The Family of Metallic Means Comprises Every Quadratic Irrational Number That Is the Positive Solution of Algebraic Equations of the Types
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FRACTAL REACTOR: an ALTERNATIVE NUCLEAR FUSION SYSTEM BASED on NATURE's GEOMETRY Todd Lael Siler Psi-Phi Communications, LLC 4950 S
TR0700405 13th International Conference on Emerging Nuclear Energy Systems June 03-08, 2007, İstanbul, Türkiye FRACTAL REACTOR: AN ALTERNATIVE NUCLEAR FUSION SYSTEM BASED ON NATURE'S GEOMETRY Todd Lael Siler Psi-Phi Communications, LLC 4950 S. Yosemite Street, F2-325 Greenwood Village, Colorado 80111 USA E-mai 1: [email protected] ABSTRACTS The author presents his concept of the Fractal Reactor, which explores the possibility of building a plasma fusion power reactor based on the real geometry of nature [fractals], rather than the virtual geometry that Euclid postulated around 330 BC(1); nearly every architect of our plasma fusion devices has been influenced by his three-dimensional geometry. The idealized points, lines, planes, and spheres of this classical geometry continue to be used to represent the natural world and to describe the properties of all geometrical objects, even though they neither accurately nor fully convey nature's structures and processes. (2) The Fractal Reactor concept contrasts the current containment mechanisms of both magnetic and inertial containment systems for confining and heating plasmas. All of these systems are based on Euclidean geometry and use geometrical designs that, ultimately, are inconsistent with the Non-Euclidean geometry and irregular, fractal forms of nature (j). The author explores his premise that a controlled, thermonuclear fusion energy system might be more effective if it more closely embodies the physics of a star. This exploratory concept delves into Siler's hypothesis that nature's star "fractal reactors" are composed of fractal forms and dimensions that are statistically self-similar, (4) as shown in Figures 1 & 2. -
“GOLDEN ROOT SYMMETRIES of GEOMETRIC FORMS” By
“GOLDEN ROOT SYMMETRIES OF GEOMETRIC FORMS” By: Eur Ing Panagiotis Ch. Stefanides BSc(Eng)Lon(Hons) CEng MIET MSc(Eng)Ath MΤCG SYMMETRY FESTIVAL 2006 BUDAPEST HUNGARY Published Athens 2010 - Heliotropio Stefanides Eur Ing Panagiotis Stefanides 2 Eur Ing Panagiotis Stefanides 3 GOLDEN ROOT SYMMETRIES OF GEOMETRIC FORMS” By: Eur Ing Panagiotis Ch. Stefanides BSc(Eng)Lon(Hons) CEng MIET MSc(Eng)Ath MΤCG Eur Ing Panagiotis Stefanides 4 © Copyright 2010 P. Stefanides 8, Alonion st., Kifissia, Athens, 145 62 Greece “GOLDEN ROOT SYMMETRIES OF GEOMETRIC FORMS” Published Athens 2010 - Heliotropio Stefanides Eur Ing Panagiotis Stefanides 5 To My Wife Mary, and my Daughter Natalia, for their patience and constant support, et Amorem, Qui Mundos Unit. Published Athens 2010 – Heliotropio Stefanides © Copyright 1986-2010 P. Stefanides Eur Ing Panagiotis Stefanides 6 ACKNOWLEDGEMENTS I thank all those colleagues, fellow engineers friends, parental family and relations, who assisted me in any way, together with their valued suggestions, for this work to be presented to the SYMMETRY FESTIVAL 2006, BUDAPEST HUNGARY, where my special thanks goes to the Chairman of this International Conference, Professor György Darvas, who invited me, and gave me the chance for my ideas to be disseminated internationally, and also I thank Painter Takis Parlavantzas, member of the Hellenic Society of Ekastic Arts, for inviting me to present a paper at the “Arts Symposium” in Xanthe [Demokriteio University -22-24 Nov 1991] under the title “Geometric Concepts in Plato, Related to Art”. Similarly I thank the Hellenic Mathematical Society for giving me the floor [2-4 Mar. 1989] to present my novel paper “The Most Beautiful Triangle- Plato’s Timaeus” at the conference “ History and Philosophy of Classical Greek Mathematics”[ Professor Vassilis Karasmanis] and also the Hellenic Physicists’ Society,[ Mrs D. -
New and Forthcoming Books in 2020 Now Available on Worldscinet
