The Origins of Mathematical Societies and Journals
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ACT Resources for Arts A/V Technology
Career Cluster: Arts, A/V Technology, & Communications Mathematics in Digital Arts and Design III – Addresses standard 11 Question A graphic designer at a bottling company is tasked with designing efficient packaging for soda cans. Two options are being considered. Which of the two arrangements has less unused space in the package and how does the arrangement compare with the alternative? The radius of a soda can is approximately 3.2 cm. Package A Package B A. Package A; Package A has 16.7% less unused space than Package B. B. Package B; Package B has 16.7% less unused space than Package A. C. Package B; Package B has 8.3% less unused space than Package A. D. Neither; The two packages have equal unused space. Source: Adapted from Zordak, S. E. (n.d.). Soda Cans. Retrieved February 24, 2016, from http://illuminations.nctm.org/Lesson.aspx?id=2363 Office of Career and Technical Education • 710 James Robertson Parkway • Nashville, TN 37243 1 | March 2016 Tel: (615) 532-2830 • tn.gov/education/cte Career Cluster: Arts, A/V Technology, & Communications Science in A/V Production I – Addresses Standard 15 Passage I Natural Science: This passage is adapted from the chapter “The Wave Theory of Sound” in Acoustics: An Introduction to Its Physical Principles and Applications by Allan Pierce. (Acoustical Society of America). Acoustics is the science of sound, including 20 ability, of communication via sound, along with the its production, transmission, and effects. In variety of psychological influences sound has on present usage, the term sound implies not only those who hear it. -
Marin Mersenne English Version
MARIN MERSENNE (September 8, 1588 – September 1, 1648) by HEINZ KLAUS STRICK, Germany Although no stamp with a portrait of the French mathematician MARIN MERSENNE has yet been issued, the postal administration of the Principality of Liechtenstein took the discovery of the 39th MERSENNE prime number = 13,466,917 − M13,466,9 17 2 1 as an opportunity to select this number as the motif for a stamp of a series on science (the graphic on the stamp below shows a logarithmic spiral). (drawings © Andreas Strick) EUCLID had already dealt with numbers of the type 2n −1 and, among other things, proved the theorem: If 2n −1 is a prime number, then 2n1- ⋅ (2 n − 1) is a perfect number. th Until the end of the 16 century it was believed that all numbers of the type 2n −1 were prime numbers if the exponent n was a prime number. In 1603, the Italian mathematician PIETRO CATALDI, who was also the first to write a treatise on continued fractions, proved the following: If the exponent n is not a prime number, i.e. if it can be represented as the product of n a⋅ b= with a b∈ , IN , then 2n −1 is not a prime number either; because then the number can be broken down into at least two factors: ⋅ − ⋅ 2a b − 12112 =( a −) ⋅( +a + 22 a + 23 a + ...2 + (b 1) a ). He also showed by systematic trial and error with all prime divisors up to the root of the number in question that 217 −1 and 219 −1 are prime numbers. -
Founding a Family of Fiddles
The four members of the violin family have changed very little In hundreds of years. Recently, a group of musi- cians and scientists have constructed a "new" string family. 16 Founding a Family of Fiddles Carleen M. Hutchins An article from Physics Today, 1967. New measmement techniques combined with recent acoustics research enable us to make vioUn-type instruments in all frequency ranges with the properties built into the vioHn itself by the masters of three centuries ago. Thus for the first time we have a whole family of instruments made according to a consistent acoustical theory. Beyond a doubt they are musically successful by Carleen Maley Hutchins For three or folti centuries string stacles have stood in the way of practi- quartets as well as orchestras both cal accomplishment. That we can large and small, ha\e used violins, now routinely make fine violins in a violas, cellos and contrabasses of clas- variety of frequency ranges is the re- sical design. These wooden instru- siJt of a fortuitous combination: ments were brought to near perfec- violin acoustics research—showing a tion by violin makers of the 17th and resurgence after a lapse of 100 years— 18th centuries. Only recendy, though, and the new testing equipment capa- has testing equipment been good ble of responding to the sensitivities of enough to find out just how they work, wooden instruments. and only recently have scientific meth- As is shown in figure 1, oiu new in- ods of manufactiu-e been good enough struments are tuned in alternate inter- to produce consistently instruments vals of a musical fourth and fifth over with the qualities one wants to design the range of the piano keyboard. -
Mersenne and Mixed Mathematics
