of the engravings, a discussion of the anomalies found in them, and a comparison with the forms of knotting and linking found in the engravings with those found in a number of Leonardo’s paintings. Keywords: Leonardo da Vinci; engravings; knotting; linking; geometry; symmetry; dihedral group; alternating link; Accademia Vinciana AMS Subject Classification:00A66;20F99;57M25;57M60 1. Introduction In addition to his roughly fifteen celebrated paintings and his many journals and notes of widely ranging explorations, Leonardo da Vinci is credited with the creation of six intricate designs representing entangled loops, for example Figure 1, in the 1490’s. Originally constructed as copperplate engravings, these designs were attributed to Leonardo and ‘known as the cartelle of the Accademia Vinciana’ [1].
    [Show full text]
  • Vitruvian Man and Divine Proportion
    Vitruvian Man and Divine Proportion Leonardo da Vinci’s Vitruvian Man taking a fixed module, in each case, both was originally an illustration for a book on for the parts of a building and for the the works of the Roman architect Marcus whole, by which the method of symmetry Vitruvius Pollio (first century BCE), who is put to practice. For without symmetry designed many of the most beautiful and proportion no temple can have a temples in Rome. In his ten-volume work, regular plan; that is, it must have an exact De Architectura, Vitruvius established the proportion worked out after the fashion guidelines for classic Roman architecture. of the members of a finely shaped human Describing how a temple should be body.’’ planned and built, Vitruvius wrote: In this passage is found the key to the “The planning of temples depends composition of ancient architecture, which upon symmetry: and the method of this was firmly revived in the Renaissance. architects must diligently apprehend. It Echoing the ancient Greeks, the human arises from proportion (which in Greek body was seen as symbolic of all Nature, is called analogia). Proportion consists of the microcosm reflecting the macrocosm. Page 1 Thus Nature, in the form of the human Nature as follows: that is that 4 fingers body, was to be the architect’s (or the make 1 palm, and 4 palms make 1 foot, 6 artist’s) guide. In this form of architecture palms make 1 cubit; 4 cubits make a man’s (or art, engineering, or planning, etc.) height. And 4 cubits make one pace and the science of geometry is employed by 24 palms make a man; and these measures means of small whole numbers to build he used in his buildings.
    [Show full text]
  • Meeting Alhambra
    Meeting Alhambra ISAMA BRIDGES The International Society of the Mathematical Connections Arts, Mathematics, and Architecture in Art, Music, and Science UNIVERSITI OF GRANADA FACULTI OF SCIENCES Meeting Alhambra ISAMA-BRIDGES 2003 Organizers Javier Barrallo Jose Martinez Aroza Registration and Reservation Space Management School of Architecture Faculty of Sciences University of the Basque Country University of Granada 20018 San Sebastian, Spain 18071 Granada, Spain Nathaniel Friedman Reza Sarhangi Art Exhibit Conference Proceedings Department of Mathematics Mathematics Department University At Albany Towson University 1400 Washington Avenue 8000 York Road Albany, NY 12222 Towson, MD 21252 Juan Antonio Maldonado Carlo Sequin Space Management Poster Session Faculty of Sciences EECS, Computer Science Division University of Granada Soda Hall # 1776 18071 Granada, Spain University of California Berkeley, CA 94720-1776 Meeting Alhambra, ISAMA-BRIDGES Conference Proceedings, 2003. Editors: Javier Barrallo Jose Martfnez-Aroza School of Architecture Faculty of Sciences University of the Basque Country University of Granada San Sebastian, Spain Granada, Spain Nathaniel Friedman Reza Sarhangi Department of Mathematics Mathematics Department University At Albany Towson University Albany, New York, USA Towson, Maryland, USA Juan Antonio Maldonado Carlo Sequin Faculty of Sciences EECS, Computer Science Division University of Granada University of California Granada, Spain Berkeley, California, USA ISBN: Price: $40.00 Distributed by MATHARTFUN.COM (http://mathartfun.com) Front cover design: Polynomiograph of a Physicists' polynomial by Bahman Kalantari. Back cover design: The step 2-octogonal tiling projected onto a dome and used as the basis for a zellij created by Jean-Marc Castera. Cover layout and border designs: Chris Palmer. © Meeting Alhambra, ISAMA-Bridges 2003 Conference.
    [Show full text]
  • Of Da Vinci: the Imaginary Case of Leonardo V
    Valparaiso University Law Review Volume 29 Number 2 Symposium on Legal Education pp.935-1004 Symposium on Legal Education The "Dissing" of Da Vinci: The Imaginary Case of Leonardo v. Duchamp: Moral Rights, Parody, and Fair Use Geri J. Yonover Follow this and additional works at: https://scholar.valpo.edu/vulr Recommended Citation Geri J. Yonover, The "Dissing" of Da Vinci: The Imaginary Case of Leonardo v. Duchamp: Moral Rights, Parody, and Fair Use, 29 Val. U. L. Rev. 935 (1995). Available at: https://scholar.valpo.edu/vulr/vol29/iss2/8 This Article is brought to you for free and open access by the Valparaiso University Law School at ValpoScholar. It has been accepted for inclusion in Valparaiso University Law Review by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Yonover: The "Dissing" of Da Vinci: The Imaginary Case of Leonardo v. Duch Article THE "DISSING" OF DA VINCI: THE IMAGINARY CASE OF LEONARDO v. DUCHAMP: MORAL RIGHTS, PARODY, AND FAIR USE GERI J. YONOVER- I. Introduction: A Very Brief Guide to Current Copyright Protection ................................. 943 II. Moral Rights ............................... 947 A. The European Experience ..................... 947 B. Moral Rights in the United States .................. 952 1. Moral Rights in the United States Before VARA ..... 954 a. State Law and Moral Rights ................. 955 b. Pre-VARA Protection of Moral Rights Under Federal Law ......................... 962 2. Moral Rights Under VARA .................... 964 111. Parody and Fair Use .......................... 969 A. Parody in the Arts ......................... 969 B. Parody and Fair Use ........................ 974 1. Case Law Prior to 1994: Lower Court Decisions ...
    [Show full text]