View this flyer online at http://bit.ly/ws-newmathematics2020 New and Forthcoming books in 2020 Now available on WorldSciNet Essential Textbooks in Physics How to Derive a Formula Volume 1: Basic Analytical Skills and Methods for Physical Scientists by Alexei A Kornyshev & Dominic O’Lee (Imperial College London, UK) “In this book, the authors teach the art of physical applied mathematics at the advanced undergraduate level. In contrast to traditional mathematics books, formal derivations and theorems are replaced by worked examples with intuitive solutions and approximations, given some familiarity with physics and chemistry. In this way, the book covers an Fundamental Concepts in A Course in Game Theory ambitious range of topics, such as vector calculus, differential and integral equations, Modern Analysis by Thomas S Ferguson (University of California, Los Angeles, USA) linear algebra, probability and statistics, An Introduction to Nonlinear Analysis functions of complex variables, scaling and 2nd Edition This book presents various mathematical models dimensional analysis. Systematic methods by Vagn Lundsgaard Hansen of games and study the phenomena that arise. of asymptotic approximation are presented (Technical University of Denmark, Denmark) In some cases, we will be able to suggest in simple, practical terms, showing the With: Poul G Hjorth what courses of action should be taken by the value of analyzing ‘limiting cases’. Unlike players. In others, we hope simply to be able to most science or engineering textbooks, the In this book, students from both pure and understand what is happening in order to make physical examples span an equally broad applied subjects are offered an opportunity to better predictions about the future. -
Linking Math with Art Through the Elements of Design
2007 Asilomar Mathematics Conference Linking Math With Art Through The Elements of Design Presented by Renée Goularte Thermalito Union School District • Oroville, California www.share2learn.com [email protected] The Elements of Design ~ An Overview The elements of design are the components which make up any visual design or work or art. They can be isolated and defined, but all works of visual art will contain most, if not all, the elements. Point: A point is essentially a dot. By definition, it has no height or width, but in art a point is a small, dot-like pencil mark or short brush stroke. Line: A line can be made by a series of points, a pencil or brush stroke, or can be implied by the edge of an object. Shape and Form: Shapes are defined by lines or edges. They can be geometric or organic, predictably regular or free-form. Form is an illusion of three- dimensionality given to a flat shape. Texture: Texture can be tactile or visual. Tactile texture is something you can feel; visual texture relies on the eyes to help the viewer imagine how something might feel. Texture is closely related to Pattern. Pattern: Patterns rely on repetition or organization of shapes, colors, or other qualities. The illusion of movement in a composition depends on placement of subject matter. Pattern is closely related to Texture and is not always included in a list of the elements of design. Color and Value: Color, also known as hue, is one of the most powerful elements. It can evoke emotion and mood, enhance texture, and help create the illusion of distance. -
1 Math Action Figures- Human Body Proportion 11-18-14 AO
ARTS IMPACT LESSON PLAN Visual Arts and Math Infused Lesson Lesson One: Math Action Figures: Human Body Proportion Author: Meredith Essex Grade Level: Seventh Enduring Understanding Ratio and proportional relationships can guide accurate portrayal of human figures of any size. Lesson Description (Use for family communication and displaying student art) Students apply understandings of fractions, scale, and ratio to create a human figure in proportion. Head and total height of a human figure is drawn on grid paper based on a 1:8 ratio multiplied by a scale factor. Students then divide the figure horizontally into 8 equal parts and place parts of the figure in those fractional areas guided by a proportion diagram. Last, students use math tools and colorful pens to transform their figure into a “Math Action Figure” character with special math powers. Learning