Mersenne and Mixed Mathematics Antoni Malet Daniele Cozzoli Pompeu Fabra University One of the most fascinating intellectual ªgures of the seventeenth century, Marin Mersenne (1588–1648) is well known for his relationships with many outstanding contemporary scholars as well as for his friendship with Descartes. Moreover, his own contributions to natural philosophy have an interest of their own. Mersenne worked on the main scientiªc questions debated in his time, such as the law of free fall, the principles of Galileo’s mechanics, the law of refraction, the propagation of light, the vacuum problem, the hydrostatic paradox, and the Copernican hypothesis. In his Traité de l’Harmonie Universelle (1627), Mersenne listed and de- scribed the mathematical disciplines: Geometry looks at continuous quantity, pure and deprived from matter and from everything which falls upon the senses; arithmetic contemplates discrete quantities, i.e. numbers; music concerns har- monic numbers, i.e. those numbers which are useful to the sound; cosmography contemplates the continuous quantity of the whole world; optics looks at it jointly with light rays; chronology talks about successive continuous quantity, i.e. past time; and mechanics concerns that quantity which is useful to machines, to the making of instruments and to anything that belongs to our works. Some also adds judiciary astrology. However, proofs of this discipline are The papers collected here were presented at the Workshop, “Mersenne and Mixed Mathe- matics,” we organized at the Universitat Pompeu Fabra (Barcelona), 26 May 2006. We are grateful to the Spanish Ministry of Education and the Catalan Department of Universities for their ªnancial support through projects Hum2005-05107/FISO and 2005SGR-00929. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Non-Contact
UNIVERSITY OF CALIFORNIA, SAN DIEGO Non-contact Ultrasonic Guided Wave Inspection of Rails: Next Generation Approach A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Structural Engineering by Stefano Mariani Committee in Charge: Professor Francesco Lanza di Scalea, Chair Professor David J. Benson Professor Michael J. Buckingham Professor William S. Hodgkiss Professor Chia-Ming Uang 2015 Copyright, Stefano Mariani, 2015 All rights reserved. The dissertation of Stefano Mariani is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Chair University of California, San Diego 2015 iii DEDICATION To Bob iv TABLE OF CONTENTS Signature Page iii Dedication iv Table of Contents v List of Abbreviations ix List of Figures xi List of Tables xxii Acknowledgments xxiv Vita xvii Abstract of the Dissertation xxix 1 Introduction ................................................................................................................... 1 1.1 Non Destructive Evaluation of railroad tracks. Introductory discussions and motivations for the research ............................................................................................ 1 1.2 -
Objectiones Qvintae Y Disqvisitio Metaphysica De Pierre Gassendi
OBJECTIONES QVINTAE Y DISQVISITIO METAPHYSICA DE PIERRE GASSENDI . TESIS DOCTORAL. REALIZADA POR JESÚS DEL VALLE CORTÉS. DIRIGIDA POR EL CATEDRÁTICO DOCTOR DON MARCELINO RODRÍGUEZ DONÍS. A la memoria de Fernando del Valle Vázquez, de su hijo agradecido. Y a Silvia Aguirrezábal Guerrero. LIBRO PRIMERO. EXHORDIVM. A MODO DE INTRODUCCIÓN. ería necesario un largo estudio para establecer con detalle las condiciones en las cuales fueron compuestas, en primer lugar, las S Quintas Objeciones de Pierre Gassendi, Prepósito de la Iglesia de Digne y agudísimo Filósofo, designadas de esta manera en un Índice redactado por Mersenne, y después las Instancias 1, fechadas el 15 de marzo de 1642, pero que seguramente comenzaron a difundirse durante el invierno anterior . Son palabras de Bernard Rochot 2 y con ellas comenzaba la introducción de su traducción francesa de la Petri Gassendi Disquisitio metaphysica . Esta tesis no es sino el cumplimiento de este anhelo de Rochot, que ha ya mucho convertimos en propio, si bien hemos ampliado los límites de la empresa, toda vez que este trabajo no se contenta con plasmar los acontecimientos que dieron lugar a la aparición de ambos escritos, sino que incluye el análisis pormenorizado de ellos, e incluso el de las escuetas réplicas de Descartes a las Instancias . Es la primera vez que se recorre el ciclo completo de los argumentos de la querella, hasta su cierre con la Carta a Clerselier . Eran años de carrera cuando estudiábamos, bajo la tutela del Doctor D. Marcelino Rodríguez Donís, las Meditationes de prima philosophia , con sus siete Objeciones y Respuestas y, de entre ellas, las agrias Objectiones quintae sobresalían, a nuestro juicio, muy por encima de las demás, a pesar de que uno de los siete objetores fuese el ínclito Thomas Hobbes 3. -
Music and Science from Leonardo to Galileo International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca
