Ed Schenk's World

There are about three people that are almost regular contributors to this blog and Marko Niemi is one of them. Marko has continued to keep me on my toes and has graciously sent me a link to a mathematical poem found on vispoets.com

I would like to dedicate this blog entry to Ed Schenk’s poem that he posted on vispoets.com and I have reposted above.

First of all I would like to say I like Ed’s Pythagorean Theorem Poem with the idea of world being the hypotenuse of a triangle with the adjacent and opposite legs being perception and reality. Ed’s intent is such that he is asking whether the world is equal to these things. You notice that he has ‘???’ in the field of view. My guess is that Ed wanted to avoid the trap that too many people get hung up on concerning mathematical poetry. It seems that many people think that we are trying to create axioms or scientific statements. The latter idea I believe is due to the provenance of mathematics having much momentum since it is the language of science. However, I look at math poetry with a lack of scientific eyes. There could be an entire debate on whether Ed needed to put those question marks on his piece and I could argue both sides. The point I want to make is that mathematical poetry is not science.

I believe one good reason to leave the question marks on his poem are to insure that we avoid a philosophical debate and focus on the beauty of the language while entertaining the ideas presented. When it comes to philosophy and mathematical poetry I feel it is very difficult to be good at both philosophy and art. I feel mathematical poetry is less distractive when inspired by established philosophy and illuminated with a new and expanded life. Although I am sure that I have crossed the boundaries on occasion.

I also wanted to mention a technical delineation, that by putting the question marks underneath the poem it becomes a mathematical visual poem for to become a pure mathematical poem the question marks would be located above the equal sign as shown in the Avrin proposition posted April 22, 2007

I love the form of Ed’s poem however; it is hard for me not to like a Pythagorean Theorem poem. I love everything about the Pythagorean Theorem for it is always a great one to ponder just because it has such a magical quality expressed in such simplicity. ---- Although, I wouldn’t advise it, one could spend their whole life making poems in this form alone.

Of course I will have to mention as soon as I see a mathematical poem in the form of the Pythagorean Theorem, like Ed’s, then my first thought is to take it into analytic geometry and map it on the Cartesian coordinate system.This in effect is taking the Pythagorean Theorem and spinning it around a single point to create the equation of a circle.

So what would Ed’s piece look like expressed on the Cartesian coordinate system? Well, let’s look at it. This is Ed's poem spun around a point with verbogeometric axes of perception and reality.

Another thing that always occurs to me when I look at the Pythagorean Theorem is to ask how many dimensions I need to express what I want. Ed has chosen two for his poem and this is good however, we have the option to pick as many as we want. Since the idea of ‘world’ could bring about a visualization of the earth we could choose three dimensions and use the equation of a sphere. (This is the equation of a circle spun around a line)

The image below is an example where I have added an extra dimension to Ed’s equation to come up with a spherical poem. I decided to use belief as a dimension because it was the first thing that popped into my head. For this paradigm, it is not important so much as to what I am saying for I am really just trying to serve an example of how to add an extra dimension to the equation for a circle to render the equation for a sphere. Thus creating a spherical poem or in other words the Pythagorean Theorem in three dimensions and visualized in the Cartesian coordinate system.

Grumman's Christmas Poem 2007

Grumman's Christmas Poem

I would like to bring to your attention a poem I saw on Bob Grumman’s blog a few months ago. Bob basically has been doing most if not all of his recent mathematical poems in the form of long division. He rarely constructs a pure mathematical poem as almost all that I have seen are mathematical visual poems. The poem below is one such poem. Bob has been described by his friend Geof Huth as a curmudgeon and I have to admit that when I read his non-mathematical poems, his blog or his editorial writings I never find the boy child-like quality that he so beautifully expresses in some of his mathematical poems. Furthermore this poem has that particular boyish quality that can touch any man who allows it to happen. I feel it is one of Bob’s best. Here is a link where you can read Bob’s Blog entry where he talks about this poem.