Targets and Assessment Criteria Target: Uses understanding of ratio and scale to map out a human figure. Criteria: Uses ratio of 1:8 (head to body) multiplied by a scale factor to establish proportional head and body height in drawing. Target: Documents proportion calculations. Criteria: Records ratio multiplied by scale factor equation on drawing. Target: Uses understanding of proportion to represent additional parts of a human figure. Criteria: Divides height of figure into 8 equal parts. Sketches head in top 1/8 and sketches parts of figure in other fractional areas guided by diagram and prompts. Target: Creates a math action figure using craftsmanship. Criteria: Defines contour of figure and adds invented geometric elements using pen, grid squares, and straight edge to suggest human and math-inspired characteristics. -
Leonardo's Vitruvian Man Drawing: a New Interpretation Looking at Leonardo's Geometric Constructions
Nexus Netw J (2015) 17:507–524 DOI 10.1007/s00004-015-0247-7 RESEARCH Leonardo’s Vitruvian Man Drawing: A New Interpretation Looking at Leonardo’s Geometric Constructions Vitor Murtinho1 Published online: 9 April 2015 Ó Kim Williams Books, Turin 2015 Abstract Generally speaking, today’s scientific community considers that the famous figure drawn by Leonardo da Vinci at the end of the fifteenth century was made using the Golden ratio. More specifically, the relationship established between the circle’s diameter and the side of the square is a consequence of the geometric relationship probably discovered by Euclid, but made famous by Luca Pacioli in his De Divina proportione. Aware of the close working relationship between Leonardo and Pacioli, namely in the writing of this last book, the theory that establishes a close relationship between these two figures, making use of this remarkable mathematical relationship, has gained credibility. In fact, the use of the Divina proporzione, despite being a very stimulating construction on an intellectual level, presents too great a margin of error, especially for such a competent geometrician as Leonardo da Vinci was. For that reason, the relationship between these two figures (square and circle) is grounded on a much simpler geometric relationship than the one found at the base of the definition, for instance, of Le Corbusier’s Modulor. Keywords Leonardo da Vinci Á Vitruvian man Á Vesica piscis Á Golden number Á Proportion Introduction No human investigation may claim to be a true science if it has not passed through mathematical demonstrations, and if you say that the sciences that begin and end in the mind exhibit truth, this cannot be allowed, but must be & Vitor Murtinho [email protected] 1 CES-Department of Architecture, University of Coimbra, Colegio das Artes, Largo D. -
Vitruvian Man
Activity 1A: Ratio Calculations: Vitruvian Man Students complete a table of ideal human proportions based on Leonardo da Vinci’s iconic drawing of Vitruvian Man. Students use the ratios to calculate dimensions of body features for different-sized individuals with Vitruvian Man’s proportions. Students measure dimensions of head and height for humans and animated characters and calculate their head : height ratios. Understandings • The relationships between body parts can be expressed mathematically using ratios. • Human body ratios vary. • A person’s or character’s appearance can be altered by varying his or her body ratios. Materials Needed • Optional: Printed or digital images of animated characters with varying body proportions (see Advance Preparation) • Handout 1: Unit Overview • Assessment Checklist: Character Design • Handout 2: Vitruvian Man Proportions • Optional: Proportion Matters slide presentation (see Advance Preparation) • Handout 3: Calculating Vitruvian Man Measurements • Handout 4: Human Head : Height Ratios • Rulers • Images of people and animated characters from Appendix A: Head : Height Proportion Images (one per student) (see Advance Preparation) • Handout 5: Journal Assignment DIGITAL/MEDIA/ARTS: MATHEMATICS 8 PROPORTION MATTERS © Education Development Center, Inc. 2011 1. Optional: Show students animated characters with varying proportions. Display the images of animated characters. Ask students: • What do you notice about the differences in the sizes of these characters’ heads in relation to their bodies? What about the sizes of their facial characteristics, such as eyes and mouths? • What effect do you think these visual properties have on your perception of the character? 2. Introduce the concept of proportion. Tell students that in this unit they will look at how body and facial proportions can be quantified mathematically. -