MUSIC AND SCIENCE FROM LEONARDO TO GALILEO International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) The present conference has been made possibile with the friendly support of the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSIC AND SCIENCE FROM LEONARDO TO GALILEO Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Virtual conference 13-15 November 2020 Programme Committee: VICTOR COELHO (Boston University) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) RUDOLF RASCH (Utrecht University) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ef Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) FRIDAY 13 NOVEMBER 14.45-15.00 Opening • FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) 15.00-16.00 Keynote Speaker 1: • VICTOR COELHO (Boston University), In the Name of the Father: Vincenzo Galilei as Historian and Critic ef 16.15-18.15 The Galileo Family (Chair: Victor Coelho, Boston University) • ADAM FIX (University of Minnesota), «Esperienza», Teacher of All Things: Vincenzo Galilei’s Music as Artisanal Epistemology • ROBERTA VIDIC (Hochschule für Musik und Theater Hamburg), Galilei and the ‘Radicalization’ of the Italian and German Music Theory • DANIEL MARTÍN SÁEZ (Universidad Autónoma de Madrid), The Galileo Affair through -
Pascal's and Huygens's Game-Theoretic Foundations For
Pascal's and Huygens's game-theoretic foundations for probability Glenn Shafer Rutgers University [email protected] The Game-Theoretic Probability and Finance Project Working Paper #53 First posted December 28, 2018. Last revised December 28, 2018. Project web site: http://www.probabilityandfinance.com Abstract Blaise Pascal and Christiaan Huygens developed game-theoretic foundations for the calculus of chances | foundations that replaced appeals to frequency with arguments based on a game's temporal structure. Pascal argued for equal division when chances are equal. Huygens extended the argument by considering strategies for a player who can make any bet with any opponent so long as its terms are equal. These game-theoretic foundations were disregarded by Pascal's and Huy- gens's 18th century successors, who found the already established foundation of equally frequent cases more conceptually relevant and mathematically fruit- ful. But the game-theoretic foundations can be developed in ways that merit attention in the 21st century. 1 The calculus of chances before Pascal and Fermat 1 1.1 Counting chances . .2 1.2 Fixing stakes and bets . .3 2 The division problem 5 2.1 Pascal's solution of the division problem . .6 2.2 Published antecedents . .7 2.3 Unpublished antecedents . .8 3 Pascal's game-theoretic foundation 9 3.1 Enter the Chevalier de M´er´e. .9 3.2 Carrying its demonstration in itself . 11 4 Huygens's game-theoretic foundation 12 4.1 What did Huygens learn in Paris? . 13 4.2 Only games of pure chance? . 15 4.3 Using algebra . 16 5 Back to frequency 18 5.1 Montmort . -
Marin Mersenne: Minim Monk and Messenger; Monotheism, Mathematics, and Music
Marin Mersenne: Minim Monk and Messenger; Monotheism, Mathematics, and Music Karl-Dieter Crisman (Gordon College) Karl-Dieter Crisman is Professor of Mathematics at Gordon Col- lege, but first heard of Mersenne in both math and music courses as an undergraduate at Northwestern University. His main scholarly work focuses on open software resources for mathematics, and the mathematics of voting. He is certain Mersenne would see as many connections between those topics and faith as he did with the math of music and physics. Abstract Marin Mersenne is one of many names in the history of mathematics known more by a couple of key connections than for their overall life and accomplishments. Anyone familiar with number theory has heard of ‘Mersenne primes’, which even occasionally appear in broader media when a new (and enormous) one is discovered. Instructors delving into the history of calculus a bit may know of him as the interlocutor who drew Fermat, Descartes, and others out to discuss their methods of tangents (and more). In most treatments, these bare facts are all one would learn about him. But who was Mersenne, what did he actually do, and why? This paper gives a brief introduction to some important points about his overall body of work, using characteristic examples from his first major work to demonstrate them. We’ll especially look into why a monk from an order devoted to being the least of all delved so deeply into (among other things) exploratory math- ematics, practical acoustics, and defeating freethinkers, and why that might be of importance today. 1 Introduction The seventeenth century was a time of ferment in the sciences in Western Europe. -
From My Notebooks, 1975-81 Arnold Dreyblatt Proposition IX: to Explain