A Mathematical Love Poem By H. K. Norla

I would like to give recognition to a wonderful mathematical love poem. I found the poem the other day on an abandoned blog by a young man named H K Norla. I tried to contact him but am not able to find an email address for him. His poem titled “Of X’s and Y’s” can be found on his blog here as well as my repost below.

I found his wonderful poem to be a great example of mathematical poetry with a new twist that I haven’t seen before. In between the pure math symbols he has made verbal statements that relate and segue to the adjacent equations. JoAnne Growney and Sarah Glaz are edition a book on mathematical love poems and I wish Mr. Norla was around to submit this piece to the book. (It may be too late anyway however, this is a wonderful poem)

The following is my visualization of Mr. Norla’s poem

Numerical Notation Bibliography

Here is a great source of information in general and a source for “Numerical Notation Bibliography” in particular. This is a link to a bibliography of 1047 academic publications about numerals, numeral systems, numerical notation and numeration. Compiled by Stephen Chrisomalis -- Here is a link to Stephen’s book page.

Thanks to Karl Kempton for pointing this out to us.

The Platonist Dilemma

I don’t see ‘Nature’ as mathematical
I see ‘Nature’ forcing us to be mathematical

Judgment

Quantify Not And Ye Shall Not Be Quantified!

A Math Art Moment #2

Delineation#2

Mathematicians generally agree on what is mathematically correct. Artists generally have no idea what is artistically correct.

To see more math art delineations click here

The Avrin Proposition

The Avrin Proposition
Please familiarize yourself with the similar triangles poems to help with the following.

The physicist William Avrin has restructured the similar triangles poem to form a new proposition to ponder. He uses a edited example of the similar triangles poem titled “The Lottery” that was posted Friday March 9, 2007 (below)



From the poem above to the examples below.

Here we have the "The Avrin Proposition" shown in the simile version



Here we have the "The Avrin Proposition" shown in the metaphor version



The idea of us solving the question, whether the statements equal 1 or any number for that matter, would require some rigorous control of the contexts in question and furthermore, they (the contexts) would need to be limited greatly to have any meaningful value. I personally am not that interested in finding the perfect number that is entirely too scientific for me. However, I wish to say that I believe mathematical poetry is more about the ‘aesthetic feeling’ of the mathematical relationships within the equation as opposed to the quest to solve it for hard numbers. However there is a very interesting twist to this idea of number in mathematical poetry.

Here in the Avrin proposition we are bouncing our understanding of the words and our feeling of the relationships against the resulting number and thus forming a comparison for metaphoric conflation. In another words the source domain of the metaphor is the statements “playing the lottery” divided by “ogling pornography” as well the statements “financial fantasy” divided by “sexual fantasy” and our target domain is the number “1”. Here we have a very good example of an aesthetic feeling involved in metaphor that conflates from number and words.

Thank you Bill Avrin for pointing this out!

Similar Triangles Poems

Similar Triangles Poems / Proportional Poems

I would like to map out the structure and show examples of what I call "Similar Triangles Poems"or "Proportional Poems". Let me use the example of Similar Triangles to help visualize the proportional relationship in this mathematical structure.

Let us first look at two similar triangles with sides labeled ‘a’ ‘b’ ‘c’ and the second with sides labeled ‘d’ ‘e’ and ‘f’ Notice the laws of geometry state that a/b is equal to d/e as shown below. I am going to call this latter equation "The Similar Triangles Relationship".

Also let us note that we can solve for any or all of the variables. This will give us four synonymous variations of the similar triangles relationship in terms of one variable – examples shown in the next slide:

Now let us look at the logical structure of the following comparison: Apples are to apple butter as peanuts are to peanut butter. Furthermore, let us also look at how we can map the latter statement into the similar triangles relationship.
The following slide shows us a good example of how metaphor can be applied to the relationship of similar triangles.

Now let us substitute the terms of our logical comparison into the all of the similar variations to create four similar triangles poems.

We now have four poems that are logically equivalent but syntactically different. Each poem says the same thing only with a different flavor much like playing a piece of music in four different keys.