Systems of Proportion in Design and Architecture and Their Relationship to Dynamical Systems Theory
BRIDGES Mathematical Connections in Art, Music, and Science Systems of Proportion in Design and Architecture and their Relationship to Dynamical Systems Theory Jay Kappraff Mathematics Department New Jersey Institute of Technology Newark, NJ 07102. [email protected] Abstract A general theory of proportion is presented and applied to proportional systems based on the golden mean, root 2, and root 3. These proportions are shown to be related to regular star polygons and to the law of repetition of ratios. The additive properties of these proportions are presented in terms of both irrational and integer series. The geometrical and number theoretic properties of the root 3 system are focused on since this system has not been previously reported in the literature. An architectural Rotunda is presented. The relationship between systems of proportion and the symbolic dynamics of chaos theory is presented. 1. Introduction Architecture and design have always involved a search for general laws of beauty. Is beauty in the eye of the beholder or does it come about through intrinsic properties of space? Three general principles: repetition, harmony, and variety lie at the basis of beautiful designs. Repetition is achieved by using a system that provides a' set of proportions that are repeated in a design or building at different scales. Harmony is achieved through a system that provides a small set of lengths or modules with many additive properties which enables the whole to be created as the sum of its parts while remaining entirely within the system. Variety is provided by a system that provides a sufficient degree of versatility in its ability to tile the plane with geometric figures. -
On a Human Scale. Drawing and Proportion of the Vitruvian Figure Veronica Riavis
7 / 2020 On a Human Scale. Drawing and Proportion of the Vitruvian Figure Veronica Riavis Abstract Among the images that describe the proportions of the human body, Leonardo da Vinci’s one is certainly the most effective, despite the fact that the iconic drawing does not faithfully follow the measurements indicated by Vitruvius. This research concerned the geometric analysis of the interpretations of the Vitruvian man proposed in the Renaissance editions of De Architectura, carried out after the aniconic editio princeps by Sulpicio da Veroli. Giovanni Battista da Sangallo drew the Vitruvian figure directly on his Sulpician copy, very similar to the images by Albrecht Dürer in The Symmetry of the Human Bodies [Dürer 1591]. Fra Giocondo proposes in 1511 two engravings of homo ad quadratum and ad circulum in the first Latin illustrated edition of De Architectura, while the man by Cesare Cesariano, author of the first version in vernacular of 1521, has a deformed body extension to adapt a geometric grid. Francesco di Giorgio Martini and Giacomo Andrea da Ferrara also propose significant versions believed to be the origin of Leonardo’s figuration due to the friendship that bound them. The man inscribed in the circle and square in the partial translation of Francesco di Giorgio’s De Architectura anticipates the da Vinci’s solution although it does not have explicit metric references, while the drawing by Giacomo Andrea da Ferrara reproduces a figure similar to Leonardo’s one. The comparison between the measures expressed by Vitruvius to proportion the man and the various graphic descriptions allows us to understand the complex story of the exegesis of the Roman treatise. -
How Art Contribute to the Understanding of Mathematical Concepts?