From My Notebooks, 1975-81 Arnold Dreyblatt Proposition IX: To explain why an open string when sounded makes many sounds at once. Proposition XV: To determine whether it is possible to touch the strings of an instrument or their keys so fast that the ear cannot discern whether the sound is composed of different sounds, or if it is unique and continuous. - Marin Mersenne, Harmonie Universelle, 1637 My work in image and sound synthesis in the early seventies initiated an interest in the interactions of waveform signal events an their hearing in the audio range, as sound , on acoustic instruments and finally, as music. Having neither a traditional music training or childhood indoctrination in this or that cultural scale or system I have found it convenient to apply my background in experimenting with electronic sound and image to composition with acoustic instruments: utilizing a tuning system derived from the harmonic series in lieu of traditional musical content. The revolution in music language description of the last twenty years has evolved through the construction and re-thinking of music making tools and the resultant intimacy which has been re-established with acoustic dynamics and properties of sound. I have begun to see the development of western music resulting in an aberration. The relative standardization and specialization in notation, instrumental construction and tuning is a situation heretofore unparalleled in the incredibly diverse music cultures of the world. Equal Temperament and the gradual shift towards atonality represent a gradual disregard of the basic acoustic model. Technical improvements to satisfy the needs of chromaticism and loudness have distanced the modern music maker and listener from the basic acoustic model. -
Principles of Acoustics - Andres Porta Contreras, Catalina E
FUNDAMENTALS OF PHYSICS – Vol. I - Principles Of Acoustics - Andres Porta Contreras, Catalina E. Stern Forgach PRINCIPLES OF ACOUSTICS Andrés Porta Contreras Department of Physics, Universidad Nacional Autónoma de México, México Catalina E. Stern Forgach Department of Physics, Universidad Nacional Autónoma de México, México Keywords: Acoustics, Ear, Diffraction, Doppler effect, Music, Sound, Standing Waves, Ultrasound, Vibration, Waves. Contents 1. Introduction 2. History 3. Basic Concepts 3.1. What is Sound? 3.2. Characteristics of a Wave 3.3. Qualities of Sound 3.3.1. Loudness 3.3.2. Pitch 3.3.3. Timbre 3.4. Mathematical Description of a Pure Sound Wave 3.5. Doppler Effect 3.6. Reflection and Refraction 3.7. Superposition and Interference 3.8. Standing Waves 3.9. Timbre, Modes and Harmonics 3.10. Diffraction 4. Physiological and Psychological Effects of Sound 4.1. Anatomy and Physiology of Hearing. 4.1.1. Outer Ear 4.1.2. Middle Ear 4.1.3. Inner Ear 5. ApplicationsUNESCO – EOLSS 5.1. Ultrasound 5.2. Medicine 5.3. Noise Control 5.4. MeteorologySAMPLE and Seismology CHAPTERS 5.5. Harmonic Synthesis 5.6. Acoustical Architecture and Special Building Rooms Design 5.7. Speech and Voice 5.8. Recording and Reproduction 5.9. Other Glossary Bibliography Biographical Sketches ©Encyclopedia of Life Support Systems (EOLSS) FUNDAMENTALS OF PHYSICS – Vol. I - Principles Of Acoustics - Andres Porta Contreras, Catalina E. Stern Forgach Summary The chapter begins with a brief history of acoustics from Pythagoras to the present times. Then the main physical and mathematical principles on acoustics are reviewed. A general description of waves is given first, then the characteristics of sound and some of the most common phenomena related to acoustics like echo, diffraction and the Doppler effect are discussed. -
A Tale of the Cycloid in Four Acts
A Tale of the Cycloid In Four Acts Carlo Margio Figure 1: A point on a wheel tracing a cycloid, from a work by Pascal in 16589. Introduction In the words of Mersenne, a cycloid is “the curve traced in space by a point on a carriage wheel as it revolves, moving forward on the street surface.” 1 This deceptively simple curve has a large number of remarkable and unique properties from an integral ratio of its length to the radius of the generating circle, and an integral ratio of its enclosed area to the area of the generating circle, as can be proven using geometry or basic calculus, to the advanced and unique tautochrone and brachistochrone properties, that are best shown using the calculus of variations. Thrown in to this assortment, a cycloid is the only curve that is its own involute. Study of the cycloid can reinforce the curriculum concepts of curve parameterisation, length of a curve, and the area under a parametric curve. Being mechanically generated, the cycloid also lends itself to practical demonstrations that help visualise these abstract concepts. The history of the curve is as enthralling as the mathematics, and involves many of the great European mathematicians of the seventeenth century (See Appendix I “Mathematicians and Timeline”). Introducing the cycloid through the persons involved in its discovery, and the struggles they underwent to get credit for their insights, not only gives sequence and order to the cycloid’s properties and shows which properties required advances in mathematics, but it also gives a human face to the mathematicians involved and makes them seem less remote, despite their, at times, seemingly superhuman discoveries.