The pedagogical example above uses rather mundane subject matter. To see more poetic examples, please click on the lablel for "Similar Triangles Poems" (below)

Frank Sauce

This blog entry is a response to some comments made at my blog entry displaying the similar triangles poem titled “The Lotto”

Frank,
I appreciate you stopping by and I enjoy engaging your comments in some discussion even though you didn’t really leave much behind. I took the liberty to stop by your blog to try to understand your point of view in order to decipher your comments. I am going to assume from your blog entry, concurrent with your comments on my blog, that you are frustrated with the attention given to Ron Silliman’s idea of torque in poetry as well as being annoyed with my blog posting of a way to look at 'torque in poetry'. (Please notice I said 'a' way not 'the' way) Furthermore it seems that Ron's blog brought you to mine.

Your first comment was, “mathematics is objective”

I now ask you to notice the analytic geometrical equation for a circle “x squared plus y squared equals the radius squared.”

This is a mathematical description of a circle which is pure, and clear furthermore, it is as accurate as the human mind can fathom. There is no object in the universe that exists that matches this equation. There are plenty that very roughly approximate it, but none that match it. Even if you are not familiar with the analytic geometric equation above, you probably are aware that the ratio of a circle’s diameter to its circumference is equal to the irrational number pi. I would also guess you are aware that pi is not an object. Mathematics is a language not an object. You can not find pure math in nature any more than you can find the word ‘tree’. The tree is the object not the word. Pure mathematics is not objective.

I think where you and many others may be having trouble is that you have never seen applied mathematics used for connotation. Therefore it does not exist. I ask you to slow down for a moment and ask why not? I find this argument to be the same as someone who believes that a child should always stay inside the lines while coloring in a coloring book. Thinking that a mathematical equation must be used only for denotation is a paradigm that mathematical poets want to shatter. The equation is merely a logical structure that can be used for anything including metaphor.

After reading your blog entry I think I see another problem that you may have. It seems that when you see mathematics you automatically think “science”, “definitions”, and “laws”. I think it is safe to say that ‘mathematical poets’ have no more use for these terms than traditional language poets. (No less use as well) My work in particular may express something within a logical framework and it may even be philosophical however; it is not and was never intended to be science. I will say it again, “mathematics is merely a language.”


Your next comment was, “this poem is subjective”

Yes however, as I pointed out Pure math is subjective as well.

Your next comment was, “the symbols are obvious and cliché “

You really haven’t given me much to work with so I have decided to address this in two ways. My first response will assume that you fully understand the logic and the aesthetics in the mathematical structure of the poem. My second response will assume that you do not understand the logic nor the aesthetics employed in the structure.

My first response:
You have actually illuminated one of the difficulties when choosing the descriptive elements in a mathematical poem. The more literal the words used in the poem then the more clear and readable the intention becomes, yet one always runs the risk of being cliché. Of course this can be said in traditional poetry as well for you can become so narrow in your attempt at being descriptive that you become cliché. Because mathematical poetry is so new to many I have decided in many cases to focus on the beauty in the mathematical relationships between the elements as opposed to the verbal expressions within that structure. Many times I place a pedagogical spin to a poem in hope of spawning interest. However, here is a case where it may have backfired.

My second response:
Since you don’t understand the mathematical language it is really difficult to take your response to heart. It is much like listening to a person passing judgment on French poetry while not knowing the French language.

The poem "The Lotto" where you left your comment has the structure of what I call the similar triangles poem. My next blog entry will be dedicated to illuminating the structure of the similar triangles poem such as the one discussed in this blog entry.

Freedom Of Speech

Every country has freedom of speech; it is just the consequences for that freedom varies.

KM

Polyaesthetics and Mathematical Poetry

I am pleased to announce that the paper I wrote on “Polyaesthetics and Mathematical Poetry” was accepted into the Journal of Mathematics and the Arts. It is now available at the following link :

http://www.informaworld.com/smpp/title~content=t755420531

My Wedding

I feel that my blog has been suffering the past 4 months due to my life being consumed by my wedding and the consequent website that I built to honor the event.

If you are interested you can check it out at
http://www.kazmaslanka.com/wedding_introduction.html

From Ethnic To Creedal

This poem is in the form of a similar triangles poem.