© 2019 IJRAR December 2019, Volume 6, Issue 4 www.ijrar.org (E-ISSN 2348-1269, P- ISSN 2349-5138) HOW ART CONTRIBUTE TO THE UNDERSTANDING OF MATHEMATICAL CONCEPTS? Sunita Yadav Assistant professor of Mathematics Abstract: - Nowadays, understanding mathematics is crucial in terms of a personal development and people’s life adjustment to a modern society. As well as it is important to see the interrelations between mathematics, arts and other aspects of the society including economic and social development for a high quality well-being life. This paper presents a mixed methods study whose objective was to learn about a possible contribution of art to the understanding of mathematical concepts. Here teaching approach for studying mathematics is presented. The method is the result of a combination between art and technology in order to stimulate and motivate students in mathematics often considered boring and difficult to understand. This helps students revive the art perception displaying its hidden science base and understand that artists’ reasoning is reducible to mathematical concepts. Learning and tend to score higher on various levels of assessment. Creating an environment that uses cross-curricular teaching to harness student skills creates a unique and engaging classroom environment. Accordingly, Mason et al. (2005) noted in their study that, “participants enthusiastically described how music, visual arts, and drama have impacted individual children and youth. According to participants, through arts activities students gained and demonstrated skills in problem solving, sequencing, following direction, teaming, communicating, planning and organizing, and self assessment”. Keywords: - Arts, mathematics, communicating, planning and organizing, and self assessment. Introduction: - Fine art and mathematics are intertwined and have complemented each other from the very beginning. -
AN EXPLORATION of BODY IMAGE and PSYCHOLOGICAL WELL-BEING AMONG AGING AFRICAN AMERICAN and EUROPEAN AMERICAN WOMEN by Natalie Ja
AN EXPLORATION OF BODY IMAGE AND PSYCHOLOGICAL WELL-BEING AMONG AGING AFRICAN AMERICAN AND EUROPEAN AMERICAN WOMEN by Natalie Jane Sabik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Psychology and Women’s Studies) in The University of Michigan 2012 Doctoral Committee: Professor Elizabeth Ruth Cole, Chair Professor Deborah Keller-Cohen Professor Jacqui Smith Professor Lucretia Monique Ward _______________________© Natalie Jane Sabik_________________________ All rights reserved 2012 To my parents, who have always encouraged me, inspired me, and gave me their support. ii ACKNOWLEDGEMENTS I would not have been able to complete this dissertation without the love and support of my family. Justin, you have been with me through everything, from the moment I decided I wanted to earn my Ph.D. and took on my first research project, and you’ve always known I could finish what I started. From you, I have learned patience, and your generosity and kindness have given me the strength and support to continue to work towards my professional goals. I am so glad you’ve chosen to take this path with me, and that you have been so selfless in your decisions, including making the move to Ann Arbor with me. Mom, I would never have had the guts to sets my sights so high if I hadn’t had you as my role model. You work harder than anyone I know, and watching you continue to challenge yourself personally and professionally has been a gift. I want to be like you when I grow up. -
Late Twentieth Century Connections Between Architecture and Fractal
Michael J. “Fractal Architecture”: Ostwald Late Twentieth Century Connections Between Architecture and Fractal Geometry Michael Ostwald examines the intricate, constantly shifting relationship between architecture and fractal geometry. At times this dependence is diffuse, and modes of theoretical transference are subtle, symbolic or semiological. At other times wholesale appropriations of geometry takes place and large fragments of theory are pirated away from their originating discipline and used opportunistically. Introduction For more than two decades an intricate and contradictory relationship has existed between architecture and the sciences of complexity. While the nature of this relationship has shifted and changed throughout that time a common point of connection has been fractal geometry. Both architects and mathematicians have each offered definitions of what might, or might not, constitute fractal architecture. Curiously, there are few similarities between architects’ and mathematicians’ definitions of “fractal architecture”. There are also very few signs of recognition that the other side’s opinion exists at all. Practising architects have largely ignored the views of mathematicians concerning the built environment and conversely mathematicians have failed to recognise the quite lengthy history of architects appropriating and using fractal geometry in their designs. Even scholars working on concepts derived from both architecture and mathematics seem unaware of the large number of contemporary designs produced in response to fractal geometry or the extensive record of contemporary writings on the topic. The present paper begins to address this lacuna. Here I focus primarily on architectural appropriations of fractal geometry to briefly describe more than twenty years of “fractal architecture” and to identify key trends or shifts in the development, acceptance and rejection of this concept; the aim is to provide an overview for both architects and mathematicians of the rise and fall of fractal architecture in the late twentieth century.