The fifth volume in this acclaimed series on the history and philosophy of architecture crosses a wide geographical and temporal range; moving from Greco-Roman antiquity to tenth-century India to contemporary Thailand and New York. The inter-disciplinary essays share a common theme in their reflections on the meaning of place and place-making as a richer alternative to the conceptual abstraction of universal ‘space.’
#3904816 in eBooks 2010-12-23 2010-12-23File Name: B00CS0IN2W
Review
0 of 2 people found the following review helpful. Four StarsBy lilly libraryWe are pleased with the purchase1 of 1 people found the following review helpful. Mathematics permeates great writing and great artBy Robert C RossFascinating extracts and essays on 20th Century mathematics; some of it artfully disguised by the author; some of it in plain sight and beautifully presented. Tubbss basic thesis is that mathematics informs many artists and authors; even if they are not expressly aware of its influence.Therefore; Tubbs argues that art can be better appreciated when its underlying mathematical structure is understood. As someone who enjoys mathematics as an amateur; but enjoys fine writing and great art even more; this book was an exciting journey.One example of the pleasures here that even a novice in mathematics can understand appeared in the recent "Futility Closet" website.Robert C. RossJanuary 2015***In 1972 the Belgian mathematician Edouard Zeckendorf established Zeckendorfs theorem: that every positive integer can be represented as the sum of non-consecutive Fibonacci numbers in one and only one way.In 1979 French poet Paul Braffort celebrated this with a series of 20 poems; My Hypertropes. Each of the 20 poems in the series is informed by the foregoing poems that make up its Zeckendorff sum. For example; the Zeckendorff representation of 12 is 8 + 3 + 1; so poem 12 in Brafforts sequence shares some characters or images with each of these poems. This forced Braffort to build scenarios that would permit these relations as he wrote the poems.Each of the numbers 1; 2; 3; 5; 8; and 13 is its own Zeckendorff representation; so Braffort related each of these to its two foregoing Fibonacci numbers (e.g.; 8 = 3 + 5). This means that only the first poem; "The Preallable Explanation (or The Rhymes Reason);" is not influenced by any of the others. Here is that first poem; as translated by Amaranth Borsuk and Gabriela Jaurequi:This is my work; this is my study; like Jarry; Cyrano puffy;to split hairs on Rimbaud and on willies find booboos.If it was fair or if it snowed in Lhassa Emma Sophie Bo-vary widow of slow carnac gave herself to the god of wack.Leibnitz; saying: "Verse ..." What an ac-tor for this superb "Vers ...". Oh "nach"!He aims; Emma; the apoplexy of those drunk on galaxy.At the club of "spinach" kings (nay; Bach never went there; Banach yea!)Leibnitz -- his graph ibo: not six mus; three nus; one phi; bona xi --haunts without profit Bonn: "Ach! Gee if I were great Fibonacci!!! ..."Now; for example; Poem 12; "MODELS (for Petrovichs Band);" is an alexandrine with two six-line stanzas. The Zeckendorff representation of 12 is 1 + 3 + 8; so in each stanza of Poem 12 the first line is influenced by Poem 1; the third by Poem 3; and the sixth by Poem 8; each drawing on specific lines in the source poem. The first line in the sixth couplet of Poem 1; "He aims; Emma; the apoplexy;" informs the first line of Poem 12; "For a sweet word from Emma: a word for model"; the second line of the sixth couplet from Poem 1; "of those drunk on galaxy;" informs the first line of the second stanza in Poem 12; "Our galaxies have already packed their valise"; the phrase "when I saw you / weave a letter to Elise" in Poem 3 becomes "they say from this time forth five letters to Elise" in Poem 12; and the couplet "And Muses who compose / Theyre a troop theyre tropes" in Poem 8 becomes "Tragic tropes: Leonardo is Fibonacci.""Thus; Brafforts collection of poems; My Hypertropes; has an internal structure provided by a mathematical theorem;" writes Robert Tubbs in Mathematics in Twentieth-Century Literature and Art: Content; Form; Meaning. "The structure does not entirely determine these poems; but it does provide connections between the poems that might not be there otherwise."