God Doesn't Play Dice

God Does Not Play Dice, God Is Dice

Mandelbrot Rock

JoAnne Growney was kind enough to send me this youtube link to a tune by fellow geek Jonathan Coulton

Torque In Poetry

In response to the blog entry at Ron Silliman’s blog which pointed to this blog entry by K. Silem Mohammad: Lime-Tree (click here)

I would like to contribute to this discussion on ‘torque in poetry’ by giving an example of how one may view the mechanics of torque within a poem. Furthermore, in particular, I will give an example using the Creeley poem previously discussed.

To understand the difference between torque and linear movement in a poem we should understand the difference between the components of the two within the context of a poem. Let me reiterate the interesting ideas that Silem Mohammad has brought forward in the blog entry referenced above.

The concepts in question are pulling, pushing, syncopation, and torque. First of all pushing and pulling are generally thought to be linear forces. (in a straight line) Force can also be used in torque as in pushing or pulling something perpendicular to an axis as in the example of pushing on a swinging door. Pure rhythmic (without glissando or modulation) syncopation seems to me to be a linear force due to the idea that we generally perceive time to be linear at least in an analytical sense. I believe syncopation in music or poetry can express torque with the additional use of pitch such as a talking drum or with synaesthetic visual imagery. I believe you may experience torque in Creeley’s poem due to the visual imagery associated with physical torque as in a car swerving to miss an object in the road:

“drive, he sd, for
christ's sake, look
out where yr going.”


To imply torque in the visual structure of the poem one has to imply force moving perpendicular to an axis. Like the twisting diagram above. So this brings us to the question: What is the axis and what is the force within the structural line-breaks of Creeley’s poem?

One way to visualize the torque within the structure of his poem is to notice that the movement in the line breaks creates a curve that our vision may follow. (See diagram above) It may not follow this exact curve but it must follow a curve if you are experiencing torque. There is an argument that your eyes follow a straight line to the next line. In that case you would experience a linear force not torque.

So let’s look at a curve connecting the lines in the above diagram. The red curve is an enlargement of the black curve in our diagram. Notice that the curve varies in curvature. The radius in the curvature is changing which means the torque is changing also. However, let’s freeze our eye movement for a moment and just look at one radius which is shown in the black circle that lays on the red curve. That radius is represented for a stopped moment in time at a certain place along the curve. This is the point where we can imagine that we can see the radius of curvature that our eyes follow in this poem. This radius is the “r” value in the equation for torque.

Now we must find the force and break it down so that we can see the components of force in the poem.

One of the ways physics describes force is that “force is equal to the change in momentum of an object per the change in time during the objects spatial movement”. (F = delta mv/delta t)


The Egg Toss Game

Many of us have experienced force when playing a particular egg toss game in which the goal is to have your partner throw you an egg and you catch it without breaking it. What you are doing in this game is change the momentum of the egg from its maximum speed when it is flying toward you, to a speed of zero when you slow its fall in the palm of your hand. Furthermore, the objective is to slow its fall over the greatest amount of time possible. Force is the change of momentum per the change in time in other words if you change the momentum of the egg in a short period of time the egg breaks because you created too much force on the egg. You created much more force than if you would have caught the egg over a longer period of time.

So how does all this relate to the poem?
The force involved in at the end of the line break is equivalent to the change in the flow (momentum) in the poem per the change in time as you read it. This idea is the “F” value in the torque equation.

Since force is the change in momentum per the change in time, let’s look at what ideas comprise the momentum at the end of the line break in this poem?

Let’s go back to physics and look at the definition of momentum. Momentum is the mass of an object multiplied by the velocity that the object is traveling.

What is the mass in the poem at the end of the line break?
I see the mass being static concept in the line’s subject. For instance “the darkness” in line five of the poem is the static concept.

What is the velocity?
I see the velocity caused by anticipatory interest we have in finding what the next line says. For example the line ending in the word ‘what’ is not resolved and we experience anticipation to resolve it. Our anticipation is what is moving in our mind until the idea is resolved at the next line. The velocity then slows down as our interest slows down. In other words the more anticipation we experience then the faster our need is to resolve the idea at the next line. Furthermore, the greater the change in the momentum of our interest then the more force we experience. The more force we experience then the more torque we will experience.

In conclusion:
If you want to describe torque in a poem then you must have a force moving on a radius about an axis. If you don’t have those elements present in the poem then you are experiencing linear force not torque.

Extremism

Here is a similar triangle poem concerned with extremism.

The Lotto

Here is a similar triangle poem concerned with playing the lottery.

Marko Niemi Critical Mass

Another animated mathematical visual poem by Marko Niemi

Marko Niemi Divine Intervention

Another animated mathematical visual poem by Marko Niemi

Marko Niemi Eye Of The Beholder

Here is another animated mathematical visual poem by Marko Niemi

Marko Niemi Party-NRJ

Here is a animated mathematical visual poem that Mark Niemi just sent me ... The equation above is the equation from physics describing energy. Marko has animated it to play with the textual meanings relative to its semantic meanings. Check it out

Quote From Samuel Johnson

I am always sorry when any language is lost, because languages are the pedigrees of nations. -Samuel Johnson, lexicographer (1709-1784)

Delineations Between The Aesthetics Of Math And Art

This page is dedicated to collecting ideas that describe the differences in the aesthetics of math and art.*


I would like to invite discourse into the construction of these ideas. Everyone is invited to comment. Making these delineations is not an easy task and I feel the statements may evolve. I will address any comments to these statements.

I feel it is very important to understand the differences in the disciplines of art and math so that we can join them in the most creative, clear and meaningful ways.


Delineation #1:
Mathematical truths are discovered Artistic truths are mediated.

.
Delineation#2:
Mathematicians generally agree on what is mathematically correct. Artists generally have no idea what is artistically correct.

.

Delineation#3
Math illuminates the supportive skeletal structure of thought whereas Art illuminates the metaphoric wind, which blows through that structure.

.

Delineation#4
Science reveals the body of GGod and Art reveals GGod's mind -- or is it the converse?

.
Delineation#5
Pure Mathematics has no expression for poetic metaphor however; it does provide us a structure that can be used for it.

.

Delineation#6

In general, the mathematician is not interested in finding truths through nonsense as opposed to the artist who is.

.

Delineation#7

The goal of art is to go beyond language. Mathematics is a language to describe what is beyond us.

.

Delineation#8.
Artists have an insouciant tendency to get lost in their imagination Mathematicians have an attentive tendency to map their imagination

.

Delineation #9
A mathematical theory seems to come in a flash of intuition before the final product is rigorously constructed. An artistic theory seems to come much after the artwork that has been constructed in a flash of intuition.

Delineation #10

Mathematical creations are not unique in the sense that they could be discovered by anyone.
Artistic creations are uniquely invented by individuals.

Delineation #11
Mathematics, among other things, is a language.
Art, among other things, uses language.
.

Delineation#12
In science one tries to tell people, in such a way as to be understood by everyone, something that no one ever knew before. But in poetry, it’s the exact opposite. —Paul Dirac
.

Delineation #13
Art is the expression of culture.
Pure mathematics is independent of culture therefore, cultureless.



Some of these were published earlier in Bridges proceedings 2002 “Sentences on the Aesthetics of Mathematics and Art” page 256

Unlikely 2.0

Dog Dream

This is my first Korean artwork
Dog Dream = Irrationality / Importance

The poem is in the form of an orthogonal space poem


Check out the lastest Unlikely Stories. My latest two pieces are among some wonderful new art/poetry work.

Temptation At The Asymptote

I have a new piece titled “Temptation” (below)

As you look at the graph of Y=1/x (above) you will notice the values become extremely large as you approach the asymptote where the value of x equals zero. At x = zero the y value becomes infinite (at the asymptote).

We have the same situation when we approach temptation. It gets stronger and stronger as we get closer to the object of our temptation and when you touch your temptation you lose the game. In other words the shorter the distance to your object of temptation the closer you get to the asymptote.

The form of the poem is an orthogonal space poem

Temptation 2006 Kaz Maslanka

Bridges Reminder

Flaky Pie

This image came from the following link: Flaky Pie

Merry Christmas

Merry Christmas

Here is my Christmas fractal I constructed for you.

I wish you a Merry Christmas and a Happy New year

Lothar Schmitz

Lothar Schmitz’ sculptures reconfigure and question corporate landscape elements using man-made materials. His topiary-like treatment of landscape alludes to the accelerating pace of ecological change and genetic mutation. He draws experience from both his art and physics background. Schmitz is a past Los Angeles Cultural Affairs COLA Individual Artist Grant recipient and a physicist.

FOR IMMEDIATE RELEASE:
CONTRARY TO THE LAWS OF NATURE
Los Angeles based artists stretch those laws and present some of their own.Mitchell Friedman, Manfred Menz, Lothar Schmitz, Carrie Ungerman and Melinda Smith Altshuler address social, environmental and psychological circumstance in the landscape. Exhibition Dates: December 21, 2006 - January 27, 2007Artist’s Reception: Thursday, December 21, 5:30 pm – 7:30 pm

Sarah Lee Artworks & Projects
2525 Michigan Avenue (Bergamot Station), T1, Santa Monica, CA 90402
Media Contact: Melinda Smith Altshuler, 310 367.5246, msasees@yahoo.com
Gallery: 310 829.4938 E-mail, saralee4@verizon.net
Website: http://www.sarahleeartworks.com
Gallery hours: Tuesday through Saturday 10:30 am- 5:30 pmPlease direct e-mail inquiries about the exhibition to the gallery’s address (above);

Celebrate The Tenth Annual Bridges Conference

Celebrate the Tenth Annual Bridges Conference

BRIDGES DONOSTIA

Mathematics, Music, Art, Architecture, Culture

***************************************
**** http://www.bridgesmathart.org ****
***************************************

Bridges: Mathematical Connections in Art, Music, and Science
School of Architecture, The University of the Basque Country
San Sebastian (Donostia), Spain

July 24-27, 2007

The conference consists of a 4-day combination of Bridges Conference
activities (July 24, 26, and 27) and an excursion day to Bilbao (July
25). Please visit the Announcement page at the conference website for
a complete announcement.

THE CONFERENCE

The Bridges Conferences, running annually since 1998, bring together
practicing mathematicians, scientists, artists, educators, musicians,
writers, computer scientists, sculptors, dancers, weavers, model
builders in a lively atmosphere of exchange and mutual encouragement.

Important components of these conferences, in addition to formal
presentations, include hands-on workshops, gallery displays of visual
art, working sessions with artists who are crossing the
mathematics-arts boundaries, and musical/theatrical events in the
evening.

CALL FOR PAPERS

You are invited to submit either a short (two pages) or long (at most
eight pages) paper that presents new work within the scope of the
Bridges conference. Papers must be submitted as Microsoft Word or PDF
to papers@bridgesmathart.org. The deadline for paper submission is
Febrary 1, 2007. This deadline is firm! If electronic submission is
impossible, please contact Reza Sarhangi to make other arrangements.
Authors will be notified of acceptance on March 25, 2007, and final
papers will be due on April 23.

WORKSHOPS

There will be several teacher workshops for K-12 teachers and educators
at the 2007 Bridges Conference. If you are interested in making a
presentation in one of these workshops you need to submit either a
short (two page) or long (eight page) paper; The deadlines for
submissions of preliminary and final versions are the same as for the
contributed papers.

VISUAL ART EXHIBIT

At the conference, there will be an exhibition room for 2D and 3D
mathematical art, ranging from computer graphics to quilts to
geometrical sculptures. This art exhibit will be curated by Robert
Fathauer. All submitted artwork will undergo a refereeing process.
There is a limit of five submissions per artist. Images of accepted
artworks will also be published on the conference CD.

CONFERENCE REGISTRATION

There is a registration fee of US $180 that includes a copy of the
Proceedings. Extra proceedings will be available during the conference
with a price of US $50. There is a special discounted rate for
students, artists whose expenses are not otherwise supported, and K-12
teachers. Please visit the Registration page at the conference
website.

ACCOMMODATION AND FACILITIES

Participants have a choice of staying in the campus facilities
(comparable to a three star hotel and within walking distance of the
conference site) or staying in a nearby hotels (a list of hotels is
provided in the Accommodations section of the Bridges website).

MAILING LIST

You have received this message because you are subscribed to a mailing
list for Bridges-related announcements. If you would like to manage
your subscription, please visit the mailing list web page at
https://lists.uwaterloo.ca/mailman/listinfo/bridges.

Anyone interested in joining the list may send email to
bridges-join@lists.uwaterloo.ca.

OTHER INQUIRIES

For any other information not available on the web page please
contact: Reza Sarhangi, Department of Mathematics, Towson University,
8000 York Road, Towson, MD 21252, (410) 704-4922. rsarhangi@towson.edu.

Alligator Cubed

Climax 4 by Mirela Roznoveanu

Presently, Dan Waber has some interesting math-poetry related images on his Blog that I would like to draw to attention. There is an interesting series of works by Mirela Roznoveanu that I would like to note, have verbogeometric properties. Although the pieces are not explicitly mathematical (they do not show equations) they do show graphic ideas in space implicitly related to a Cartesian coordinate system.

Because they are so abstract they can have numerous contexts applied to them pointing to meanings just as numerous. The resultant aesthetic experience is a vector sum of all the contexts applied. Of course this is my personal take on this and I will certainly give you room to express your own viewpoint.

Alligator Cubed by Jeff Crouche

The other piece I want to point out is Jeff Crouche’s “Alligators cubed” This is a perfect example of visual mathematical poem. (a nice one at that)

and thanks to Marko Niemi for keeping me on my toes

Applications For Verbogeometry

Shown above is a three-dimensional verbogeometric polyhedral

Applications for Verbogeometry

Neal Goldman, a mathematician has come up with a single verbogeometric polytope to analyze huge amounts of data. Business week online has recently published an article talking about Goldman’s polytope and you can access this article here. I was proposing someone write a polytope poem in my blog entry on August 14, 2006. Goldman’s polytope is not a poem but it can be viewed as a hyper-dimensional verbogeometric structure.

I would like to present an excerpt from the article to arouse your curiosity:

How do you convert written words into math? Goldman says it takes a combination of algebra and geometry. Imagine an object floating in space that has an edge for every known scrap of information. It's called a polytope and it has near-infinite dimensions, almost impossible to conjure up in our earthbound minds. It contains every topic written about in the press. And every article that Inform processes becomes a single line within it. Each line has a series of relationships. A single article on Bordeaux wine, for example, turns up in the polytope near France, agriculture, wine, even alcoholism. In each case, Inform's algorithm calculates the relevance of one article to the next by measuring the angle between the two lines.

Here is the link to the original article from business week online

Journal of Mathematics and the Arts

I would like to spotlight a new Journal on Mathematics and Art. Edited by Professor Gary R. Greenfield from the University of Richmond in Virginia … I will keep you posted when the first issue comes out.

Upcoming Show in Chicago

For over twenty-five years, PHSColograms, the integration of photography,holography, sculpture, and computer graphics, have created a post-canvas three-dimensional medium that has expanded the visual imagery of the work of a variety of scientists, mathematicians, engineers, architects, and artists.





Paradox. The vessel is a metaphor of our human existence, the body symbolized as a box or bowl is the vessel for the soul. The paradox between the need to belong and the need for individuality; attraction and repulsion; the inside and the outside; materiel expansion and contraction.

Paul V. Galvin Library, Illinois Institute of Technology
35 West 33rd Street, Chicago, IL 60616

Exhibition hours: Monday - Thursday: 12 - 6 pm, Friday: 12 - 5 pm
Saturday: 8:30 am - 5 pm, Sunday: 2 - 6 pm

Bridges London Conference Proceedings

I just received my Bridges 2006 Conference Proceedings today! It is full of wonderful papers for which some of them I plan to review. I recommend you going down to your local bookstore and ordering it! ISBN 0-9665201-7-3

Happy Halloween!

New Design For My Main Website

I have redesigned my main website with an attempt to make the navigation easier. Any feedback will be greatly appreciated!

Thanks!

Multiple Universe Show Opening Today

“Multiple Universes” show opening today 2 pm to 5 pm … If you are in southern California come join the fun. Above is the map to the show

Allen L Roland -- EQUATION FOR LOVE AND WORLD PEACE2

I would like to thank the young lady by the name of Tifinie who sent me the link to a ‘myspace.com’ account which had a copy the following essay posted. I am always interested in anyone expressing mathematical poetry. Here is a link to the original source of her information.

The following essay is by Allen L Roland a psychotherapist and political activist who can be found at allenroland.com. Dr. Roland’s essay is a perfect example of mathematical poetry in his metaphorical use illuminating his philosophy. I went to his website and found much of his spiritual and socio-political views to be similar to mine although he is much more aggressive than I.

His poem reminds me of a poem I had done a poem using this same equation. I haven’t published it on my blog because I haven’t made an electronic version of it yet. Maybe this will motivate me to post it later just to contrast this poem and show how the same equation can be used for many vastly different metaphors.

--Kaz

E=mc² / A NEW MATHEMATICAL EQUATION FOR LOVE AND WORLD PEACE

Since we now know that the particles of light ( photons )
are subject to another force ~ and I would argue that that force is a psychic energy field of love and soul consciousness ( The Unified Field ) which exists beyond time and space and whose principle property is the universal urge to unite ~ it's time to add another dimension to Einstein's famous equation ~
E=mc².

E=mc² in Einsteinian terms means that the energy contained in matter is equal to its mass multiplied by the velocity of light squared.

Unfortunately, man, in his limited consciousness, has used this equation to create nuclear bombs and the means to completely destroy mankind.

But we now have growing scientific evidence that light is not the one constant of the Universe and may very well be a condition of state within a greater constant.

David Adam, science correspondent for the Guardian, in an April 11th article entitled Why Einstein may have got it wrong , reports some startling findings as physicists gather in England to celebrate Einstein's work;

"Astronomers will tell experts gathering at Warwick University to celebrate the anniversary of the great man's "miracle year" that the speed of light - Einstein's unchanging yardstick that underpins his special theory of relativity - might be slowing down. Michael Murphy, of the Institute of Astronomy at Cambridge University, said: "We are claiming something extraordinary here. The findings suggest there is a more fundamental theory of the way that light and matter interact; and that special relativity, at its foundation, is actually wrong."

The Bose/ Einstein Condensate established that photons, and now even atoms have a tendency to unite and dance in perfect unison.
Einstein was in a quandry about this phenomenon so he dismissed this obvious attraction of photons as not only spooky but evidently a " tendency to want to travel together " ~ and Einstein later died never realizing he had found his elusive Unified Field.

For, as I have written before, it was Einstein's consciousness that kept him from grasping that he had indeed discovered the Universal primal urge to unite that exists from atoms to human beings ~ and that even galaxies are subject to its universal pull.

As such, this psychic field of love and urge to unite deepest within us cannot be observed through the most powerful electron microscope nor through the lens of the largest telescope, for it is an energy which must be surrendered to and experienced before it can be perceived through the consciousness of the observer.

So now, let us breath fire into Einstein's most famous mathematical equation E=mc² and apply it to a Unified field of love and soul consciousness which could lead us instead to our ultimate fulfillment as human beings;

E = Love ~ The ultimate totalization of human energy ( The Unified Field )

M = Man, the most complex and conscious form of matter that we know.

c²= Consciousness squared.

Thus, the energy of conscious unconditional love, which is deepest within all living matter, is equal to man times his consciousness squared.

British physicist, Steven Hawking, regarded by many as today's successor to Einstein, wrote that there ought to be something special and simple about a theory of everything .

And what could be more special and simple than love.

Finally, at this critical moment for mankind ~ it is imperative that we now recognize that love, not light, is the one constant of the Universe.

ONLY LOVE HEALS

Allen L Roland